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Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..ec22fb1 --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #51315 (https://www.gutenberg.org/ebooks/51315) diff --git a/old/51315-0.txt b/old/51315-0.txt deleted file mode 100644 index c3e8e5a..0000000 --- a/old/51315-0.txt +++ /dev/null @@ -1,8181 +0,0 @@ -The Project Gutenberg EBook of How?, by Kennedy Holbrook - -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: How? - or Spare Hours Made Profitable for Boys and Girls - -Author: Kennedy Holbrook - -Release Date: February 27, 2016 [EBook #51315] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK HOW? *** - - - - -Produced by Chris Curnow and the Online Distributed -Proofreading Team at http://www.pgdp.net (This file was -produced from images generously made available by The -Internet Archive) - - - - - - - How? - -[Illustration: frontispiece] - ------------------------------------------------------------------------- - - - - - HOW? - - OR - - Spare Hours Made Profitable - - For Boys & Girls - - By Kennedy Holbrook. - - Illustrated. - - [Illustration] - - New York: - - Worthington Co., 747 Broadway. - - 1887. - - - - ------------------------------------------------------------------------- - - - - - Copyright, 1886, - By WORTHINGTON CO. - - - - ------------------------------------------------------------------------- - - - - - PREFACE. - - -Although this book is ostensibly a “boy’s book,” many things which it -contains are equally useful to girls; and have been tried by the latter -with entirely satisfactory results. In fact, it was to afford amusement -and occupation, on rainy Saturdays and during the long vacation, to the -children of both sexes in my own family, that the book was first -written; and it was only an afterthought which led me to give it to the -public. - -Everything it contains has been deduced from my own experience or that -of some trustworthy friend. While it has been my aim to meet the wants -of children of all ages and in every condition of life, I have -studiously avoided every subject which might be a source of anxiety to -the most careful parent. - -It is with the hope that this little work may fulfill its mission in -other families where it may be received, as happily as it has done in -mine, that I send it on its way. - - THE AUTHOR. - - OCTOBER, 1886. - ------------------------------------------------------------------------- - - - - - INDEX. - - - Æolian harp, the, 68 - - Air, earth, or the sea?, 244 - - Alum, crystals, methods of coloring, 25 - - Amusing experiment with tooth-picks, 17 - - Animated fire, 26 - - Annealing (repoussé), 180 - - Antiques and horribles, 230 - - Aquarium, the, 186; - the author’s freshwater aquarium, 189; - trouble of keeping a gold fish globe, 190; - plants for fresh-water aquarium, _ib._; - artificial aeration, 191; - salt-water aquarium, 191; - preparing rock-work for, 192; - minnows, 191; - sticklebacks, 195; - nest of stickleback, 197; - hermit crabs, 198; - snails, 199; - medusæ, sea-anemones, 200; - serpulæ, 203 - - Arithmetical curiosity, an, 274 - - Arithmetical trick, an, 37 - - - Baby, a box-sled for, 44 - - Basket, a hanging, 118 - - Balancing doll, the, 20 - - Balancing pin, the, 44 - - Ball, a good, 16 - - Bangle bracelet, a, 184 - - Barometer, a boy’s, 18 - - Barometer, an infallible, 19 - - Battledore and Shuttlecock, 251 - - Birds, Japanese paper, 78 - - Blow-pipe, how to make a, 27 - - Boats, paper, 83 - - Boats, papier-maché, 90 - - Book, how to make a, 11 - - Boomerang, the, 20 - - Boot puzzle, the, 57 - - Boston clapper, the, 71 - - Bottles, to cut the top from, 18 - - Bottle imp, the, 107 - - Bottle, the obedient, 281 - - Boxes, paper, 119 - - Box-sled for baby, 44 - - Boy’s barometer, a, 18 - - Boy’s solar microscope, a, 216 - - Bracelet, a bangle, 184 - - Brackets, an idea for, 115 - - Brass, hammered, or repoussé, 175 - - Bridge, the triple, 283 - - Bubbles, soap, 31 - - Bubbles, resin, 32 - - Burning the center from a handkerchief, 304 - - Button-hole, to pull a string through a, 314 - - - Camera obscura, 144-154; - principle of camera, 145; - camera with horizontal screen, 146; - a simpler form, 149; - the sketching camera, 150; - the darkened room, 152 - - Camping-out cooking-stove, a, 308 - - Captain S’s peg puzzle, 238 - - Cars, a set of, 47 - - Cards, the three magical, 33 - - Card-receiver, papier-maché, 75 - - Card-receiver, repoussé, 179 - - Checkers, 256 - - Chickens, the musical, 235 - - Chinese rope feat, 312 - - Christmas presents, 113, 318; - the ornamental egg, 113; - trinket-holder, 114; - an idea for brackets, 115; - cone and twig bracket, 116; - pebble vase, 117; - cone and twig hanging-basket, 118; - shaving-case, 123; - puzzles, 318, 321 - - Circle, how to make a, 268 - - Circus, the magnetic, 269 - - Clapper, the Boston, 71 - - Coin, how to palm a, 287 - - Coin, how to pass a, 288 - - Compass, a home-made, 265 - - Cone and twig bracket, 116 - - Cone and twig hanging-basket, 118 - - Cooking-stove, a camping-out, 308 - - Corn-stalk fiddle, 64 - - Counter puzzle, the, 38 - - Countenance, necessity of a sober, 311 - - Cross puzzle, the, 320 - - Crystallize grass, seed-vessels, etc., how to, 24 - - Crystals, how to color alum, 25 - - Crystal vase, the, 317 - - Curiosity, an arithmetical, 274 - - - Dancer, the pith, 280 - - Danger of repetition, 291 - - Darkened room, the, 152 - - Dart, the self-rectifying, 43 - - Days in a month, number of, one way to find, 274 - - Dispatcher, the magic, 297 - - Divided square puzzle, 14 - - Doll, the balancing, 20 - - - Easy proof for sums in multiplication, an, 41 - - Egg, the ornamental, 113 - - Egg, the perambulating, 295 - - Egg, the tumbling, 82 - - Egg, to produce raised figures on, 273 - - Electrical experiments, 275 - - Electrophorus, the, 276 - - Electrophorus, a simple, 277 - - Electrophorus ebonite, 279 - - Experiment with electricity, 275 - - Experiment with flower-seeds, 141 - - Experiment with tooth-picks, 17 - - Experiment with two pieces of glass, 15 - - - Face, the grimacing, 15 - - Fan, from Nagasaki, a, 323 - - Feat, Chinese rope, 312 - - Fiddle, corn-stalk, 64 - - Fire, animated, 26 - - Fire, a new way to kindle a, 263 - - Flower-seeds, experiment with, 141 - - Flying whirligig, the, 10 - - Fountain, a simple, 322 - - Foxing, 179 - - Frame for impressions of plants, 87 - - Frame for a plaque, 185 - - Freight train, a, 51 - - Friction, light produced by, under water, 138 - - - Game, an optical, 37 - - Garden, a winter, 54 - - Garden, a mineral, 316 - - Glass, experiment with two pieces of, 15 - - Glass, how to blow, 27 - - Good ball, a, 16 - - Grimacing face, the, 15 - - Grasses, how to crystallize, 24 - - - Half-dollar, how to melt and re-coin, 301 - - Halos, the three, 82 - - Hammered brass, or repoussé, 175 - - Handkerchief, burning center from, 304 - - Hanging-basket, a, 118 - - Harp, æolian, 68 - - Hat, the inexhaustible, 291 - - Hat trick, another, 294 - - Home-made compass, a, 265 - - Hour of the day, how to tell the, by the left hand, 128 - - How to blow glass, 27 - - How to break a string, 63 - - How to crystallize grasses, seed-vessels, etc., 24 - - How to cut the tops from glass bottles, 18 - - How to make a book, 11 - - How to make a blow-pipe, 27 - - How to make a circle, 268 - - How to melt and re-coin a half-dollar, 301 - - How to melt stones, 31 - - How to palm a coin, 287 - - How to pass a coin, 288 - - How to pull a string through a button-hole, 324 - - How to rob Peter and pay Paul, 289 - - How to skeletonize leaves, 141 - - How to take impressions of plants, 86 - - How to take portraits, 60 - - How to tell the hour of the day by the left hand, 128 - - - Idea for brackets, an, 115 - - Imp, the bottle, 107 - - Impressions of plants, how to take, 86 - - Impressions of plants, frame for, 87 - - Inertia, illustration of, 284 - - Inexhaustible hat, the, 291 - - Infallible barometer, an, 19 - - - Japanese paper bird, 78 - - Jew’s-harp, the spirit, 261 - - - Leather work, 123-128; - in Russia, 124; - “Cuir Bouilli,” 125; - a panel of leather work, 126-128 - - Leaves, how to skeletonize, 141 - - Left hand, to tell the hour of the day by, 128 - - Leyden jar, a, 279 - - Light produced by friction under water, 138 - - Locomotive, the toy, 48 - - Lot of paper windmills, a, 52 - - - Magical cards, the three, 33 - - Magic dispatcher, the, 297 - - Magic rope, the, 307 - - Magic telescope, 22 - - Magnetic circus, the, 269 - - Melt and re-coin a half-dollar, how to, 301 - - Melt stones, how to, 31 - - Method of coloring alum crystals, 25 - - Microscope, a boy’s solar, 216 - - Mineral garden, a, 316 - - Miniature yacht and how to rig her, 331 - - Month, one way to find the number of days in a, 274 - - More elaborate panorama, a, 165 - - Multiplication, an easy proof for sums in, 41 - - Musical chickens, the, 235 - - - Nagasaki, a fan from, 323 - - Necessity of a sober countenance, 311 - - New way to kindle the fire, a, 263 - - Number thought of by a person, to tell the, 37 - - Numbers, two or more, to tell, 40 - - - Obedient bottle, the, 281 - - Objects, some, for solar microscope, 225 - - Octagon puzzle, the, 318 - - One way to find the number of days in a month, 274 - - Optical game, an, 37 - - Ornamental egg, the, 113 - - Ornament for boys to make, 26 - - - Palm a coin, how to, 287 - - Panel of leather work, a, 126 - - Panorama, the toy, 160-172; - panorama of former generation, 161-162; - simplest form of toy panorama, 163-165; - a more elaborate panorama, 165-172. - - Paper bird, the Japanese, 78-81; - paper boats, 83-86; - paper boxes, 119-122; - a lot of paper windmills, 52-54; - a fan from Nagasaki, 323 - - Papier-maché, 73; - materials for, 74; - process of working, 74-75; - card-receiver, 75; - umbrella-holder, 76; - vase, _ib._; - papier-maché flowers, 77; - papier-maché boats, 90-92 - - Pass a coin, how to, 288 - - Pebble vase, the, 117 - - Peg puzzle, Captain S’s, 238 - - Perambulating egg, the, 295 - - Photographic printing, 154 - - Pin, the balancing, 44 - - Pith dancer, the, 280 - - Plaque, frame for, 185 - - Plants, how to take impressions of, 86 - - Plants, frames for impressions of, 87 - - Portraits, how to take, 60 - - Presents, Christmas, 113, 318 - - Proof, an easy, for sums in multiplication, 41 - - Puppet, the windmill, 7 - - Puzzle, the boot, 57 - - Puzzle, the counter, 38 - - Puzzle, the cross, 320 - - Puzzle, the octagon, 318 - - Puzzle, peg, Captain S’s, 238 - - Puzzle, the square, 321 - - Puzzle, the divided square, 14 - - - Raised figures on an egg, to produce, 273 - - Re-coin a half dollar, how to, 301 - - Regatta windmill, 215 - - Repetition, danger of, 291 - - Repoussé work for boys, 172-184; - Nubian bracelets, 172; - hammer for repoussé work, 175; - other tools for repoussé work, 176; - marking the design, _ib._; - plaque in hammered brass, 177; - composition for deep work, 178; - card receiver, 179; - foxing, _ib._; - annealing, 180; - a salver in repoussé, 181; - a silver bangle for a bracelet, 182; - a bangle bracelet, 184 - - Resin bubbles, 32 - - Ring toss, 255 - - Ring trick, the Turkish, 299 - - Rob Peter and pay Paul, how to, 289 - - Room, the darkened, 152 - - Rope, the magic, 307 - - Rope feat, the Chinese, 312 - - - Salver in repoussé, 181 - - Schooner yacht, a, 345 - - Screw-propeller windmill, the, 210 - - Sea-mosses, 226-230; - where found, _ib._; - how, 227; - how to arrange on paper, 227-229; - more elaborate arrangements, 229-230 - - Self-rectifying dart, the, 43 - - Set of cars, a, 47 - - Shaving-case, a, 123 - - Side-wheeler windmill, the, 211 - - Simple form of camera, a, 149 - - Simple electrophorus, a, 277 - - Simple fountain, a, 322 - - Siphon, a, 28 - - Skeletonize leaves, how to, 141 - - Sketching camera, the, 150 - - Slate games for children, 243 - - Sloop yacht, 336 - - Snake, the, 13 - - Soap bubbles, 31 - - Sober countenance, necessity of, 311 - - Solar microscope, a boy’s, 216 - - Solitaire, 249 - - Some electrical experiments, 275 - - Spirit jew’s-harp, the, 261 - - Square puzzle, the divided, 14 - - Square puzzle, the, 321 - - Steam-boat, the toy, 93 - - Stencils, 130-137; - method of making, 133; - collection of stencils in book-form, 135; - color decoration with stencils, 136-137 - - Stones, to melt, 31 - - String, how to break a, 63 - - String, how to put a string through a button-hole, 314 - - String, how to unite a parted, 314 - - Sums in multiplication, an easy proof for, 41 - - - Telescope, the magic, 22 - - Telescope, a, which a boy can make, 110 - - Tit-tat-to, 243 - - Thirty-one, 246 - - Three halos, the, 82 - - Tooth-picks, an amusing experiment with, 17 - - Toy panorama, the, 160 - - Toy steam-boat, the, 93 - - Train, a freight, 51 - - Trick, an arithmetical, 47 - - Trick, Turkish ring, 299 - - Trick, another hat, 294 - - Trinket-holder, 114 - - Tumbling egg, the, 82 - - Turks and Russians, 245 - - Twig and cone bracket, 116 - - Two pieces of glass, experiment with, 15 - - - Vase, the crystal, 317 - - Vase, the pebble, 117 - - Vase, a papier-maché, 76 - - - Windmills, 204-216; - the wooden windmill, 206-209; - mode of mounting the windmill, 210; - the screw-propeller, 210-211; - the side-wheeler, 212-214; - the regatta windmill, 215 - - Winter garden, a, 54 - - Whirligig, the flying, 10 - - - Xylophone, the, 65 - - - Yacht, the miniature, and how to rig her, 331-352; - miniature yacht regattas, 334; - model of yacht, 335; - making the hull, 336-337; - how to cast and attach a lead keel, 337-338; - the deck, 338; - bowsprit and rudder, 339; - mast and other spars, 340; - standing rigging, 341-342; - sails, 343; - running rigging, 344-345; - a schooner yacht, 345; - spars and stays for a schooner yacht, 346-349; - belaying, bolt ropes, reef-points, 350; - painting the miniature yacht, 350-351; - flags, 352 - ------------------------------------------------------------------------- - - - - - HOW? - - OR, - - SPARE HOURS MADE PROFITABLE. - - - ―――――◀▶――――― - - THE WINDMILL PUPPET. - -[Illustration: Fig. 1] - -This amusing little puppet is very easily constructed, and, like several -other mechanical toys in this book, furnishes much entertainment for the -little folks. Even the baby will sit in her high chair, half-hours -together, watching the little man turning his crank, while she claps her -tiny hands and crows at so delightful an exhibition of untiring energy. - -[Illustration: Fig. 2] - -Cut from cardboard a disc like Fig. 2, which shall measure about six -inches across; then by means of a ruler draw the lines _a b c d_; -half-way between these points make four others, corresponding to _e f g -h_; and lastly, between all these, still another set of lines. Make the -circle, _m_, one-and-a-half inches in diameter, and with a pair of sharp -scissors cut through all these lines, to the edge of the smaller ring. -Bend one edge of each of these triangular pieces slightly upward, as -indicated by the shading, and the opposite edge downward; also bend a -piece of wire a foot long, so as to form the crank indicated in the -illustration. - -Next make a frame-work for the figure to rest upon: this should consist -of a three-cornered piece of wood, six inches long for the bottom, a -stick six or seven inches long for the upright, and lastly, the support -for the upper part of the wire, with a small hole in one end for the -latter to pass through. Fasten these pieces together with small -brad-nails, and secure the upright to the bottom piece by a screw or -nail passing up from below. The wire, having the crank already bent in -the proper place, may now be passed up through the hole, and the other -end sunk down into another, bored a short distance into the bottom -board, directly below the upper one. Then the wire may be fastened to -the windmill, by passing it through a little one side, then back again -through on the other side of the center; twisting the end once or twice -about the main stem beneath the windmill; it now turns with the -windmill, and it is needless to say that the friction in the holes -should be as slight as possible. - -The figure is to be cut from a piece of cardboard and is made in five -pieces. The lower half, which comprises the box, legs, and body up to -the dotted line, is in one piece; the head and body to the lower edge of -the belt, consists of two pieces, cut precisely alike, and lapping on -either side of the lower part of the body over the dotted line, to give -strength to the image. A pin passed through the belt, and bent down on -the other side, will hold it in place, and allow sufficient play to the -figure. There are two arms, cut from the same pattern, and pivoted at -the shoulders with another pin. The hands are finally brought together, -with the crank between them, and lightly secured on either side with two -or three stitches. - -To impart life to this creation, it is placed over a furnace register -through which the hot air is briskly rising. If the machine works -easily, the current of air above a stove may suffice. - - - ―――――◀▶――――― - - THE FLYING WHIRLIGIG. - -[Illustration] - -This amusing toy consists of an empty spool with two pins driven into -its head, as seen in the figure. With a pair of pliers break off the -heads of the pins before driving them in position, then take a piece of -soft wood and make a spindle, like that represented in the figure at -_A_, and drive another headless pin into the small end. Lastly, cut from -a piece of cardboard a figure like the one marked _B_, making three -holes, _a a a_, with the point of a darning-needle, corresponding to the -two pins in the spool and the one in the spindle. - -Bend the edges marked _x_ and _y_ in opposite directions. - -Now place the spool on the spindle and wind a piece of twine around the -spool; then place the piece of pasteboard upon the top, letting the pins -pass up through the row of holes in its center. - -Holding the machine upright in the left hand, with a quick movement of -the right, jerk the string from the spool, and the cardboard will fly -through the air with a very graceful motion. - -If stripes of color are added to the ends, as seen in the cut, a much -prettier effect is produced while the whirligig is in operation. These -stripes can be painted in red, white, and blue water colors, or may be -formed by pasting on narrow strips of bright-colored paper. - -If the first trial does not succeed, wind the string in the other -direction, or put on the “card flyer,” with the other side next the -spool. The same causes which make it soar away in the one case will hold -it yet more firmly to the spool in the other. - - - ―――――◀▶――――― - - HOW TO MAKE A BOOK. - -Do any of my boy readers know how to make a book? Not the fine volumes -turned out by the thousand in our great publishing houses, but the -little individual books made by boys and girls, and needing for their -construction only an old used-up ledger, a small tin pan of paste, and -scraps cut from newspapers or books. These bits may consist simply of -poems, or they may be “a little of all sorts.” - -I recently saw a very nice book of this kind made by a boy of twelve, -which was composed entirely of humorous pictures and jokes, culled from -several illustrated and daily papers, one or two almanacs, and various -other chance publications, which he had collected during the year. -Whenever he found any bright or witty thing, he would carefully preserve -the clipping by putting it in a large paper box he kept in a convenient -place for that purpose. - -He reserved the pasting for rainy days and winter evenings, and as he -took much pains with the arrangement and neat appearance of his book, -this operation was necessarily slow, and formed a pleasant occupation -for many hours which would otherwise have been wasted. - -In making such a book, do not try to complete it in a week or even a -month, but let it, like my boy friend’s, furnish amusement for a year. - -Get your father and mother interested, and ask them to save any scraps -they may see, and think appropriate for the purpose. - -A handsomely bound scrap-book, specially designed for this use, would -certainly be the most desirable thing to have; but if such a book cannot -be obtained, an old ledger does very nicely in its place, and if, after -it is completed, you cover it carefully with a piece of smooth brown -paper and print its title neatly on the back, it will look very well on -any table where you may wish to keep it. - -If the latter is used, cut from it every other two leaves, reserving the -third, through the book. Next be careful to trim all your clippings -neatly, leaving no extra paper beyond the edges. Fit the different slips -nicely on the pages, filling the little spaces left from the longer -articles with any little jokes or bits of poetry you may have. -Frequently a whole piece of newspaper poetry is hardly worth preserving, -but some one of its stanzas may be very pretty and just the thing to -fill up a place you may have left. - -It is well to collect all these little things you can find, for they -always come in nicely when pasting, and your book looks much better when -finished if the original surface is entirely covered. - - - ―――――◀▶――――― - - THE SNAKE. - -[Illustration: A] - -Cut from a piece of Bristol board, or stiff paper, a circle measuring -four inches in diameter; then with a pencil mark it like Fig. _A_. With -your paints and pencil make its head as nearly like a snake’s as -possible; and mark the body with stripes or checks, as your fancy may -dictate. Cut through the deep black line, put a pin through the dot on -the tail, and drive it into a slender stick of wood, which must be held -or caught over the stove or register. The rising current of heated air -causes the snake to revolve and apparently writhe, in a very natural -manner. This little toy, so simple in its construction, affords an -endless amount of entertainment to the little folks of the family, and -is well worth the trouble and time you may spend in making it. - -[Illustration] - -The hot air from a lamp or gas jet will also impart activity to this -mimic reptile. - - - ―――――◀▶――――― - - THE DIVIDED SQUARE PUZZLE. - -[Illustration] - -Take a square of paper or cardboard, and cut it into four pieces, as -shown in the engraving. Now try to put them back in the form of a -square. This seemingly simple puzzle, has kept our young people busy a -whole evening, and was only accomplished at last by marking each piece -before it was cut apart. - - - ―――――◀▶――――― - - EXPERIMENT WITH TWO PIECES OF GLASS. - -Procure two pieces of glass about six inches square, join any two of -their sides, and separate the opposite sides with a piece of wax, so -that their surfaces may be at a slight angle; immerse this apparatus -about an inch in a basin of water, and the water will rise between the -plates and form a beautiful geometrical figure called a hyperbola. - - - ―――――◀▶――――― - - THE GRIMACING FACE. - -[Illustration: A] - -[Illustration: B] - -[Illustration: C] - -Take a card one-and-one-half inches wide, and fold around it a piece of -unruled note paper, so that the card can easily slide up and down; then -paste this case on the under side. Now cut three holes in the paper for -the eyes and mouth, as seen in _A_; place the strip of card within this -and mark the points for the eyes and root of tongue; then slipping it -out once more, the eyes can be carefully finished, and the tongue cut to -fit in the mouth, and to extend some distance down on the chin, see Fig. -_B_. Then by putting the two pieces together, pulling the tongue in its -place through the opening, very amusing expressions can be produced, by -simply moving the pasteboard up and down in the paper. Fig. _C_ -represents the two parts put together. - - - ―――――◀▶――――― - - A GOOD BALL. - -Take a round, well shaped orange; cut it evenly into quarters, numbering -them at one end to aid in putting the parts together again. Next cut out -of kid four pieces exactly like the four pieces of orange peel; then, -with strong linen thread, sew over and over three seams, thus joining -the four pieces, but leaving one seam open. In putting together be -careful to place 1 next to 2, and so on, just as they were in the -orange. Ravel out an old yarn stocking, or cut into narrow strips an old -cashmere one, and after making a little round ball of any soft woolen -material, commence winding it evenly with the raveled yarn, trying -occasionally if it is near the size of the kid covering. When nearly -large enough wind it in such a way that it shall just fit the cavity, -and then carefully sew up the remaining side. - -Great care should be exercised in forming the inner ball, and in cutting -the kid. The wrists of old kid gloves make capital coverings. An old -rubber overshoe cut in very fine strips and wound carefully, forms a -nice center, but it is better to use the soft wool yarn next the cover, -as it is more pliable and makes a better shaped ball. - -Prepare this ball during your leisure moments in the long winter -evenings; and it will then be ready for the first game, when the bright -spring sunshine reminds you of summer sports once more. - - - ―――――◀▶――――― - - AMUSING EXPERIMENT WITH TOOTH-PICKS. - -[Illustration] - -Take five tooth-picks, weave them together, as seen in the illustration, -which perhaps is easiest done by holding the three diverging ones -between the thumb and forefinger of the left hand at the point _a_, and -insert the other two successively, first _b_, then _c_. Now lay the -figure upon any flat surface, letting the end c extend a short distance -beyond the edge. If you touch a lighted match to _c_, in a moment each -stick will leap into the air as if suddenly endowed with life and -animation, quite unusual in such inert objects. - - - ―――――◀▶――――― - - HOW TO CUT TOPS FROM GLASS BOTTLES. - -A glass bottle when freed from its top can be utilized in many ways, and -most boys will be glad to know how to get rid of this troublesome -portion without smashing the whole thing into fragments. - -A red-hot poker with a pointed end is the instrument used. First make a -mark with a file to begin the cut; then apply the hot iron, and a crack -will start, which will follow the iron wherever it is carried. This is, -on the whole, simple, and better than the use of strings wet with -turpentine, etc. - - - ―――――◀▶――――― - - A BOY’S BAROMETER. - -Take a common vial, or small bottle, cut off the rim by using the hot -poker as directed above. Let the vial now be nearly filled with common -rain water, and applying the finger to its mouth, turn it quickly upside -down: on removing the finger it will be found that only a few drops will -escape. Without a cork or stopper of any kind, the water will be -retained within the bottle by the pressure of the external air, the -weight of the air without the vial being so much greater than the small -quantity within it. Now let a bit of tape be tied round the middle of -the bottle, to which the two ends of a string may be attached, so as to -form a loop to hang on a nail; let it be thus suspended in a -perpendicular manner, with the mouth downward: and this is the -barometer. - -When the weather is fair, or inclined to be so, the water will be level -at its lower surface, or perhaps concave, like an individual butter -plate turned upside down; but when disposed to be stormy, a drop will -appear at the mouth, which will enlarge till it falls, and then another -drop, so long as the humidity of the atmosphere continues. - - - ―――――◀▶――――― - - AN INFALLIBLE BAROMETER. - -With a few cents any boy can buy the chemicals required for this -barometer, and obtain an instrument much more reliable than many of the -cheaper grades for sale in the stores. Put two drams of pure nitrate of -potash, and half a dram of chloride of ammonium reduced to a powder, -into two ounces of pure alcohol, and place this mixture in a clear glass -bottle, covering the top with a piece of rubber or thin kid pierced with -small holes. - -If the weather is to be fine, the solid matters remain at the bottom of -the bottle, and the alcohol is as transparent as usual. If rain is to -fall in a short time, some of the solid particles rise and fall in the -alcohol, which becomes somewhat thick and troubled. When a storm, -tempest, or even a squall is about to come on, all the solid matter -rises from the bottom of the bottle and forms a crust on the surface of -the alcohol which appears to be in a state of fermentation. These -appearances take place twenty-four hours before the tempest ensues, and -the point of the horizon from which it is to blow is indicated by the -particles gathering most on the side of the tube opposite to that part -whence the wind is to come. The longer the diameter of the bottle the -better for this kind of barometer. - - - ―――――◀▶――――― - - THE BALANCING DOLL. - -[Illustration] - -From a piece of soft wood whittle out a head and body like that in the -illustration, making slits on either side for the insertion of the -wings. These oar-shaped appendages are generally made from a shingle, -and are affixed to the body by pressing them firmly into the slits. The -whole thing can be painted to suit the fancy; water colors spread on -rather thickly answer quite as well for small objects of this class, if -protected by a good coating of varnish, made by dissolving a few cents’ -worth of white shellac in a small quantity of alcohol. It is important -that the oars are of the same weight and placed at equal angles with the -body for this plaything to be successful. - - - ―――――◀▶――――― - - THE BOOMERANG. - -The boomerang is a weapon which has long been known as peculiar to the -Australian savages, who are wonderfully skilled in its use. - -[Illustration] - -[Illustration] - -It consists of an irregular shaped piece of hard wood, so constructed -that by its aid, the unsuspecting game can be killed at an angle widely -diverging from the line of direction in which it was thrown. Instances -have been cited in which the boomerang, in the hands of these untutored -savages, has accomplished wonderful feats. One of the favorite ways of -throwing consists in sending the weapon in such a manner that it shall -skim along just above the ground for about a hundred feet, then, rising -in the air, double back upon its course, and hit a mark only a few feet -in front of the thrower. Of course we do not expect to equal the savages -in its use, when recent investigations show that it has taken the -experience of generations upon generations of men and hundreds of years, -to bring it to its present degree of excellence; but every boy may -derive much fun from practicing with the little cardboard boomerang cut -of stiff pasteboard in either of the forms given in the preceding page. -To throw this, place it upon a book, one end extending beyond the edge; -then, with a ruler or small stick, strike it forcibly upon the edge, and -it will fly through the air and back again, in an amusing, lively -manner, quite unlike any other missile in a boy’s collection. It may be -sent on its way by simply snapping it with the forefinger of the right -hand while it is held on the book in your left. If you should try making -one of wood to use out-of-doors, try it in the middle of a large open -lot, for there is no telling what mischief it might do if it only had -the chance. - - - ―――――◀▶――――― - - THE MAGIC TELESCOPE. - -[Illustration] - -The following, although requiring considerable skill in joining, can -readily be made by any boy of fifteen, if he is at all skillful in the -use of carpenter’s tools, and has a fair endowment of those two -excellent qualities, patience and perseverance, so absolutely -indispensable to success in almost any undertaking. - -This telescope consists of a series of square wooden tubes, with an -inside diameter of about five inches, so carefully joined together that -no ray of light can find its way in through the crevices. The oblique -lines are pieces of looking-glass, with their faces turned toward each -other. Now, by placing the eye at _E_, of course it would seem that -anything at _H_ could be seen directly through the tubes _A B_, while if -a book or other opaque object be interposed, as shown in Fig. 2, it -would seem equally a matter of course that the view would be obstructed; -this, however, is not the case, as the mirrors reflect the object -through the tube and it appears as plainly as when the book is removed. - -To those unfamiliar with its construction this magic telescope, by which -you apparently see through a solid substance, is an unfailing source of -wonder. - -[Illustration] - -The object at _H_ should be quite brilliantly lighted, as some of the -rays are absorbed in the passage of the reflection through the tube; -especial care should also be taken to place the mirrors at a slant, -exactly midway between the horizontal and the upright, or, to speak more -scientifically, at an angle of 45 degrees to the line of the tubes. - -The tubes _A_ and _B_ should not be so far apart at the place where the -book is inserted as to permit the backs of the mirrors to be easily -seen. - - - ―――――◀▶――――― - - TO CRYSTALLIZE GRASSES, SEED-VESSELS, ETC. - -Take a large-sized piece of alum, and pour over it a pint of boiling -water, letting it stand until the water has taken up or dissolved all -the alum it will. If at the end of a few hours any alum remains -undissolved, you may be sure the water contains all the alum it can hold -in a liquid state, and the solution is called a “saturated solution of -alum.” - -During the summer, while the grasses are in their most perfect state, -select such as you think will look well crystallized, and put them into -a vase or wide-mouthed bottle to dry, being careful to spread them well -apart, so that they may retain their perfect shape in drying. If the -season of grasses should pass before you have a chance to collect them, -the season of weeds is always at hand. Any boy, in his wanderings over -marsh or mountain, through woods or our quiet village street, during -even the coldest winter months, could not fail to see some beautiful -sprays of seed-pods crowning many of our most common weeds, which if -crystallized, would make a very pretty and acceptable present to mother -for the corner bracket, or the shelf which seemed just a little bare -before. Having secured your grasses or weeds, both together if you like, -and having your saturated solution of alum at hand, lay as many tops of -the grasses in a flat dish as will fill it without crowding, then pour -the liquid over them, being careful that the parts you wish crystallized -are under the surface. Let them lie in this position until well coated -with the alum. When finished remove them and put in others. Continue in -this manner until all are treated. If only a few crystals are desired -they may be obtained by dipping the heads one at a time in the solution -and slightly shaking them after each immersion. When all have been -dipped, commence with the first and repeat the process. Do this until -the crystals formed are as large as you wish them to be. - - - ―――――◀▶――――― - - METHOD OF COLORING ALUM CRYSTALS. - -In making these crystals the coloring should be added to the solution of -alum in proportion to the shade which it is desired to produce. Coke, -with a piece of lead attached to it in order to make it sink in the -solution, is a good substance for a nucleus, if a cluster of crystals -are to be formed. Any form, if wound around with knitting cotton, can be -used, or the grasses above described can be dipped in these colored -solutions, and very pretty results obtained. - -Yellow: muriate of iron. Blue: solution of indigo in sulphuric acid. -Pale blue: equal parts of alum and blue vitriol. Crimson: infusion of -madder and cochineal. Black: Japan ink thickened with gum. Green: equal -parts of alum and blue vitriol, with a few drops of sulphate of iron. -Milk white: a crystal of alum held over a glass containing ammonia will -become a milky white color upon its surface. - - [NOTE.—To make an infusion of a substance you simply pour - boiling water over it. The madder and cochineal are in the dry - form, and only a little water should be used, as too much will - make the color less brilliant.] - - - ―――――◀▶――――― - - ANIMATED FIRE. - -When small pieces of camphor are placed in a basin of pure water, a very -peculiar motion commences; some of the pieces turn as if on an axis, -others go steadily round the vessel, some seem to be pursuing others, -and thus they continue forming a very curious and pleasing appearance; -but if a single drop of sulphuric acid be put into the water, the motion -of the camphor instantly stops. If a piece of camphor be lighted, and -then carefully placed on the water, it burns with a bright flame, moving -about with great rapidity, as if in search of something, but is -instantly stopped by a drop of sulphuric acid. - - - ―――――◀▶――――― - - A PRETTY ORNAMENT FOR A BOY TO MAKE. - -Dissolve in seven different tumblers containing warm water, half ounces -of sulphates of iron, copper, zinc, soda, alumina, magnesia, and potash. -Pour them all, when completely dissolved, into a large flat dish, and -stir the whole with a glass rod or bit of broken glass for a while. -Place the dish in a warm place where it will be free from dust and will -not be shaken. After due evaporation has taken place, the whole will -begin to shoot out into crystals. These will be of various colors and -forms, some little ones being gathered together in small groups, and -other larger ones scattered throughout the whole fluid. By a little -careful study you will soon be able to distinguish each crystal -separately, from its peculiar form and color, thus learning an -interesting lesson in chemistry, while making a beautiful ornament for -your room. Be sure and preserve it carefully from the dust. - - - ―――――◀▶――――― - - HOW TO MAKE A BLOWPIPE. - -Procure two common clay pipes; break off the stem of one about three -inches from the little end. Take a cork that exactly fits into the bowl -of the other pipe, cut a hole through it large enough to insert the -mouth-piece already broken off, and draw this through the opening till -its larger end is even with the surface of the cork. Insert the cork in -the bowl, and fill the end of the stem which touches the flame with a -tiny ball of clay or chalk. Through this clay make a hole with a needle, -and a blowpipe is the result, which answers very well for any experiment -a boy may be likely to try. - - - ―――――◀▶――――― - - HOW TO BLOW GLASS. - -Although it is impossible to give any detailed account of glass blowing -which would be practicable for small boys, yet a child can amuse himself -for hours, by simply melting bits of glass and joining them together; or -by melting small glass tubes and drawing them out to mere threads; or -again, blowing them up into tiny balloons until their surface is as thin -as a soap bubble and almost as fragile. These little tubes are smaller -than the end of a pipe-stem, about four inches long, and made of very -thin glass. A dozen can be procured for ten or twelve cents at any place -where chemical supplies are to be found. A short tallow candle, held in -a cheap tin candlestick, answers for the flame; and the tobacco-pipe, -converted into the blowpipe just described, can be used in any of the -experiments here given. Take a piece of a broken window pane, hold it in -the left hand very near the candle flame, then holding the blowpipe so -that the shorter end nearly touches the flame, blow steadily through the -pipe-stem a current of air into the flame, which sends it upon the glass -and soon reduces the part in contact with it to a red-hot melting mass; -this can be worked into various shapes by forming it with the aid of -pincers; or it can easily be joined to pieces of different colors, by -holding the two together and turning the full force of the blaze upon -them. - -The little tubes may be heated in the same manner, and one end be closed -air tight, by pinching it tightly while still hot; then, after heating -the portion near the end to a red heat, lay the blowpipe aside, and, -taking the tube away from the flame, blow into the open end with the -mouth. If this is done quickly, before the glass has had time to cool, a -pretty bubble or balloon is the result. - - - ―――――◀▶――――― - - A SIPHON. - -A simple glass siphon can be made by taking one of the above tubes and -heating it at a point about one-third of its length from the end, till -the surface appears a rosy red; then carefully bending it over the round -part of a clothes-pin, till the two ends form parallel lines. - -[Illustration] - -A simple experiment with the siphon affords considerable amusement to -the little folks, and is well worth trying. Take two tumblers, place -them side by side, and fill one with water. Now fill the siphon with -water and place the longer end in the empty tumbler, and the shorter one -well down in the water of the other. Immediately the laborer will begin -to work, pumping water into the empty vessel, and will not stop until he -has reduced the water in the full tumbler to a level with the end of the -tube. - - - ―――――◀▶――――― - - TO MELT STONES. - -Many kinds of stones containing more or less metallic ores, can be -readily melted by means of the blowpipe. When the specimens are small -they can be placed upon a piece of mica, and then presented to the -flame; or a clay receptacle can be made for the purpose, by simply -hollowing out a small cavity in one side of a lump of clay. Large ones -can be held in the hand or with the pincers as in the case of the glass -melting. - - - ―――――◀▶――――― - - A SOAP BUBBLE. - -Within the past few years soap-bubble parties have been quite the style -among our young people, and not a few of the older members of society -have joined in the frolic with as much zest as their younger -competitors. Usually at such gatherings, after the guests have all -arrived, the hostess, having previously secured two or three boxes of -bonbons, or other equally inexpensive trifles for prizes, presents each -of her guests with an ordinary clay pipe, and leading the way to the -room in which the bowls of soap-suds are already prepared, shows her -prizes, and challenges all to the contest. If fine, large iridescent -bubbles are desired, it is well to add a small quantity of glycerine to -the water used. It is said that if the mixture of glycerine and water is -allowed to stand some hours before it is used the effect is much better. -Hot water and soap can be added just before the party enter, and only -two bowls of the soap mixture are necessary for quite a large party. -These should be placed upon small side tables or stands at opposite ends -of the room. Two or three reliable persons should be chosen for judges -to decide the contest. The parents or some older members of the family, -at whose house the party is held, usually perform this duty. I should -have added, when speaking of the soap mixture, that the common yellow -soap intended for laundry use, is much better for this purpose than the -finer toilet varieties most commonly used by amateur soap-bubble -blowers. - - - ―――――◀▶――――― - - RESIN BUBBLES. - -If the end of a tobacco-pipe be dipped in melted resin, at a temperature -a little above that of boiling water, taken out, and held nearly in a -vertical position and blown through, bubbles will be formed of all -possible sizes, from that of a hen’s egg, down to sizes which can hardly -be discerned by the naked eye, and from their silvery luster, and -reflection of the different rays of light, they have a pleasing -appearance. Some that have been formed these eight months, are as -perfect as when first made. They generally assume the form of a string -of beads, many of them perfectly regular, and connected by a very fine -fiber, but the production is never twice alike. If expanded over a gas -jet by means of a small rubber tube, they would probably float around -the upper part of the room. - - - ―――――◀▶――――― - - THE THREE MAGICAL CARDS. - -[Illustration] - -Take three cards of the same size, and thick enough to prevent the black -surface from showing through; ink or paint over the whole of one side of -_c_, having the other side perfectly white, and the others, _a_ and _b_, -in the parts shown in Fig. 1; they are now ready for use. - -[Illustration: Fig. 2] - -Fig. 2 shows the first arrangement of them, _a_ and _b_ lapping over -each other so that when _c_ is placed in the position shown by dotted -lines the whole face presents a perfectly white surface. Show this to -your audience; then, still holding them in sight, inform them in a neat -little speech, that by aid of some magic power you possess, you can -readily change these same cards to black, or back again, at will. Now -holding them with their backs away from you, in such a manner that the -card _c_ cannot be seen by the other boys, turn them upside down and -spread out what were the lower parts of _a_ and _b_. You have them now -in the position indicated by Fig. 3, and after carefully turning _c_ you -will find them presenting a uniformly black surface. Should any bit of -white show at the lower corner, cover it with your thumb. When they are -arranged to your satisfaction, hold them up in front of you, and while -saying over some cabalistic words, such as, for instance, “Presto, -agramento, calafesto—change!” blow upon their faces and turn them around -to your audience, which will probably be greatly surprised at this -undeniable evidence of your magic skill. - -[Illustration: Fig. 3] - -Instead of white, the ordinary playing cards may be used, blacking the -back of one to represent _c_. These are much more showy than the plain -white ones, and the trick is not so easily discovered if slight bits of -black are seen, as those having black spots are generally taken for the -purpose. - -[Illustration] - -One day a little fellow who had been repeatedly mystified by this trick, -saw the cards which his brother had prepared lying on the table. He took -them up, examined them carefully for a moment, then, with his little -face all aglow at the revelation, he exclaimed, “Ha! I’ve found out how -you do it now, you just blow charcoal on the other part.” How he got rid -of the part already black, he did not explain, nor did we think to ask -him, but he had at last solved the puzzle of their turning black, and -that was all he cared to do at the time. - - - ―――――◀▶――――― - - AN OPTICAL GAME. - -Hold a ring between thumb and forefinger at some distance from the boy -addressed, and giving him a crooked stick, ask him to close one eye and -try to catch the ring on the stick. This game looks so very simple, that -any boy is certain he can do it at one thrust, and is only made aware of -its difficulties after several unsuccessful attempts. - - - ―――――◀▶――――― - - TO TELL THE NUMBER THOUGHT OF BY A PERSON. - -Desire the person who has thought of a number to triple it, and to take -the exact half of that; triple that half if the number was even, or if -odd multiply the larger half by 3; and ask him how many times that -answer contains nine: for the answer will contain the double of that -number of nines, and one more if it be odd. Thus if the number thought -of is 5, its triple will be 15, which cannot be divided by 2 without a -remainder. The greater half of 15 is 8. If we multiply this by 3 we have -24, which contains 9 twice. So we shall have 2 + 2 + 1 = 5, the number -first thought of. - - - ―――――◀▶――――― - - THE COUNTER PUZZLE. - -In an old book published over half a century ago, I came across this -puzzle; and finding it gave an evening’s entertainment to our young -folks, I introduce it here for the benefit of those boys who take -especial delight in games of an arithmetical nature. - -[Illustration: Figs. 1, 2, 3, 4, 5] - -Out of thin cardboard—old business cards answer this purpose nicely—make -thirty-two blank counters, the size of a dime. Then upon a piece of -note-paper mark off a figure just three inches square, and divide it by -lines into nine compartments, each containing one square inch. The -puzzle is, to arrange the counters in the external cells of the square -four different times, and each time to have nine in a row, yet to have -the sum of the counters different, and varying from twenty to -thirty-two. If you will inspect the following figures you will see how -this is possible: the first represents the original disposition of the -counters in the cells of the square; the second, that of the same -counters when four are taken away; the third, the manner in which they -must be disposed when these four are brought back with four others; and -the fourth with the addition of four more. There are always nine in each -external row, and yet in the first case the whole number is twenty-four, -in the second it is twenty, in the third twenty-eight, and in the fourth -thirty-two. The numbers are substituted in the place of the counters in -the above figures for convenience, but Fig. 5 represents the disposition -of the counters, as indicated in Fig. 2. - - - ―――――◀▶――――― - - ANOTHER ARITHMETICAL TRICK. - -By knowing the last figure of the product of any two numbers, to tell -the other figures. If the number seventy-three be multiplied by each of -the numbers in the following arithmetical progression, 3, 6, 9, 12, 15, -18, 21, 24, 27, the products will terminate with the nine digits, in -this order, 9, 8, 7, 6, 5, 4, 3, 2, 1; the numbers themselves being as -follows: 219, 438, 657, 876, 1095, 1314, 1533, 1752, and 1971. Let, -therefore, a little bag be provided, consisting of two partitions, into -one of which put several tickets, marked with the number 73, and into -the other put as many tickets, 3, 6, 9, etc., up to 27. Then open that -part of the bag containing the number 73, and ask a person to take out -one ticket only; after which, dexterously change the opening, and desire -another person to take a ticket from the other part. Let them now -multiply their two numbers together, and tell you the last figure of the -product, by which you will readily determine from the foregoing series -what the remaining figures must be. Suppose, for example, the numbers -taken out of the bag were 73 and 12, then as the product of these two -numbers, which is 876, has 6 for its last figure, you will readily know -it is the fourth of the series and the other two figures must be 8 and -7. - - - ―――――◀▶――――― - - TO TELL TWO OR MORE NUMBERS WHICH A PERSON HAS THOUGHT OF. - -These numbers must not exceed 9. Let him think of two or three numbers, -double the first and add 1 to the product, multiply the whole by 5, and -add to that product the second number. If there be a third, make him -double the first sum and add 1 to it; then desire him to multiple the -new sum by 5, and to add to it the third number. If there should be a -fourth number, you must proceed in the same manner, desiring him to -double the preceding sum, to add 1 to it, to multiply by 5, and then to -add the fourth number, and so on. Then ask the number arising from the -addition of the last number thought of, and if there were two numbers -subtract 5 from it: if three, 55; if four, 555, and so on, for the -remainder will be composed of figures, of which the first on the left -will be the first number thought of, the next the second, and so of the -rest. - -Suppose the numbers thought of to be 3, 4, 6; by adding 1 to 6, the -double of the first, we have 7, which being multiplied by 5 gives 35; if -4, the second number thought of, be then added, we shall have 39, which -doubled gives 78, and if we add 1, and multiply 79 by 5, the result will -be 395. Lastly, if we add 6, the third number thought of, the sum will -be 401, and if 55 be deducted from it we shall have for the remainder -346, the figures of which 3, 4, and 6, indicate in order the three -numbers thought of. - - - ―――――◀▶――――― - - AN EASY PROOF FOR SUMS IN MULTIPLICATION. - -As boys are always interested in short cuts in arithmetical processes, -it may be well to insert for the benefit of those who are studying -multiplication, a method of proving their examples which I learned a -short time ago from an old banker of New York. This rule is simply to -add the digits of both multiplicand and multiplier, divide both answers -by 9, and multiply the remainders; divide this product by 9 and the -remainder will be, if the example is correct, the same as that obtained -by adding the digits of the product and dividing that answer by 9. For -instance, suppose after multiplying 4359 by 2786 we have 12144174 for -the answer; now instead of performing this operation over a second time -to make sure our answer is correct, we simply add the digits in 4359 and -divide the sum 21 by 9, we find we have 3 left. As it is the only -remainder we have to deal with, we need not keep the other figures. By -adding the digits in the multiplier we obtain 23, which divided by 9 -gives 2 and 5 remainder. Now, multiplying the first remainder by the -second we have 15: this product divided by 9 gives 1 and 6 remainder. If -the product 12144174 is correct, the sum of its digits divided by 9 will -leave 6 for a remainder. Performing the operation, we find the sum of -its digits is 24, divided by 9 equals 2 and 6 remainder. As both the -remainders correspond, the answer was correct. After a little practice -you will find you can prove your examples very quickly by this method, -and where a number of sums are given without the answers it will be of -invaluable assistance, besides saving you a great amount of labor. - - - ―――――◀▶――――― - - THE SELF-RECTIFYING DART. - -[Illustration] - -The dart, and its larger brother the javelin, were among the earliest -weapons used in warfare, and were very skilfully thrown, not only by the -Roman soldiers, but by the Goths and other savage tribes who lived in -the regions north of them. - -These javelins were large affairs, measuring some six or seven feet in -length; the handle, a tough piece of wood, was generally four and -one-half feet in length, and an inch in diameter, while the rest of the -length was taken up by the barbed triangular-shaped head. - -Ever since those days children of all nations and climes have made toy -implements, resembling those in general appearance, but varying much in -size and materials used. - -[Illustration: Fig. 1] - -[Illustration: Fig. 2] - -The little dart described below is perhaps the tiniest and least -formidable of them all; but even this should not be carelessly tossed -about the room in which others are playing; when, however, thrown in the -open air, and away from others who might be hurt, there is considerable -amusement derived from the airy bit of flying wood, which always comes -down with such unerring certainty upon its spear-like head. To make this -dart, take half a sheet of note-paper, double it diagonally across, so -that its top edge may fall evenly upon that of one side (see Fig. 1), -and cut off the surplus piece of paper which remains uncovered at the -bottom of the page. Open your square, and fold it again in the other -diagonal line _c_, _d_ (the first is represented on Fig. 2, as _a_, -_b_). Now, opening again, fold upon the line _e_, _f_, then, after -opening, upon _g_, _h_. Crease all the folds as you make them. Now, -having prepared your handle, which consists of a piece of wood about 8 -inches long and the size of a lead pencil, cut across one end at right -angles, with slits nearly or quite an inch in depth; take your paper and -open it flat once more. Fold the diagonals so that the four points, _a_, -_b_, _c_, _d_, shall all meet together above _x_, and the lines _ax_, -_bx_, _cx_, and _dx_ shall meet at the central line of the figure, and -the four shorter lines, _ex_, _fx_, etc., form the outside edges of the -figure. Insert a tiny wedge or knife-blade at the bottom of the slits, -and press the paper down in the opening, bringing the folded edges -through each of the four slits; remove the wedge, and the paper will be -firmly held in its place. Insert a needle or headless pin in the other -end of the wood, and the dart is ready for use. - - - ―――――◀▶――――― - - THE BALANCING PIN. - -This amusing feat I first saw performed in our little district -school-house, many years ago. - -[Illustration] - -One morning, while the teacher was busy with his class at the -blackboard, one of the boys drew an old clay pipe-stem from his pocket, -and producing a small green gooseberry and a pin from some other part of -his clothing, gave us boys to understand that he was about to perform -some wonderful trick with them. We were of course all attention, and as -the teacher’s back remained turned toward us, he proceeded to astonish -us with his remarkable feat. He first stuck the pin through the -gooseberry, and then let it fall, point downward, into one end of the -pipe-stem; then, placing the other end to his mouth, and holding his -head thrown well over backward, he blew into the opening, and the -gooseberry and pin arose quite clear of the tube, and began dancing and -balancing above it in a very funny way. How long it would have continued -its gyrations I cannot tell, probably until his breath gave out, but -just then a little boy in the front row made some exclamation, and -straightway the teacher’s head came around, the pipe-stem, pin, and -gooseberry went on a voyage of discovery out of the school-house window, -and the boy got a thrashing for his pains. But the feat was often -performed by us all after that, and some years later, when a second -generation of boys were having over again the tricks and sports their -older brothers had outgrown, I saw the same principle applied under more -favorable conditions. Instead of the straight pipe-stem, which -necessitated throwing the head over backward, to insure its -perpendicular position, a tube bent at a right angle near one end was -used, and the balancing of the pin could be much more easily watched by -the performer. Instead of the gooseberry, a currant, pea, or any light, -round fruit can be substituted, and a small glass tube may take the -place of the pipe-stem. - - - ―――――◀▶――――― - - A BOX-SLED FOR BABY. - -Procure a deep, smooth soap-box, and decide how high you wish the back -and front to be; then take a piece of brown paper, the exact size of the -sides of the box, and mark on it a curve, which shall unite the high -back with the low front. After this has assumed a perfectly satisfactory -form, cut it out and tack it on one side of the box. Mark the outline -carefully on both side-pieces, and saw the boards as indicated by the -line; cut the front straight across, and rasp and sand-paper the edges -till they are very smooth and well rounded. Next paint the box inside -and out, excepting the bottom, which is to be fastened to the sled, with -a thick coat of burnt umber, and give it a good drying. Then with -light-blue paint, make a narrow band, one-fourth of an inch wide, -entirely around each side, the back, and the front, about half an inch -from the edge. Stencil a pretty design on the back, and the name of the -little owner on each side; let this thoroughly dry, and finish with two -coats of varnish. A little seat can be fitted in the back part if -desired, but a pillow answers the purpose much better. - - - ―――――◀▶――――― - - A SET OF CARS. - -Procure a stick of wood of any length, and an inch and a half square at -the ends. Saw it into pieces six inches in length, being careful to cut -it evenly, that the blocks may be rectangular in form. Round off the -tops slightly at the edges and paint them brown, then give the sides and -ends a good coating of yellow. - -[Illustration] - -If you have no oil paints, it would be a good investment to get a few -tubes, as they are not expensive, and are of invaluable assistance in -adding beauty and naturalness to many things a boy can make. For the -cars, a tube of chrome yellow, one of Indian-red, and one of black would -be needed, but as those are not over seven or eight cents apiece the -whole cost would be small. The windows can perhaps be most conveniently -put on by “stencilling.” To do this, cut a piece of stout paper or thin -cardboard the exact size of the side of the car, and mark the windows on -it in their proper places (see Fig. 2). Then cut out the windows thus -drawn with the point of a sharp penknife. Catch the card firmly upon the -surface by driving two or three fine pins through it into the wood. -Finally, with your brush moderately filled with the black paint, cover -all the yellow surface exposed through the openings; then remove the -card very carefully and one side of your car will be complete. After -painting the whole set, another long time will be needed for drying. -During the meantime obtain a few screw-eyes and hooks, and, when -perfectly dry, screw a hook into the left and an eye into the right end -of each car, join them into a train, and you will find you have a strong -set of cars with which your little brother can play to his satisfaction, -without a fear of breaking. The locomotive is more difficult to make, -but with a little care any boy of ten can be quite certain of success. - - - ―――――◀▶――――― - - THE TOY LOCOMOTIVE. - -[Illustration: Fig. 1] - -The thin ends of a common soap-box afford very good material for the -base of this locomotive, while the end of a curtain-roller makes a -capital boiler. The cab can be cut from a cigar-box, and a button-mold -will do for the boiler-head. First cut from the thicker wood a base in -shape like Fig. 1, and seven inches long by one and a half wide; with a -jackknife bevel it on either side of the pointed end to correspond to -the shape of the pilot, as shown in the cut. Saw the roller even at -either end just four inches in length. Next cut from a solid block of -wood a smoke-stack three inches high and an inch in diameter across the -top. The cab is cut from the cigar-box wood, and consists of a front -like _a_, two side-pieces like _b_, and a top like that seen in Fig. 1; -round off the edges of the top to give it a slightly convex surface like -the tops of the cars. Now, with brads, fasten these three parts -together. Then with a long, slender brass screw fasten the button-mold -and smoke-stack on front of the boiler. The screw should have as large a -head as it is possible to find, and should be long enough to extend half -an inch or more into the round section of wood or boiler. Cover the -whole, excepting the cab, with two thick coats of black paint, being -careful that the first is perfectly dry before the second is put on. -After the blackened surface is thoroughly dry and hard, put the red -stripes on the pilot, as seen in the cut: and for the brass bands around -the boiler use chrome yellow. The cab is painted Indian-red, and after -this is perfectly dry, the windows are painted on with black, as in the -cars. - -[Illustration: 1] - -[Illustration] - -[Illustration] - -The little ornamental lines on the cab are made with the yellow paint. A -large round-headed brass screw driven through a low flat spool (such as -is used for button-hole twist), into the top of the boiler in front of -the cab, makes a good steam-chest and whistle, and adds the finishing -touch to this indestructible little toy. If you anticipate making this -train of cars for a Christmas present, begin it in time, as paint dries -much more slowly in winter than in summer, and it is absolutely -necessary that each coat be perfectly dry before the next is applied. -Varnishing greatly improves the durability and appearance of the painted -surface. Shellac dissolved in alcohol makes the best varnish for this -kind of work. It should be made moderately thick, and if intended for -light-colored work, white shellac should be used, as the dark leaves a -slight stain upon the surface. I forgot to add in its proper place that -a brass button, caught in on top by a stiff wire, is made to represent a -bell. The wire should be first bent into the shape seen in the -illustration; the button then hung in position, and the wire finally -driven into the holes made to receive it. - -The tender consists of a piece of wood the same width but only half the -length of one of the cars, and one inch high. This is painted black with -a narrow band of yellow running around the sides near the top, and is -fastened to the locomotive and car by means of the screw-eye and hook. - - - ―――――◀▶――――― - - A FREIGHT TRAIN. - -The locomotive for this train can be made like the one already -described, and the cars are cut from a rectangular stick, in the same -manner as the passenger cars. These should receive a thick coat of -Indian-red paint, and if this does not cover well, that is, if any of -the wood shows through, another coat should be given. After the paint is -perfectly dry, put on one edge of the side, near the top, a number in -white, and two or three letters in the same color, to represent the -sides of the freight cars on different lines. If desired, the cars can -be painted different colors, and the side decorations copied from the -car you mean to represent. Give the whole a good varnishing with the -shellac dissolved in alcohol, and allow plenty of time to elapse before -the toy is used, for it to become perfectly dry and hard. - - - ―――――◀▶――――― - - A LOT OF PAPER WINDMILLS. - -[Illustration] - -Take a thin stick of wood a foot and a half or two feet long, and nail -to it four cross-pieces, graduated in length and six or seven inches -apart. The shorter, at the top, should measure about six inches. Cut out -of stiff, colored paper (the greater the variety the prettier the -effect) fifteen pieces, each three inches square, and slit each piece as -indicated by the diagonal lines in the figure. Out of pretty -tissue-paper cut three round pieces for each mill, about the size of a -silver dollar, and with a dull knife scrape their edges, that they may -slightly curl like the petals of a rose; crinkle them at the center if -intended for a rose, or from the edge toward the center if for asters or -marigolds, and thrust a large, strong pin through the middle of each -disk, drawing the flower well down over the head; then, bending the -opposite corners of each square of paper so that they shall all rest -over the central dot marked on each (Fig. 1), force the pin with the -flower on its head, down through the five thicknesses of paper, driving -it well into the wood of the frame. In doing this care should be taken -to avoid creasing the curved edges of the windmills. They are placed -upon the frame-work as indicated in the cut. - -[Illustration] - -Very pretty windmills are often made of only two shades, common -note-paper being used for the wheels, and a bright, rosy pink -tissue-paper for the flowers. Indeed, those made of common brown -wrapping-paper without any flowers at all give more satisfaction in a -light wind than the more elaborate ones described above. - - - ―――――◀▶――――― - - A WINTER GARDEN. - -Most boys love flowers; and many families, especially in the country, -would keep more through the winter than they do, if they had the space -and time to devote to them, necessary for their preservation. A number -of pots, sufficiently large to hold good-sized plants, take up -considerable room; and no little time is required each day, to keep the -pots clean and the plants well watered. Now, boys, I have a suggestion -to make, which I intend for your ears alone. Why can’t you make a winter -garden, and, if necessary, take care of it through the season? It will -amply repay you for your labor, and do much toward brightening the home -life through the long dreary months, when everything without is covered -with ice and snow. - -First procure a soap-box, the best and tightest you can find: if any -cracks are too wide to be easily closed with putty, nail laths over them -on the inside, line their edges, and, in fact, stop every seam and -crevice with good thick layers of putty. Next paint over the entire -inside with any colored pigment you may have, as it does not show when -the box is filled with earth, but simply aids in making it water-tight. - -Now take four strong pieces of wood, about two and a half feet long; -smooth them well and sand-paper; be sure both ends are cut off evenly, -and that each leg is the same length as the other three, and, finally, -nail them firmly to the four corners of the box, letting the tops come -in line with its upper edge, and give the whole thing two good coats of -Indian-red. A very pretty stand is made by substituting the straight -trunks of young forest trees with their bark left on in place of the -smooth, painted legs; bore holes in the bottom of the legs and insert -casters, and finish by giving the entire outer surface a thick coating -of varnish. Then get a good wheelbarrow-load of fine leaf-mold, about -half that quantity of sand, and some common garden soil. Stir these well -together, and fill the box half full with the mixture, first covering -the bottom with pebbles, to secure drainage. Before this, however, bore -a hole with a good-sized gimlet in the bottom of the box, and fit a soft -pine peg to close it from the under side. When the plants are watered -this peg can be removed, and a dish placed beneath the opening to catch -the surplus water. - -You are now ready for the plants. I find almost any garden plants thrive -well in this box, so any favorites you may have will soon make -themselves at home in these new quarters. It is well to put vines around -the edge, as they fall over, and their glossy green leaves and stems -form an agreeable contrast to the dark-red background of the box itself. -In my present winter garden I have German and Cenilworth ivy, -partridge-berry, and the common inch-plant for vines. In the center is a -large salvia, taken up so carefully that the great ball of dirt was not -shaken from its roots. On one side is a calla lily, and on the other a -feverfew of the large double variety. At the ends are fuchsias and -heliotrope, and scattered over the other available spots are verbenas -and petunias, sweet peas and lobelia; one or two fish-geraniums of -bright colors also found a place, and a little wood-violet nestled in -one corner has bloomed since early spring. A beautiful large purple -pansy, too, has been blooming all winter in another corner of the box. - -Over this garden are two hanging-pots, one filled with pink oxalis, and -the other with a Chinese pink; both have contributed their full share of -blossoms during the entire season, and neither seems to tire of -well-doing. I must now tell you how to care for these beautiful pets, -for they must receive some attention, which, however, is very small when -compared with that required by their sisters in pots. First, always -water them with warm water (almost as hot as you can bear your hand in), -pour this around the roots in sufficient quantities to thoroughly -moisten the soil. A good rule to be observed in watering your plants is -to pour on the water until it begins to run out of the hole in the -bottom of the box. With such thorough wetting down they will not need -water oftener than twice a week, except when the sun is very hot, and -the moisture evaporates quickly. A little carbonate of ammonia added to -the water greatly improves their growth, and half-a-dozen grains of -permanganate of potash added once a fortnight to the warm bath turns -their foliage a rich dark green. With a whisk broom, sprinkle them once -or twice a week with water which is also warm, but not as hot as that -used on their roots; this operation takes but little time, scarcely five -minutes, and as the stand is on casters it can be easily moved to the -middle of the room, and each side can then receive its full share of the -washing. It is safe to predict that if any boy would make the stand, and -supply it with rich soil, his mother or some one of his sisters would -only be too happy to plant and care for the flowers it might hold. - - - ―――――◀▶――――― - - THE BOOT PUZZLE. - -First take a piece of paper, double it, and cut from it a pair of boots, -the fold in the paper coming at the top of the boots, and consequently -joining them together. Then take another piece, fold it and cut it in -the form of Fig. 2, _a_ being the folded end. Fold still another piece -and cut it like Fig. 3, _b_ representing the folding side. Now open the -smaller piece, as in Fig. 4, and push the point _a_ through the opening -in its center (Fig. 5). Then put one boot through the loop of the long -arm, _c_, between _a_ and the smaller piece, which has been pushed -forward as far as it will go (Fig. 6). Now pull the smaller piece down -over _a_, and open the largest piece, and the boots are fastened on to -the larger paper in such a way that it is rather hard for the -uninitiated to extricate them. - -[Illustration: Figs. 1, 2, 3, 4, 5, 6] - -After they are fastened in place, with your finger-nail smooth out the -creases made at _a_, Fig. 5, as their appearance might furnish a clue -toward solving the mystery. It is best when cutting Fig. 2 to avoid the -creasing if possible. - -[Illustration: Fig. 7] - -When you pass them to your friends to take off, explain that they are -not to bend the boots. It is an excellent plan to make the last-named -articles of cardboard, while the other parts are simply of note-paper. - - - ―――――◀▶――――― - - HOW TO TAKE PORTRAITS. - -[Illustration] - -The person whose portrait is to be taken must sit so that his shadow is -thrown upon a sheet of cardboard or thick white paper placed against the -wall. To obtain a sharp outline there should be a fixed distance between -the lamp, wall, and sitter, which can easily be found by experiment. The -sitter must keep perfectly still while the outline of the shadow is -quickly traced upon the paper. A tumbler or roll of paper may be placed -between the head of the sitter and the wall, to aid in holding the head -quiet. The tracing is then cut out with a pair of scissors or a sharp -penknife, and placed upon a dark cloth or paper. This is a very pleasing -amusement for a cold winter’s evening, and the results are often profile -likenesses not only very striking but often wonderfully accurate. - - - ―――――◀▶――――― - - HOW TO BREAK A STRING. - -[Illustration] - -No boy feels himself perfectly at home if he has not one pocket at least -full of strings, and a good sharp jackknife at his command. Although the -jackknife often gets lost, the string is usually at hand, and most boys -will probably be glad to learn how a good strong cord can be broken -without injury to the hands. Take the cord and pass it around the left -hand, as shown in Fig. A, so as to form a cross or double loop over the -palm. One end is then wound round the fingers, and the other seized in -the right hand. Then, by closing both hands, and giving a very sharp, -quick pull, the string will be broken at the cross in the left hand. - -[Illustration] - -For those boys living in the country who have a musical turn, but have -never seen this little instrument, I write the following description of - - - ―――――◀▶――――― - - A CORN-STALK FIDDLE. - -[Illustration] - -Find a good straight corn-stalk, and with your jackknife cut four slits -from joint to joint, as seen in the upper figure. Then from a bit of -wood cut a bridge, as shown just below. With the point of the knife lift -the three strings and insert the bridge. Then carefully raise the bridge -to its upright position, spread the strings until they rest in the -grooves cut in the bridge for that purpose, and put a similar bridge at -the other end. Make the bow in the same manner, of a smaller section of -a stalk, and the instrument is complete. I have never heard a very -decided tune played on this fiddle, but perhaps some of my readers may -be able to get music from this simple little instrument. - -[Illustration] - - - ―――――◀▶――――― - - THE XYLOPHONE. - -The xylophone is an instrument of great antiquity, having been used in a -slightly different form by both Greeks and Hebrews. It is now sometimes -used in connection with other instruments in our larger orchestras, in -which case, however, the bars are usually made of metal. Its -construction is very simple, and any boy having a good ear for music can -readily make one. - -The instrument is composed of strips of wood of various sizes, and thick -enough to allow the passage of a stout piece of twine or fish-line, as -seen in the illustration. The largest strips give the lowest notes. The -first note of the scale may be a strip of any convenient size, and the -succeeding strips are tuned by carefully cutting away from the under -side until the desired tone is produced. They are strung upon cords, in -the manner shown in Fig. 2, a knot being made on each side to keep the -strip in place; and finally, across the upper part of a box, in order to -give sufficient resonance of sound. In putting these strips together, it -is necessary to have the holes through which they are strung at a slight -angle, or in the direction of the slant which the strings take when -fastened to the frame. - -[Illustration: Figs. 2, 3] - -The arrangement seen in Fig. 3 is perhaps best adapted to the usual form -of a box, and affords a greater range of notes. It would be well to -letter the upper part of the bars with the name of the note they are -intended to produce, and the wood should be thoroughly seasoned from -which these bars are made. - -It is well to have the lowest note not the first of the scale but a -fifth below, and the highest three or four notes above the octave. This -will give sufficient compass for any air you may care to play. - -A good ear for music is of the greatest importance to insure success in -constructing an instrument of this description, and it would simply be a -waste of time and patience for any boy not so blessed, to venture upon -the undertaking. - -Little wooden mallets are sometimes used to play upon this xylophone, -but the little drumsticks belonging to the common toy drum are better -for the purpose. - -[Illustration] - -Among the tribes of southern Africa an instrument of this class holds -the chief place in their festivals, and is played upon with considerable -skill by many of their native musicians. This piano, called by them -“marimba,” consists of two bars of wood placed side by side; in the most -southern portions quite straight, but farther north, bent round so as to -resemble half the tire of a carriage-wheel; across these are placed -about fifteen wooden keys, each of which is two or three inches broad, -and fifteen or eighteen inches long, and their thickness, as in the case -of the xylophone, is regulated according to the deepness of the note -required. Each of the keys has a calabash beneath it; from the upper -part of each a portion is cut off to enable them to embrace the bars, -and form hollow sounding-boards to the keys, which also are of different -sizes, according to the note required; and little drumsticks, like those -spoken of above, elicit the music. Rapidity of execution seems much -admired among them, and the music is pleasant to the ear. - -In Angola, the Portuguese use the marimba in their dances. - - - ―――――◀▶――――― - - THE ÆOLIAN HARP. - -This simple little musical instrument derives its name from Æolus, god -of the winds, who is said to have lived at Stromboli, then called -Strongyle, while he reigned over the Æolian islands, just north of -Sicily. His island was entirely surrounded by a wall of brass, and by -perfectly smooth precipitous rocks. Here he dwelt in continual joy and -festivity with his wife and children; the latter, six sons and as many -daughters, are said to be a poetic type of the twelve months of the -year. And here he kept the winds, tied up in bags, in perfect -subjection, only letting them out when called upon to do so by Neptune, -god of the sea. As the winds served Æolus on his little isle, so we -force them to serve us in our far-away western homes, by operating upon -our instrument and making music to soothe and calm us when we are too -tired or indolent to make it for ourselves. The simplest form this -instrument can have is a single string of strong waxed silk, stretched -between two bits of wood, inserted under the lower window-sash, -sufficient space being allowed between the window-sill and the sash for -the vibration of the string. - -[Illustration] - -The other and more satisfactory harp is made like that in the engraving, -and is not so difficult an undertaking, that any boy who can handle -carpenter’s tools need fear to try it. Take two long strips of thin, -soft pine wood, four and five inches wide respectively, and a little -shorter than the sash is wide, to allow for the length of the pegs at -one end; then from common seven-eighths of an inch board make two other -pieces in shape like _b_, six inches wide, six high, on the narrower, -and seven on the back or longer side. With a small gimlet make in both -ends a row of eight or nine holes, at equal distances from each other, -and half an inch from the edge of the slanting top, for the strings to -pass through; then with a larger gimlet bore in one end only, the second -row of holes, _h i_, to hold the pegs upon which the ends of the strings -are to be wound. Nail the parts together as in the cut, making the lower -edges of the pieces meet at the bottom; then from the outside of _d e_ -draw through as many pieces of violin string (the smallest or E string) -as you have holes in your wood. Hold these by knots on the outside, and -having brought them across the box pass them through the corresponding -holes in the other end, and twist them around the pegs below, in the -same manner that the strings are fastened in the violin itself. Unlike -the violin, however, these should not be drawn too tight, simply -stretched evenly across, and must all be tuned in unison. That is, -having drawn one as tight as you think best, draw the others, one at a -time, till they give forth the same musical note when snapped with the -finger. Now put another thin piece of board across the top which shall -just cover it like the lid of a desk. This was purposely left out in the -illustration, that the arrangement of the strings might be more fully -seen, but is necessary in the complete instrument. If catgut cannot be -readily obtained, strong pieces of sadlers’ silk, well waxed, may be -used in its place, although the tones resulting are not as musical, or -the strains as soft and lulling in character, as those produced by the -former. - -After the instrument is properly tuned, place it upon the ledge of an -open window, and let the sash down upon it, when, if there is any breeze -stirring, it will pour forth strains of sweet, drowsy music, beautifully -described by the poet Thomson, as supplying the most suitable harmonies -for the _Castle of Indolence_. - - - ―――――◀▶――――― - - THE BOSTON CLAPPER. - -Take a piece of soft wood, five or six inches long, and whittle out of -one end a hollow box, open at the top and outer end, like that -represented in the illustration. Cut a groove around the inside, near -the top, for the cover to slide in. Make this cover of a very thin piece -of tough wood, and one-third as long as the opening, pushing it, when -completed, well up against the inner end of the box; see _b_, in the -figure, for size and position of cover. - -The handle, _f_, is simply for convenience in holding the instrument. -Pass a piece of strong string or fish-line twice around the box at the -point _d_, and after drawing it as tightly as possible, tie it firmly on -the under side. - -[Illustration] - -Out of hard, tough wood make a thin, slender tongue, _c_, and place this -between the two strings at _e_. Now twist this tongue over and over, -each time drawing out the longer end, to allow of the other sliding by -the edge of the cover. At each revolution of _c_ the string is twisted -tighter around the box, and if the end of _c_ is touched, the other end -strikes with more force upon the cover _b_. - -When sufficiently tight, grasp the handle with your left hand, and -having the point well over the cover, commence with the third finger of -your right hand and strike down on the end _c_ with the fingers in their -order, giving quick and repeated blows, like the successive taps of a -drum. The music produced, if not strictly melodious, is quite enchanting -to the average American school-boy. - - - ―――――◀▶――――― - - PAPIER-MACHÉ. - -I have now come to one of the most fascinating and at the same time -useful employments a boy can have; one which not only affords amusement -for the time being, but, if properly executed, furnishes home with much -which is useful or ornamental, at scarcely any expense beyond the mere -time and labor consumed in the work. - -How many of my readers know how to make things of papier-maché? None who -are old enough to read these directions are too young to make really -useful objects or pretty playthings of this inexpensive medium; indeed, -many of the children of India, Persia, and many other Asiatic countries -support themselves, and in some instances whole families, by making -ornaments of papier-maché. - -In Germany this art is carried to a great extent, and a large proportion -of the German toys so common in our stores, as well as the jointed -bodies of the expensive French and German dolls, are made of this -material. - -Papier-maché means “softened paper,” and is simply any old soft paper -converted into pulp by water; the poorer the paper the better. Cheap -newspapers, such as tear with a mere touch, thin handbills and posters, -are all particularly suited for this purpose. - -For a first trial it would be well to take some simple object, and a cup -would perhaps make as good a beginning as any. First have some good -flour-paste made, by pouring into boiling water enough flour, which has -previously been moistened with cold water, to make a substance rather -thicker than boiled starch; this should be stirred only enough to unite -the flour with the water, and to prevent burning. Add to this one or two -old newspapers and a dish of water, a broad brush for the paste, and any -prettily shaped tea-cup conveniently at hand, and you have all the -materials required. A bag filled with sand or stuffed hard with cotton -is a great help in molding, although not indispensable to the operation. -Take the cup, which should be well smeared over with sweet-oil or lard, -and cutting out a piece of paper sufficiently large, wet it, and press -it down on the cup, using the fingers, or the sand bag, if you have it, -for the purpose; then with the brush spread the paste over the paper, -and lay on this another piece; press this down as before and continue -the process until twenty or thirty paper coverings have been used. After -the first two or three layers, it is not necessary to use pieces which -entirely cover the surface; any sized scraps will do if they are so -placed that the same thickness is preserved throughout. The outer -surface should be as smooth and even as possible. When this is -completed, let it dry for a day or two in any moderately warm place, as -it is not well to dry it too quickly. When it seems sufficiently hard, -remove the mold, and you will have a pasteboard cup with an uneven edge -which must be trimmed with a sharp knife and smoothed with sand-paper. - -It might be well to trim off the top before removing the mold, as you -would be more certain of getting it even by so doing. After this the cup -can be painted in any manner desired. - -A plaque can readily be molded upon the inside of a plate or saucer, and -a pretty work-basket can be made upon a shallow bowl. Toy boats are made -in the same manner as the cup, upon wooden molds cut out for the -purpose. - -CARD RECEIVERS.—These are generally flat dishes or shallow cups, made to -hold visiting-cards, or the varied collections from Christmas, Easter, -and New-year’s. They may be molded on plates, saucers, or small bowls, -or receiving their concave shape from a plaque or saucer, they can be -cut into any fantastic form your fancy may dictate. A large, well-shaped -grape-leaf, or the catalpa, would furnish pretty designs to those who -have no confidence in their own skill in that direction. - -UMBRELLA HOLDERS.—Take any cylinder with a smooth surface, about two -feet in length, and six to ten inches in diameter, for the mold; make -upon it a coating of papier-maché about half an inch in thickness. It is -made much stronger by rolling it during the pasting. The bottom may be -of the same material, or a wooden disk made to perfectly fit into the -cylinder. The whole surface should be thoroughly sand-papered and given -two or three good coats of paint. A simple band of gold paint around top -and bottom forms a pretty finish, but a large bunch of peonies or -poppies, freely painted upon one side, greatly improves its appearance. - -By reducing a quantity of paper and paste into a pulp, and allowing that -to become a little dried—still moist, but not liquid—a number of objects -can be molded, such as animals, boats, marbles, etc., by simply forming -them with the hands and allowing them to dry. - -Paper pulp is sometimes mixed with common blue clay and glue, instead of -flour-paste, used as a _binding_ material. - -A beautiful vase can easily be made of papier-maché by forming a -frame-work of pasteboard, and joining it together with a few stitches or -with narrow strips of strong paper pasted across the edges. Make this -frame-work as near the form and size of your vase as it is possible for -you to get; then with your thin paper line it inside and out, until it -seems as thick as you desire. Trim and sand-paper off the upper edge, -and cover with one or two extra layers to insure a rounded edge common -in earthenware vases. Stand it on a smooth, even table or board to make -it flat on the bottom, and let it have plenty of time to dry. Next make -from the paper pulp and fine clay preparation spoken of above a rose, -poppy, or other flower, with its leaves and buds, resembling as nearly -as possible those on the bisque vases so fashionable just now. This may -seem at first a very difficult undertaking, but by molding one petal at -a time, and placing each in position with glue as it is finished, the -work is comparatively simple. Do not undertake a difficult flower at -first. If in summer, you may take any from the garden, and after -enlarging every part in the same proportions, make it your model. When -the flowers, stems, and leaves are all in place, let them become -thoroughly dry, then after painting the body of your vase with shades of -blue, red, or olive, so applied that they give a clouded effect to the -whole, color your flowers as nearly as you can like the natural ones of -the same species, and the stems and leaves the proper shades of brown or -green. Let this paint thoroughly dry, and then varnish with the white -shellac dissolved in alcohol spoken of elsewhere in this book, if a very -light surface is to be covered, or with the dark shellac or common -varnish if the surface is intended to be dark. The floral decorations -are not absolutely necessary, and a very pretty vase is made by simply -painting the smooth surface with any graceful or pretty design, and -varnishing it subsequently to give it the desired polish. - - - ―――――◀▶――――― - - THE JAPANESE PAPER BIRD. - -[Illustration] - -In the skillful management of paper, the Japanese are acknowledged to -take the lead, as their balloons and kites, lanterns and fire-screens, -now so commonly seen in this country, will testify. - -Many of the grotesque and hideous monsters, which nevertheless are -artistic in form and decorative in effect, are made of paper pulp, with -the necessary materials added to give it the proper degree of hardness; -and in articles made of folded or crinkled paper they have no equals, -while in some instances they apparently infuse life itself into their -airy creations. By simply folding a square piece of paper in the manner -here described, they produce a bird-like figure, which will move its -wings in quite a natural and amusing manner. - -[Illustration: 1] - -[Illustration: 2] - -[Illustration: 3] - -[Illustration: 4] - -[Illustration: 5] - -[Illustration: 6] - -[Illustration: 7] - -[Illustration: 8] - -[Illustration: 9] - -[Illustration: 10] - -A leaf of paper—letter-paper is good for the purpose—is cut into an -exact square; fold this cornerwise, and then through the middle each -way, as indicated in Fig. 1. This done, turn over each corner in -succession, so that the edge of the square will be along one of the -cornerwise folds, as in Fig. 2, and fold sharply the portion from _a_ to -_b_. Do this eight times, twice with each corner, first turning it one -way and then the other, till it has the folds shown in Fig. 3. Turn -inward two of these portions, indicated by the shading, as in Fig. 4; -this will draw together the other two sides; fold it closely across the -middle, _a b_, as in Fig. 5; then repeat the same in the other -direction, folding on the line _c d_. This is done to mark the folds, -which may be made more completely by pressing them with the finger-nail. -Now it will be easy to bring the corners of the square up together, -making a figure like No. 5 or like No. 6, when looking down on the -meeting of the points at _a_. Then bring the points 1 and 2 together, -also 3 and 4, and your figure will be like No. 7. Take the two outside -points at _a_ and turn them down, folding at the dotted line, and you -have Fig. 8. Now turn down the other two points, 3 and 4, one forward, -the other backward, making Fig. 9, with two broad points inside and two -narrow ones outside. Turn and fold these narrow points to the right and -left, and turn down the end of one point to form the head, and you have -the bird, Fig. 10. Take it by the head and tail, as shown in the final -view, and move them to and from each other. After a little careful -working, when the folds become flexible in the proper places, you will -make the bird flap its wings. It can be done after a few trials, if not -on the first, and is sure to afford amusement to all. - - - ―――――◀▶――――― - - THE TUMBLING EGG. - -Fill a quill with quicksilver, seal it at both ends with good hard wax; -then have an egg boiled, take a tiny piece of shell off the small end, -and thrust in the quill with the quicksilver; lay it on the floor, and -it will not cease tumbling so long as any heat remains in it; or if you -put quicksilver into a small bladder, and then blow it up, upon warming -the bladder it will skip about as long as heat remains in it. - - - ―――――◀▶――――― - - THE THREE HALOS. - -Take a saturated solution of alum, and, having spread a few drops of it -over a plate of glass, it will rapidly crystallize. When this plate is -held between the observer and the sun or a lamp-flame, with the eye very -close to the smooth side of the glass plate, there will be seen three -beautiful halos of light at different distances from the luminous body. -The smallest, which is the innermost circle, is the whitest, the second -is larger and more colored, with its blue rays extending outward, and -the third is very large and highly colored. - - - ―――――◀▶――――― - - PAPER BOATS. - -[Illustration: Fig. 1] - -[Illustration: Fig. 2] - -[Illustration: Fig. 3] - -[Illustration: Fig. 4] - -[Illustration: Fig. 5] - -[Illustration: Fig. 6] - -[Illustration: Fig. 7] - -[Illustration: Fig. 8] - -[Illustration: Fig. 9] - -Take a piece of paper measuring about four by three inches; fold it -across the middle, as shown by dotted line in Fig. 1; then turn down the -corners of the folded side (_a b_, Fig. 2). You now have Fig. 3; turn up -the edge _c d_ toward you, and fold it; turn up the other edge away from -you, and fold it against the other side, which gives you Fig. 4. Bend -over the points _c d_ in either direction, also the other two -corresponding points, so that the outline of the triangle is continuous. -You can cut off these little corners if you like; but the boat is -somewhat stronger, however, by letting them remain, and after a little -experience, you will find no difficulty in disposing of them. This -little hat-shaped form you now open (Fig. 5) and press together, with -the points _e f_ meeting each other, which gives you Fig. 6. Bend the -point _f_ up toward you till it meets the point _g_, folding on the -dotted line. Turn the point _e_ up likewise on the other side. Now you -have another hat, but smaller, and with a triple crown. Treat this as -before (Figs. 5 and 6). Your last shape will have two points meeting at -the bottom and three at the top. Pull the two outside points at the top -apart sideways (Fig. 7), and continue this till you have drawn it out to -a flat shape, as in Fig. 8. Press this closely together, then open it -slightly, and the boat is complete—like Fig. 9. - - [NOTE.—To avoid taking up unnecessary space, the first two - figures are drawn smaller than their actual proportion to the - rest.] - - - ―――――◀▶――――― - - HOW TO TAKE IMPRESSIONS OF PLANTS. - -Take fine paper and oil it well with lard or sweet oil; let it stand a -few moments to soak through, then remove the superfluous oil with a -piece of paper, and hang it in the air to dry. When the oil is well -dried in, take a lighted candle and move the paper slowly over it in a -horizontal direction so as to touch the flame, till it is perfectly -black. When you wish to take impressions of plants, lay your plant -carefully on the oiled paper, and a piece of clean paper over it, and -rub it with your finger equally in all parts for about half a minute; -then take up your plant, being careful not to disturb the order of the -leaves, and place it on the paper on which you wish to have the -impression; cover it with a piece of blotting-paper and rub it with your -finger for a short time, and you will have an impression equal to a fine -engraving. The same piece of black paper will serve to take off a great -number of impressions, so that when you have once gone through the -process of blacking it, you may make several impressions in a very short -time. - -It is well for beginners to try with single leaves before attempting -whole plants. After you have gained some experience you will find little -difficulty in making a beautiful bouquet of leaves, which will be a very -acceptable Christmas or birthday gift for mother or an older sister or -friend. - - - ―――――◀▶――――― - - A NICE FRAME FOR THE ABOVE. - -Procure a strip of board, half an inch thick and three inches wide; take -the dimensions of your drawing or impression picture, and subtracting -half an inch from both length and width, make the remainder the inner -dimensions of your frame. For instance, suppose your picture was twelve -inches wide and fourteen inches long, the inner dimensions of your frame -would be eleven and one-half by thirteen and one-half inches. The two -upright strips would be cut just thirteen and one-half inches long, but -the top and bottom would be eleven and one-half inches plus six inches, -the width of the two sides, which is seventeen and one-half inches. So -the two sides would be thirteen and one-half inches and the top and -bottom seventeen and one-half inches each. Great care must be taken to -cut the pieces so that their ends will be at exact right angles to their -sides. If you are not expert in such work, it would be well to get a -carpenter to cut the pieces for you. In selecting your stock for this -frame, procure a board with a rough, unplaned surface, if possible, as -the result is much better than with a perfectly smooth satin finish. -Next take a lath and cut from it two strips three inches longer than the -side-pieces, in this instance sixteen and one-half inches, and two other -strips one-half inch longer than the inner dimensions of top and bottom, -being twelve inches for the frame we are making. With good hot glue join -the parts of the frame, and tie it with a cord to keep its form till the -glue is dry; then lay the laths upon the back of the frame, one-fourth -of an inch from the inner edge, and with small brads nail them in place. -At this stage it is well to have your glass fitted, as it saves marring -the frame when finished. After it is fitted—any glazier will do that for -you—lay the glass carefully away till needed. Find some prettily shaped -larch twigs with their little cones attached, or if they are not to be -had, pine twigs will do, and with the hot glue and two or three slender -brads, place them in graceful bunches over the points of joining. With a -bottle of gold paint and a soft brush you can very soon change this -rough, unpretending affair into a very artistic frame, one of which, if -every step of the process of construction has been carefully taken, you -may justly be proud. The glass is next put in place, then the picture -carefully laid upon that, face downward, and a piece of cardboard—an old -paper-box cover will do—cut the exact size of the glass, laid upon both; -these are caught in place by brad-nails driven into the edges of the -laths, and extending over the edges of the cardboard. When the picture -is firmly fixed in its place, paste a piece of strong brown paper over -the whole back of the picture and frame, covering the laths as well. -This will exclude all dust and dampness and make the whole thing neater -in appearance. Last of all, put in two screw-eyes a little above the -middle line of the frame and attach a wire or cord for hanging it in its -place upon the wall. - - [NOTE.—Before pasting on the brown paper, dampen it well to - avoid its wrinkling.] - - - ―――――◀▶――――― - - PAPIER-MACHÉ BOATS. - -In a preceding article, I alluded to boats as being good subjects for -papier-maché, and remembering how much pleasure every boy takes in -constructing a boat, I will give a few more explicit directions for the -benefit of those of my readers who have ponds and brooks within easy -access of their homes. - -Having cut from soft wood a good model for the hull, smear it well over -with sweet-oil or lard, and rub it well into the wood; then cut your -paper into strips an inch or so wide, and paste them longitudinally -around the model from stem to stern, in very much the same manner that -the boards are put on a real boat, but not so evenly, as the arrangement -will not show when the boat is completed. Continue this process until -the coating of paper is as thick as very heavy pasteboard, and let it -remain until perfectly dry; then with a sharp knife cut off the edge -evenly at the top, and sand-paper the whole surface till it is smooth -and hard. - -Cover both inside and out with two good coats of oil paint, making sure -that every point is protected by this medium from the invasion of the -water, which would soon ruin it if allowed to reach the paper surface. - -Now cut two supports or braces out of 7/8-inch board, which will just -fit into the body of the boat, across it from side to side. These are to -give proper strength and, at the same time, form supports for the masts; -while into a post at the stern two small iron sockets can be driven from -the outside through the paper, for holding the rudder in place. The -others are placed, one fore and the other aft, in the position the masts -are finally to occupy. - -As these boats are necessarily very light, some ballast or a keel is -indispensable for their sailing well. If a ballast is used, it must be -fastened in place by wires on the inside; but as a keel is most -satisfactory in the end, I should strongly advise its use. As it is -molded from lead, you will be obliged to construct your own mold, which -can be done by digging out a piece of wood in the proper shape, or, what -is easier, by nailing on a flat piece of board two narrow strips at a -suitable distance from each other, and closing the form by nailing other -and shorter strips across the ends of the first. A little trough, as you -will see, will be the result, and if after passing into this your melted -lead you place two sharp nails with their heads imbedded in the mass, at -the same distance from each other, and in the same relative positions as -your wooden supports, your keel will, when hard, require only a few -blows with the hammer to fix it in place. Care must be taken to place -the nails so that they will enter the supports after passing through the -paper bottom; as the keel would not otherwise hold in place. Next cut -from the cigar-box wood a deck for your craft; this is easiest done by -simply laying the model upon the wood bottom upward, and marking around -the edge with a sharp-pointed lead-pencil. This deck must necessarily -fit in your boat if your lines are followed in the cutting. Mark upon -the deck the positions of the supports, and bore holes through it and -into them, for the accommodation of the masts, which should be two in -number for a schooner, or three for a full-rigged ship; fasten a -bowsprit in its place, and arrange your sails and stays to suit the -style of your boat. - -After the keel, deck, and bowsprit are in place, it would be well to -give her another good coat of paint, and when that is perfectly dry, to -varnish her thoroughly with the shellac spoken of before in this book. - -This boat is a great improvement on the ordinary dug-out hulls most boys -are in the habit of making; for aside from taking less time in making, -and sailing more rapidly, it has the advantage of being duplicated; that -is, of having a dozen if you wish, made just like it on the same model, -while it would be almost impossible to make two alike by the old, -laborious method. In forming your model be careful to make it largest at -the top, so that it can be removed without trouble from its papier-maché -covering. - - - ―――――◀▶――――― - - THE TOY STEAM-BOAT. - -[Illustration] - -Among the many mechanical toys a boy of ordinary ability can make, the -steam-boat is perhaps one of the most satisfactory of them all. - -As a scroll-saw takes an important part in its making, some knowledge of -one, or friendship with the owner of it, is desirable, if not absolutely -necessary, for complete success. - -[Illustration: Figs. 1, 2, 3, 4, 5] - -This toy is composed principally of five pieces of board, of different -degrees of thickness, which are first cut out as follows: - -The first piece, or hull, is eighteen inches long by three and one-half -inches wide, with a shape like that indicated by Fig. 1, and made of -wood seven-eighths of an inch thick. - -To insure making both sides of these pieces alike, it would be well to -first draw, on thick brown paper, a straight line from the bow to the -middle point of the stern, and carefully mark out one-half the piece on -the right side of this line; then, folding the paper on the line, cut -through the outline, and the pattern is ready for use on your wood. Do -this with all the parts, and you will find less difficulty in putting -them together. - -The second piece is made of a half-inch board, and is nineteen inches -long, by five and one-half inches wide opposite the slits for the -wheels. - -The dotted line _d e_ across this is just nine and one-half inches from -the bow, and is placed there to show where the slits _a a_ are to begin. -These slits are for the wheels, and are four and one-quarter inches -long, five-eighths of an inch wide, and three-eighths of an inch from -the edge. The sides opposite these slits must be straight, or parallel -to a line drawn from bow to middle of stern. The hole in the middle is -three inches long by two inches wide, with an extension two inches long -by one wide on the forward end. The middle of the main hole forms a line -with the middle point of the paddle-wheel slits. Remember and mark out -one-half of this on paper, double, and cut both sides at once; do 3, 4, -and 5 the same way. - -The third piece is made of seven-eighths-inch wood, fourteen inches -long, and corresponds in shape to the second board from the dotted line -_b c_, Fig. 2, to just aft of the slits for the paddle-wheels. Here the -edge forms a line parallel to that of the second board, but one inch -from it all the distance around, as indicated by the dotted lines on -Fig. 2. Its shape is given in Fig. 3, and the point _d_ is intended to -fall over _e_ in Fig. 1. The rear, _f_, in the second board, indicated -in Fig. 2, extends an inch beyond, and forms the base for the flag-staff -to stand upon, and a hole is made at _g_ for another flag-staff to rest -in (_see_ engraving). The slits and central hole are the same size as in -second board, and correspond to them in shape and position. (The -position which three occupies in connection with two is indicated on -Fig. 2 by the dotted lines.) - -Fourth piece: Cut it like Fig. 4 in shape, and out of a board one inch -in thickness. Its position is indicated by the inner set of dotted lines -on Fig. 3. This piece is ten inches long and two and three-quarter -inches wide, with a central hole the same size and shape as in the other -pieces. At three-quarters of an inch forward from the slits for -paddle-wheels, cut in three-quarters of an inch and finish in a -semicircular shape at each end. - -The fifth piece is made of half-inch wood, in shape like Fig. 5, and -fifteen inches long by two and three-quarter inches wide, with the -middle opening corresponding in length to the other three, but only -three-quarters of an inch wide. Its position is indicated on Fig. 3 by -the outer set of dotted lines. When referring to these pieces hereafter, -I will call them Numbers 1, 2, etc., as indicated by the figures. - -The smoke-stack next claims our attention: this is six inches long, and -seven-eighths of an inch in diameter across the top; its position is -indicated at _g_ on Fig. 5. - -The pilot-house is cylindrical, and cut to correspond in form to that in -the illustration. It is one and one-half inches in diameter and two -inches high from base line to tip of point on the top. - -The walking-beam is rather less than one-quarter of an inch thick, and -is two and three-quarter inches long by one and one-quarter inches wide. -It should be cut in the shape represented in Fig. 6, and a small hole -bored in either end. - -[Illustration: Fig. 6] - -The supports for the walking-beam are two in number, made of -quarter-inch wood, cut in the shape of _d_, _e_, _f_, Fig. 6; the base -line, _d f_, is one and one-half inches, and the height of the support -just two inches. - -The wheels are made from three-eighths-of-an-inch wood and are circular -in form, with a diameter of three and three-quarter inches. - -At this stage of the work it would be well to bore in each of these two -holes to allow the passage of a good-sized wire; one hole through the -center, and the other a quarter of an inch one side of it. This is so -arranged that the wire can be brought through the center of one wheel -and allowed to project a few inches. Then bend the projecting end twice, -in such a manner that it may enter the second hole in the wheel when -that is pushed back upon it. This arrangement is seen at _B_, Fig. 3, in -which the dotted lines show the final position of the wheel. - -The pieces for the paddle-boxes, four in number, are semicircular, with -a base line or diameter of four and one-quarter inches. The form is seen -in Fig. 8, which also is intended to assist in the decoration. - -[Illustration: Fig. 7] - -Fig. 7 represents a front view of the walking-beam and its supports; the -line _a b_ is a short piece of strong wire, which passes through the -hole made in the center of the walking-beam, and rests in two holes made -in the sides of the supports near the top, and extending nearly, but not -quite through to the outer side. This is plainly seen in the figure, the -black line indicating the length of these holes. _C_ in the same figure -is a small piece cut from a quarter-inch wood and intended to hold the -supports in place, and to keep them a sufficient distance apart to allow -free motion of the walking-beam. - -The forward and aft flag-staffs are of large wire, and the two masts are -of tough wood nearly as large round as a lead-pencil. - -Having all the parts now cut out in the proper form and size, take each -piece and bore holes for the screws which hold them together. The -position of these is indicated in each figure by the heads of the screws -placed at precisely the best points; these screws should be of different -lengths, as those passing through No. 4 require a length of one and -one-half to one and three-quarter inches, while those for No. 2 need not -be more than an inch in length. In No. 3 make four small holes, -indicated by _a_ in Fig. 3, for slender screws which are to hold the -outer paddle-box pieces in place. In Fig. 3, the lines _b c_, _b c_, -indicate grooves, cut down in the sides five-eighths of an inch deep, -and reaching across in a straight line from the middle of one slit to -the middle of the other; these should be large enough to admit an easy -play of the wire which is to form the axle of the wheels. Holes should -also be made at _a_ and _b_, in Fig. 5, for the wire forming the -flag-staffs to pass up through, and for the screws at _c_ and _g_, which -are to hold the pilot-house and smoke-stack in place. - -Having smoothed off all these pieces and sand-papered those parts -needing it, we now proceed to the painting, as it is much more -convenient to paint each piece separately, and then put them together, -than to leave it till the last, as is generally the custom. - -No. 1 simply needs a thick coat of white paint. - -No. 2 is also painted white. It seems unnecessary to add that those -parts not seen when the steam-boat is put together, need no paint. - -No. 3 is first painted white, then the windows are stenciled on in the -same manner as given in the directions for making toy cars, in another -part of this book. These should be black, while the name should be -either dark red or brown. - -No. 4 is also white, with windows stenciled on in black, as in No. 3, -while No. 5 is painted a buff color, both on the top and under-side. - -The smoke-stack is black, while the base is a deep yellow; and the -pilot-house is white, with windows stenciled around its sides, while its -pagoda-shaped top is a bright, light green. - -[Illustration: Fig. 8] - -In Fig. 8, the two outside pieces of the paddle-box are given; and the -manner in which they are to be painted is indicated; these four pieces -need be painted only on one side, with a thick coat of white; two of -these may now be laid aside, but the other two, after drying, should be -decorated with radiating lines of red extending from the central -semicircle, to the dark-red line running around the top at a short -distance from the edge. These radiating lines should be alternated with -light blue ones near the circumference; and the small semicircle at the -bottom is a rich dark blue, with a star cut from gilt paper pasted on to -give it the desired brilliant effect. - -The walking-beam, Fig. 6, should next be treated; this is first covered -with a bright green, and when dry marked with black, as indicated in the -cut. The supports are first painted buff, the same color as the top, and -afterward striped with black, as seen in Fig. 6. - -The wheels must not be forgotten, for although showing but slightly, -they would give the whole boat an unfinished appearance if left -unpainted. These may be dark, or Indian red, with lines of black -radiating from the center to the edge. - -After all the parts are perfectly dry, fasten No. 2 and No. 1 in -position, then having a sufficient length of wire, about the size of a -large knitting-needle, fasten it in the first wheel, as indicated at -_B_, Fig. 3. Then bend it into a crank, as shown by dotted lines in the -middle opening of Fig. 3. This crank should be one and one-half inches -wide and three-quarters of an inch deep; make the points, where it -bends, as near right angles as possible; then pass the end through the -other wheel, and with pliers bend it in place; next fasten the end of -the wire, as in the first wheel, taking especial care meanwhile that the -wheels are fixed the proper distance apart, and that the center of the -crank comes in the middle of the opening. - -It is a matter of some difficulty to adjust these wheels, as they should -not be crowded against either side of the slit, but turn easily when the -boat is drawn over the floor. - -After the crank is bent in shape, wind around it the end of a piece of -smaller wire about six inches long, as shown in Fig. 3. This wire is to -connect the crank to the walking-beam, but it is not to be fastened to -the latter until the boat is put together. - -The outside of the paddle-boxes should next be attached to No. 3 by the -small screws already spoken of, which are to pass up from the under-side -through the holes _a a_, _a a_, Fig. 3, into their lower edge. The -extremities of these boxes should form a line with the ends of the -slits, and the outside of these and the edge of No. 3, which contains -the name, should form a continuous flat surface. - -The other two sides of these paddle-boxes are to be secured against the -sides of No. 4, their bottom line forming a continuation of the bottom -of the piece, and their position determined by placing the part on top -of No. 3, as indicated in Fig. 3, and making their ends form a straight -line with those of the outside pieces and the slits; this is also -indicated by the dotted lines on the outside of Fig. 4. - -Having fastened No. 3 in its position over No. 2 (see Fig. 2, dotted -lines), place the wheels in their slits and let the wires rest in the -_bottom_ of the grooves; they will then extend a fraction of an inch -below the bottom of the boat. This arrangement is intentional, as the -toy is intended to be drawn over a floor or carpet, and it is the -friction these wheels encounter that moves the walking-beam, and thus -gives it the natural appearance of a boat moving through the water. -After these wires are pushed to the bottom of the grooves, insert wedges -of wood above, deep enough to nearly touch them; make these of tough -hard wood, so that there shall be no danger of the wheels riding up out -of their proper places. - -Place No. 4 in position, first drawing the wire attached to the crank -through the opening, and screw it firmly down upon No. 3. There is now -no danger of the axle of the wheels getting out of order, if the wedges -were firmly fixed, and deep enough to keep the wire in place. - -The smoke-stack should now be fastened with a strong and very long screw -from the under-side of No. 5, at _g_. It should be very firmly attached -in its place, as little children frequently use this as a handle to take -the boat from the floor. Fasten on the pilot-house in the same manner at -_c_, on Fig. 5. Having the walking-beam and its supports perfectly -dry—and it would have been well to have given both a good coating of -shellac dissolved in alcohol—take a wire or piece of knitting-needle -nine-sixteenths of an inch long, and having fixed one end in the hole -made near the top of the support to hold it, pass it through the central -hole in the walking-beam, and insert the other end in the second -support, then screw the piece marked _c_, in Fig. 7, in its place, which -will of course hold the walking-beam firmly fixed. Now glue the supports -inside the slit of No. 5, and in such a position that when the -walking-beam is extended in a horizontal direction, the hole in the end -toward the stern shall be exactly above the line of the axle of the -wheels—that is, a line running across the boat from the center of one -wheel to that of the other. These supports should also be caught -underneath with nails, that there may be no danger of their falling -through into the opening in the center. - -Having fixed these in place, fasten the loose end of the wire connected -with the crank through the small hole in the end of the walking-beam, so -that when the crank is in a horizontal position, the walking-beam will -also be in the same position. Attach a piece of wire four or five inches -long to the other end of the walking-beam, and let the loose end fall -through the opening in the top. - -Now cover the open spaces at the top of the paddle-boxes with pieces of -tin just wide enough to reach their edges, and catch it in place with -tacks. Paint them with the light buff used for the deck. - -Fasten the two wire flag-staffs to bow and stern, and pass a wooden one -seven inches long through _a_, Fig. 5, down into a hole in No. 2, as -shown in Fig. 2, at _g_. With fine wire attach a topmast five inches in -length to this, allowing them to lap about an inch. - -Sink a mast four inches in length into a hole bored through 5 and well -into 4, so that its top will be about three inches above the deck, and -fasten the stays in their positions, as seen in the cut. On a piece of -blue cambric paint white stars, cut it in the shape of a flag, and -attach it to the forward pole. A small “one cent flag” will do for the -stern, while the name of the boat painted in red or vermilion upon a -white ground, should float from the tall staff in front of the -pilot-house. - -Before the flags are placed, the whole surface of the boat should be -washed, if she has become soiled while being put together, and after the -flag-staffs and stays are painted and have dried, the whole should be -covered with the shellac dissolved in alcohol. Be sure and use white -shellac, as the other would stain the white to a light brown and spoil -the whole effect. - -A hole is bored horizontally through the bow three-quarters of an inch -from the extreme end, of sufficient size to admit a piece of large -fish-line, the ends of which after it is inserted can be tied together -to give a better hold for the hand. - -This boat is modeled after the ordinary bay and river excursion boats -common to the northern and middle Atlantic sea-coast, but if any boy -residing in the West should care to make one resembling those he is -accustomed to see, he will find little difficulty in modifying these -directions to suit his own particular taste in naval architecture. - - - ―――――◀▶――――― - - THE BOTTLE IMP. - -[Illustration] - -Take one or more small bottles, such as are generally used by -homeopathic physicians for their pellets; cover them with a bit of -closely-woven white cloth, and fasten it with a string around the -middle. With oil paint make a grotesque face upon the upper part, and -draw stripes or figures to represent a clown’s dress upon the lower and -loose portion of the covering of each. Varnish this with the shellac, -dissolved in alcohol, and when perfectly dry they are ready for use. -Have a large-mouthed, perfectly clear glass jar nearly filled with -water; then, after filling the little bottles about one-third full of -the liquid, place the finger over the opening and immerse them, one at a -time, bottom upward, into the jar. Be sure and keep the finger over the -tiny mouth till they are well under the surface of the water. Should -they sink in the jar, you have too much water in them. - -The quantity of water they contain should be such that they will barely -float, that is, the bottom of the little inverted vials should just -touch the surface. This adjusting of the equilibrium is a matter of some -delicacy; a single drop will make a difference: but by half-filling the -bottle, placing the finger over the mouth, and removing it an instant to -allow a drop or two to escape, the proper degree of buoyancy may be -attained. Three or four of these bottles, in masquerade, should be -introduced into the jar, and if they are, as they doubtless will be, of -slightly differing degrees of buoyancy, the amusing effect will be -enhanced. Now stretch a piece of thin rubber, such as toy balloons are -made of, across the mouth of the jar, and tie it down, as seen in the -illustration. - -To make the imps dance, one has only to press upon the rubber top, as -the air, in the top of the jar, is thus forced downward, the water is -driven up into the small bottles, compressing the tiny quantity of air -they contain, and they, in consequence, fall lower in the jar; but when -the pressure is removed, the air in them expands, and they instantly -rise to their normal position again. - -[Illustration] - -Quite a pleasant evening’s entertainment can be derived from this simple -toy. You may first adjust your imps and make sure they are in good -working order; then prepare a slight introductory speech, in which you -can pretend to mesmerize the little images, not letting it be known they -are bottles, and by some wonderful power you are supposed to possess, -can make them obey your slightest wish. This will be very simple, as -they will naturally descend when you press upon the top. This pressure -should be exerted in such a manner that it is not noticed by the others -in the room. You might stand with your left hand resting upon the top of -the jar as if by accident, but in such a manner that you can easily -press down upon the rubber with one or more fingers, and while telling -of the wonderful things these little fellows can do, you can make -graceful gestures with your right hand, and motion with it what you -require them to do; it will thus seem that they are obeying the motions -of that hand, and will serve to mystify more than ever those of your -audience who are unacquainted with the secret. - - - ―――――◀▶――――― - - TELESCOPE WHICH A BOY CAN MAKE. - -First, obtain two lenses; the larger having a long and the smaller a -short focus. - -A powerful telescope, having a large field of vision, requires a lens at -least two inches in diameter, with a focus of from two to three feet for -the larger glass; and another lens of from one-half to one inch in -diameter, and with a focus of one inch, for the smaller end. Having your -lenses, the next important step is to make your tubes; this is done by -bending a piece of pasteboard a foot long by seven inches wide in the -shape of a tube, whose diameter shall be about one-sixteenth of an inch -larger than that of your lens. Glue the edges firmly together, and tie a -piece of tape around to insure their keeping in place. Make two tubes of -this size and one rather smaller, that its ends may fit in the other -two. Lap these ends together, and paste or glue them in place (_see_ -cut). Joining these sections together is simply to insure a proper -length of tube. If a piece of pasteboard can be found large enough to -make a tube three feet long, it will look much neater than the one -described above. Take a narrow strip of pasteboard and glue it around -the inside of the tube, half an inch from one end; put the large lens in -its place, and press it against the edge of this band. Now take another -strip, three-eighths of an inch wide, and paste around the inside -between the lens and the end of the tube. By this means the glass is -kept in place, it being held by the edges of the pasteboard on either -side. - -[Illustration] - -Another and smaller tube, five or six inches in length, and of a size -just sufficient to slide easily in the other end of the long tube should -now be made. Around the inside of one end paste a band of pasteboard, as -in the larger section, but much nearer the edge. When this is dry, paste -still another strip inside this one, making a wide edge for the lens to -rest against. As this tube is of much greater diameter than the glass, -inclose the latter between two disks of cardboard of the same size as -the opening in the tube, and each having a round hole cut in its center -for the eye to look through. Cover the inner side with paste, and press -it against the edges of the strips. Finally, cover the whole thing with -some dark-colored paper, pasting it carefully over the surface, and your -telescope is completed. - -This instrument will present everything in an inverted position, but if -the lenses are carefully adjusted, objects at a long distance can be -very plainly seen, and a boy can derive a great amount of solid comfort, -not only while constructing, but from its subsequent use. - -To find the focal distance of a lens, if for any reason the optician -does not give it, hold it in the sun, and observe at what distance from -itself it makes the smallest point of light. That, if measured, will be -its focal distance. The long tube should be from two to three inches -shorter than the focal distance of the larger lens. - - - ―――――◀▶――――― - - CHRISTMAS PRESENTS. - -“What shall we make for Christmas?” is the cry that arises from the -children all over this land and abroad, wherever the Christmas season is -known and observed; and many a boy would be glad to contribute his share -of labor toward making the others of his household happy, if he only -could think of something to make. In the following pages, I purpose to -give a few directions for some simple things, which boys of ordinary -ability can easily execute. - -THE ORNAMENTAL EGG. - -Procure a large, perfectly white, hen’s egg, and after making a hole -slightly larger than a pea in either end, blow the contents into a bowl -placed to receive it. Paint some little thing on both sides of the -shell—a bunch of forget-me-nots or pansies are very good subjects—or, if -well acquainted with the brush, a small landscape, inclosed in an oval, -is still prettier. After the painting is perfectly dry, varnish it with -a brush filled with “retouching varnish,” and, with a long hair-pin, -draw a piece of blue or pink ribbon through the holes, and get some lady -friend, who can keep the secret, to tie the ends in a pretty bow. A yard -of ribbon about an inch wide is required to complete this pretty -ornament. - -TRINKET-HOLDER. - -During your summer journeyings, collect any fine large shells you may -see; the large well-formed quahaug-shells (the common hard-shell clam), -or those of the beautiful sea clam, with their wonderful opalescent -linings. Scrape off all the outside you can possibly remove; then sketch -on the inside some pleasing marine view, or, if that is beyond your -powers, take any simple subject you are confident of doing well, -remembering that a very unpretending thing, well painted, is much more -pleasing, and indeed ornamental, than the most ornate subject -imaginable, if poorly executed or badly drawn. - -In painting on egg or sea shell, or, in fact, on any hard substance of a -similar nature, use the paint as dry as is consistent with its flowing -freely, and allow plenty of time for it to dry. After the painting seems -firm and hard, give it a good coat of varnish, taking care to avoid -touching all the unpainted surface of the shell. This little -trinket-holder is easily made, costs nothing if one has a supply of -paints at command, and makes one of the most acceptable presents you can -offer to either an older sister or brother, as it is intended to stand -on the dressing-table, and hold rings, collar-studs, or sleeve-buttons, -when taken off for the night. - -AN IDEA FOR BRACKETS. - -In making a corner bracket, which, on the whole, is the most -satisfactory to make, let one side be as large as the other, with the -thickness of the wood in addition, and let the front of the shelf form -the arc of a circle. If no curtain or fringe is to be tacked on the -shelf to cover the uprights, some simple ornamentation on these is -desirable. If a scroll-saw is conveniently at hand, this is easily -accomplished. A design should first be drawn upon paper the exact shape -and size of the bracket desired. This should then be transferred to the -wood and the surplus portions carefully cut away. After the pattern is -sawed out, the edges should be rubbed down with sand-paper, or if left -very rough, a rasp would reduce this unevenness more readily; the -sand-paper should be used in that case, to give the final finish. After -the surface is as smooth as it is possible to make it, oil the whole, -and when dry put the three parts together with brads and glue. Then oil -the entire surface again, and when dry varnish if you like. - -ANOTHER BRACKET. - -If no scroll-saw is to be had, a pretty pair of uprights are made by -gouging a narrow stripe around the entire form, at equal distances from -the edge, and painting with gold paint a small stenciled form on the -middle of each, also filling the stripe with the same material. For the -stencil use a simple one of your own design, made according to -directions given in another place in this book. Should you and an older -sister desire to unite in making the present, she making the curtain, -and you the woodwork, no fancy design would be required. A simple -bracket, with well-proportioned supports nicely curving in front, and -well sand-papered, oiled, and varnished, would be all required, as the -curtain would hide the entire form. - -THE CONE AND TWIG BRACKET. - -One of the prettiest home-made brackets the writer ever saw was in an -old-fashioned country house, in a thinly settled region of -Massachusetts. The maker, a quiet, gentlemanly boy of fifteen, was a -cripple, and being obliged to remain much of his time within-doors, had -utilized these spare moments, and surrounded himself with many beautiful -things, made from materials which nature with so lavish a hand bestows -upon us all. This poor crippled boy loved the fields and meadows, lakes -and woods, with an intensity of feeling utterly inconceivable to his -more robust brothers and sisters; but his gentle, kindly manner won -their hearts, and the brightest and best the farm afforded, whether -fruit or flowers, minerals or young animals, found its way into “Ned’s -sanctum,” as his little room was called. Even the young calves and -colts, were brought around to his window, that he might admire their -rather doubtful beauty, and nearly every brood of newly-hatched chickens -spent several hours of their early life in a basket on the table at his -side. One day, the children brought home some beautiful spruce and larch -cones, and the little sufferer began, with the true artist’s sentiment, -to revolve in his mind how he could put them in a form, which should -always be in sight from his place by the window. At last he thought of -the bracket, and immediately set to work drawing designs for the -foundation. When these were quite satisfactory, he asked his brother to -saw the different pieces from old cigar-box wood, and nail them -together. The bracket was very simple in outline, but the arrangement of -the cones, half nut-shells, and tiny twigs, was extremely artistic and -pretty. They covered the two supports and the under-side of the shelf, -forming little pendants, like stalactites in some hidden cave. These -were glued firmly in place and afterward carefully varnished. - -THE PEBBLE VASE. - -On this bracket was a little vase, made by the same deft fingers. A -broken wine-glass held the water, and the vase was formed around this, -of that inexhaustible material, papier-maché, studded all over with bits -of colored glass and bright pebbles gathered from the sea-shore. From -earliest spring till the frost claimed the last lingering blossom, this -vase was filled with the fairest flowers of the seasons, and, with the -unique little bracket, seemed like a bit of the delightful out-door -world transferred to the pleasant corner of the sunny little room. - -THE CONE AND TWIG HANGING-BASKET. - -The fall after his experiment with the bracket, Ned made a -hanging-basket with the same materials, using a wooden bowl for the -foundation. This was also a success, but not as uncommon as the bracket. -The cocoanut-shell, cut evenly around near one end, forms a good -material to build upon. In either this or the bowl, be sure to bore -three holes near the top, at equal distances from each other, to attach -the chains or strings to the basket. This must be done before the cones -are glued in place. If a fourth hole is made near the bottom, and filled -with a round-headed peg which can be removed at will, but which forms a -part of the design, and receives its share of the final varnishing, the -plants growing in the basket will present a much more flourishing -condition, as the surplus water can be readily drawn off from their -roots. - - - ―――――◀▶――――― - - PAPER BOXES. - -Many years ago, when our mothers were little girls and ready-made -playthings were not as common as at the present day, during the long -winter evenings they were obliged to invent their own amusements, and it -was not uncommon in a large family where there were several girls and -boys, for them to take turns in providing games for certain evenings in -the week. Even the little ones contributed their share to the general -amusement, and it was from one of these little girls, now grown to be an -old gray-haired lady, that I first learned to make these simple boxes. - -[Illustration: Fig. 1] - -[Illustration: Fig. 2] - -[Illustration: Fig. 3] - -[Illustration: Fig. 4] - -[Illustration: Fig. 5] - -[Illustration: Fig. 6] - -[Illustration: Fig. 7] - -Take a square of ordinary note-paper, fold it as in Fig. 1, and crease -it across; now open it and bring the two corners to the central point of -the crease, and making them just touch each other at that point, and -crease the folds, as in Fig. 2. Next fold between these folds and -between the last made, and the corners, as in Fig. 3, always remembering -to crease the folds when made. Now turn the paper and crease it seven -times across the other way, and you will find your paper is folded in -little squares. Then take your scissors and cut the little half squares -left out in Fig. 4. Then with your penknife or the sharp points of the -scissors cut the little slits 1 and 2; next, cut 3 and 4, 5 and 6 to the -first creases; last, 7 and 8, 9 and 10 to the dots, but no further. Now -fold the joint marked 9, 10, so that it will go through the slit 2, and -when you have passed it through, straighten it out and press the paper -in the shape of Fig. 6. Now pass the last point through the remaining -slit and your box is complete. Occasionally, we used to make “nests” of -these boxes, by commencing with very tiny ones, and gradually increasing -the size, making one over another until our paper gave out, or we became -tired of the amusement. - - - ―――――◀▶――――― - - A SHAVING-CASE. - -Although generally considered girls’ work, many little boys delight in -working upon perforated paper, and they can put this pleasure to good -account in making a shaving-case for papa. Procure a piece of silver or -gold gilt perforated cardboard, of the coarsest variety, and cut it into -two similar pieces, five by seven inches in size. With double zephyr, -work an initial or some simple design on one of the pieces only, as the -other will form the back of the case. Then get half-a-dozen sheets of -different colored tissue-paper, and cut them up into pieces the exact -size of the case. When all are fitted, place them between the two -covers, and ask some lady in the family to sew them together at the top; -fasten a ribbon of the same color as the worsted to each top corner for -a handle, and cover the points of juncture with tiny bows. A little boy -in the writer’s family made one of these for a dear uncle, and it lasted -him a year without replenishing, forming one of the most useful presents -he received. - - - ―――――◀▶――――― - - LEATHER WORK. - -How many of my young readers have seen the beautiful shoes, boxes, and -saddle-cloths, made of leather or velvet, and appliquéd with thinner -leather, in graceful traceries, which are occasionally brought over to -this country from Russia? These are mostly the work of the women and -children of the smaller Russian villages, and in many instances their -only means of support. - -In those cold, desolate regions, where summer is very short, and the -long dreary winter extends over a greater part of their lives, their -occupations necessarily must be such as can be carried on in-doors, and -are in many instances executed in their own homes. Hence the children -seeing the simple processes going on around them, soon learn to help, -and long before they have reached the age when American boys begin to -think of working, they are earning their own living, and frequently -supporting others of the family by their industry. - -Although leather work to a Russian boy is anything but play, to a bright -American it will be a source of considerable pleasure, and will serve -the same purpose of amusement and instruction, for which most of the -things in this book are intended. - -The materials for leather work are very simple, consisting of the waste -scraps from the neighboring book-binders or shoe-makers; these can be -chosen without regard to shape or size. - -To do the kind of work spoken of above, and known as “Kasan work,” -select the thinner kid pieces from your leather, and with a lead-pencil -mark upon the wrong side any design you may fancy. Then with a pair of -sharp-pointed scissors cut out the design, carefully following the -lines, and making the edges smooth and even. Lastly, wet the back with a -little glue or paste, and stick it upon the cloth. Care should be taken -not to move the pattern after it touches the cloth, as the glue might -besmear the material in the open places of the pattern, and thus ruin -the effect. After this has partially dried, get your mother or sister to -stitch the edges on the machine, and you will have a nice bit of -material, suitable for a shoe-bag or any other useful object you may -like. - -Another kind of leather work which is better adapted for boys, and a -much more fascinating process than the above, is called by the French -name “Cuir Bouilli”—pronounced “queer bwea”—or boiled leather. The -scraps already gathered are suitable for this work, as any kind of -leather can be used, although the softer kinds, such as sheep or calf -skin, work much more easily. Soak this in hot alum water until it is -soft, remembering that thick, tough leather requires a much longer time, -as well as a hotter and stronger solution to soften, than the thinner -pieces you may have. After this leather has been reduced to mere pulp, -press it into any mold you may have at hand, taking care that it is -pressed into all the cavities. After it is partially dried, in two or -three days, remove the mold, and you have your object in firm hard -leather which can be painted or varnished as you like. Many toys for -your younger brothers and sisters can be made in this way, and are quite -indestructible. Should you chance to have a good-sized piece of skin, -much prettier things could be made from it, although a good worker in -leather will use his scraps as the boy in his papier-maché uses his bits -of paper, pasting them so nicely that no one would guess the number of -pieces used. The best paste for this work is made of dextrine, a cheap -substance, easily procured at any apothecary’s. - -A PANEL OF LEATHER WORK. - -As this is one of the simplest forms into which leather can be wrought, -and one that probably gives the most satisfaction when completed, -perhaps the description of a dining room panel, made by the writer’s -little son, may afford more real assistance to the reader than any -general rules which could be given for the work. - -He had a sheet of calf-skin, nine by fourteen inches, which he soaked in -warm alum water till it was very soft and pliable. Before this, however, -he had prepared his foundation, which consisted of a thick piece of -pasteboard six by twelve inches. Upon this was nailed or glued a simple -design of a duck hanging by its legs, which he had drawn upon a thin -slab of wood—a cigar-box cover, I think—and had cut out with a -scroll-saw. Before tacking this on, he rounded off the edges of the -figure on the right side with his jackknife, and using an old newspaper -and a little paste, he built out the body of the bird, molding it with -his fingers and an old ivory paper-cutter until he obtained the desired -shape. After this had dried he covered his soaked leather with the -dextrine paste, and laid it evenly on the form. Beginning at the middle -of the panel, he carefully pressed the wet leather upon the figure, -using the dull edge of the paper-cutter for the lines and deep places -left in the foundation; always working from the center toward the edge, -and taking particular care that each part was firmly attached to the -wood. After the bird was done to his satisfaction, he proceeded to stamp -over the whole background, using for this purpose an old office-seal -which was at hand. In regard to the stamp, any ingenious boy can easily -make a good substitute, by taking a piece of hard wood with a flat end, -and cutting it across in parallel lines, re-cross these lines with other -parallel ones, forming a surface of even diamond-work upon the wood. -This, when pressed upon the wet leather, makes a very agreeable -background for almost any figure you may like. A wet sponge must be -constantly applied to the leather while working, to prevent its drying -too rapidly. After the surface was well covered with the stamping, the -leather was again rubbed with paste and pressed over the edge of the -pasteboard background; tiny triangular pieces were snipped from the -corners to allow of their lying quite flat on the under-side. Finally, -the whole thing was firmly glued upon a black-walnut slab bought for -that purpose. This panel is the natural color of the leather, but they -are frequently stained black, and for that purpose the “ebony black -stain” is the best material to use; but it is not necessary that they -should be black; any color can be used, the beautiful bronze powders -making very fine effects. - - - ―――――◀▶――――― - - TO TELL THE HOUR OF THE DAY BY THE LEFT HAND. - -For the benefit of those boys who make frequent excursions into the -woods, or away from the sight and sound of town clocks and bells, I -write the following, which I found in an old book published early in the -present century: - -Extend the left hand in a horizontal position, so that the inside shall -be turned toward the sky; then take a bit of straw or wood, and place it -at right angles at the joint, between the thumb and the forefinger. It -must be equal in length to the distance from that joint to the end of -the forefinger, and must be held upright, as represented in the figure -at _a_. Now turn the bottom of the thumb toward the sun, the hand being -extended till the shadow of the muscle which is below the thumb -terminates at the line of life, marked _c_. If the wrist or bottom of -the hand be then turned toward the sun, the fingers being kept equally -extended, the shadow of the bit of straw or stick will indicate the -hour. - -[Illustration] - -When the shadow falls on the tip of the forefinger, it denotes five in -the morning, or seven in the evening; at the end of the middle finger, -it denotes six in the morning or evening; at the end of the next finger, -seven in the morning, or five in the evening; at the end of the little -finger, eight in the morning, or four in the afternoon. At the nearest -joint of the little finger, nine in the morning, or three in the -afternoon; at the next joint of the little finger, ten in the morning, -or two in the afternoon; at the root of the little finger, eleven in the -morning, or one in the afternoon; in the last place where the shadow -falls, on that line of the hand marked _d_, which is called the table -line, it will indicate twelve o’clock at noon. - - - ―――――◀▶――――― - - STENCILS. - -A dozen or more years ago I saw an advertisement from a Boston firm, of -a package, to be had for the small sum of twenty-five cents, which -contained several devices for entertaining children. As the -advertisement seemed attractive, I sent for the article, and received by -return mail a small box, which certainly contained all one could -reasonably expect for the money. Many of the smaller things I have -forgotten, but the idea of cutting stencils was so good, and gave the -children of our family so much pleasure, that I insert a few simple -designs, and give directions for cutting, hoping they may amuse the -little ones of other families as agreeably as those of ours. - -[Illustration] - -These designs, which require considerable care in the tracing, should be -first drawn upon tracing-paper, or some stiff, thin paper, with a -sharp-pointed lead-pencil; then, this being securely attached to a piece -of thin bristol-board, or a common business-card, carefully cut the -design, leaving the edges smooth and even. Particular care should be -taken to cut all the useless bits of paper from the pattern. After a -little practice, children learn to make designs for themselves, and -enjoy it much more than following those given by others. It is, however, -necessary that they should use those supplied at first, so as to -understand just how the lines are to be cut. - -[Illustration] - -[Illustration] - -[Illustration] - -[Illustration] - -[Illustration] - -[Illustration] - -[Illustration] - -After the design has been carefully cut out, take a smooth piece of -white paper, fold it through the middle; now fold again, bringing the -ends of the first crease together; fold once more, making the last -crease to fall upon the same line as the other two, and your paper will -be in shape like the letter V, Fig. 1. Be sure that _b_, in Fig. 1, -forms a perfect point. Now lay the pattern on your folded paper, letting -_a_, Fig. 2, fall upon _b_, Fig. 1, and taking care that the edges of -the pattern fall evenly upon the folds of the paper. Cut the paper out, -following the lines of the design. After the black portions have all -been cut away, open your folded form, and you will have a very pretty -stencil, which can be used in decorating your playthings, or for the -various other purposes stencils are so extensively employed. One little -friend of mine used to paste all his finest specimens on square pieces -of black cloth, and after he had a good-sized collection, he had the -pieces sewed together in the form of a book. On the cover he pasted the -word “Stencil” and his initials, all cut from white paper; and it was a -never-failing source of pleasure to him to show this little work, -declaring proudly as he did so, “I did it all myself with my own little -pair of scissors.” These stencils could be cut from variously colored -papers and then pasted upon ordinary note; the whole being caught -together with a piece of ribbon. A book would be the result, which, if -not prettier, would be less cumbersome than my little friend’s, and -would probably give full as much satisfaction, besides being much easier -to make. If you will carefully examine the inside decorations of many of -our fine public buildings, you will see that much of the work is put on -with stencils; and by looking still more carefully, you can learn just -how these stencils are made; and from them gain ideas for your own -designs, which will aid you very materially in any decoration you may -try. It is not expected that a boy has judgment or skill sufficient to -decorate an important room, but if you would like to try the experiment, -you may be able to persuade your parents to allow you to try your hand -at something of the kind in an unused garret room. But even in this, do -not begin at hap-hazard. Study all the designs you can find, and note -the effect of the colors on each other and upon the color of the wall -itself. Choose some simple, open pattern at first, and do not use more -than two colors in putting it on the wall. The fresco paint, or -kalsomine, comes in a powder, with full directions for using printed on -each package. It is put on with a short, thick brush; and is patted on -through the stencil. For stenciling, the paint or kalsomine must be -mixed much thicker than for an ordinary wash, and it is best to have -your stencil pattern, after it is perfected to your taste, cut from a -piece of tin, if a tinman is near at hand. After the walls have received -their share of decoration, it would be well to paint the door to match, -using some appropriate oblong stencil for the panels, and applying it -with oil paint. In such things it is very easy to overload the work, and -by putting on too much spoil the effect; so care and judgment must be -exercised to know at just what point to stop, as well as to avoid -daubiness and an uneven character to your work. - - - ―――――◀▶――――― - - LIGHT PRODUCED BY FRICTION UNDER WATER. - -If you should rub two squares of cut-loaf sugar together in a dark room, -light would result from the friction; but the effect is produced in a -much greater degree by two pieces of silex or quartz; and if two pieces -of a fine quality of quartz be forcibly rubbed together, you may -distinguish the time of night by a watch; but what is more surprising, -the same effect is produced equally strong on rubbing the pieces -together under water. - -In olden times, before matches were invented, fire for all purposes was -produced by means of friction; a piece of flint and one of steel being -the substances used, and a tin box of charred linen rags, called tinder, -received the sparks which fell from the steel. - -Many years ago, when your great-grandmothers were children, in many New -England communities a cow’s horn, sawed across the top, and fitted with -a wooden stopper, was used to hold the tinder, but later, the more -stylish and luxurious tinder-box took its place. This box, made of tin, -and somewhat larger and deeper than a good-sized blacking-box of to-day -was fitted with an inside cover, a simple disk of tin with a ring of -wire in the top for a handle, and was filled with a quantity of cotton -or linen rags, which were set on fire with a brand from the hearth. When -this burning cloth had reached a black color, but before it was reduced -to ashes, the inside cover was let down upon it, and the flames were -extinguished. After this, another outside cover was put on the box to -prevent dampness penetrating, and thus rendering the tinder worthless. -To insure further protection against the intruding damp, the box, with -its companions of flint and steel, were generally kept in the chimney -closet beside the fire-place. - -In those primitive days of our country, it was a very common thing for a -farmer’s wife to run into a neighbor’s and borrow some one of these -necessary articles, and it was usually the tinder, which she had -neglected to prepare when fire was plenty, that was the thing needed. -Occasionally, when two or three houses were near together and the -inmates on friendly terms with each other, one set would answer the -demands of the neighborhood, and would be used by all with equal -freeness. Later on, each family made their own matches, by simply -dipping bits of wood into melted sulphur, and allowing it to dry on the -end. These matches were kept in another tin box, and when the spark had -ignited the tinder, the sulphur end was touched to the smoldering fire, -and would immediately burst into flame. - -Before these matches were invented, however, when the housewife wished -to make her fire (stoves were of course unknown), she would seat herself -near the fire-place, and, grasping the uncovered horn or box between her -knees, would hold her steel in her left hand just above it, and with the -flint or quartz in her right, would strike upon the former, till two or -three sparks fell upon the charred surface; the bit of glowing tinder -would then be carefully taken from the box, wrapped around with a bit of -rag, and blown upon with her breath until the cloth burst into flames. A -candle was quickly lighted from this, to keep the flame till the fire -was well under way. - -Every boy has probably felt the inconvenience of being without matches, -when a fire on the beach in summer, or near the skating-pond in winter, -would have been such a luxury. The next time the emergency occurs, -strike a piece of quartz or hard white stone upon the large blade of -your jackknife, over any bit of dry cotton or thin paper you may have at -hand, as a tinder-box would probably not form part even of the very -miscellaneous collection of the average school-boy’s pockets. - - - ―――――◀▶――――― - - EXPERIMENT WITH FLOWER-SEEDS. - -Split a small twig of the elder-bush lengthwise, and having scooped out -the pith, fill each of the compartments with seeds of flowers of -different colors, but which blossom about the same time. Surround them -with mold, and then tying together the two bits of wood, plant the whole -in a pot filled with earth, properly prepared. The stems of the -different flowers will thus be so incorporated as to exhibit to the eye -only one stem, throwing out branches covered with flowers of different -colors, analagous to the seed which produced them. If the plants are -somewhat alike in the texture of their stems, and germinate at about the -same period, there will be less danger of the strong choking the weak. - - - ―――――◀▶――――― - - HOW TO SKELETONIZE LEAVES. - -Among the many desirable subjects for photographic printing, none are -more satisfactory or so delicate as a graceful arrangement of -skeletonized leaves. It may be very simple, and composed of only three -or four leaflets; or it may be so elaborate as to embrace specimens from -trees and weeds, wild flowers and garden shrubs; while the beautiful -seed-pods and grasses, readily found in our fields or along our -brooklets, answer for the blossoms in this dainty, fairy-like bouquet. - -The methods employed in freeing leaves from their pulpy element, or -cellular tissue, as it is more properly called, are very unlike, as -practiced by different individuals; but the following, given the author -by a lady friend who has a large and extremely beautiful collection of -remarkably fine specimens, is very simple, and can be practiced with -success by a boy or girl of ten. - -Take a wash-bowl, and fill it half full of soft water, into which a -heaping teaspoonful of baking soda should be thrown; place this in a -sunny window, or one with a southern exposure if possible, and put in -your leaves; care must be taken that they are all under water, and not -too crowded, although three or four dozen can safely be done at a time. -Any leaf which has a firm, well-defined frame-work will make a good -specimen. The leaves of the horse-chestnut, maple, silver-leaf catalpa, -and magnolia; those of the currant, pear, English ivy, and plum, all -make fine skeletons, and many delicate seed-covers, like those of the -strawberry-tomato, are very easily treated. Do not confine yourself to -this list, however, but try any which resemble these in texture, as a -great variety is particularly desirable, if you would have a good -collection. - -After you have put your leaves to soak in the soda-water, leave them in -the sun for three weeks, as that is the shortest time in which any will -do. Then look them carefully over, and should any be found nearly free -from their tissues, take them out, and wash them off in a bowl of clean -water; then with a soft brush liberate any tiny particle that may still -adhere to the frame-work, as any blemish of this kind is considered a -defect in the specimen. - -During this process, be careful to retain the fine threadlike bit of -fiber that entirely encircles the leaf and forms an outside frame-work -or edge. If it is found impossible to entirely clean the skeleton by aid -of the brush, it should be put in a bowl or saucer of clean water and -left in the sun for two or three days longer. When they are thoroughly -cleaned, place them between the leaves of an old book, and lay them -aside until the time for bleaching. - -If you live in or near the latitude of New York, the best time to -collect and treat your leaves is in June, while they are still fresh and -tender, and before the insects have destroyed their shape; but should -your home be further south, April or May would be a better time. - -After your collection is complete, and all are dry, they will be much -improved by bleaching. This process is also very simple, consisting, as -it does, of merely dipping them in a weak solution of chloride of lime, -and letting them remain there until the proper color is attained; then -by slipping a piece of unglazed paper—ribbon paper is best for this -purpose—beneath the surface of the water, and bringing it up with the -leaf lying flat upon it, the skeleton can easily be taken from the -water. - -If the form is not inclined to spread out on the paper as it should, -take a long slender darning-needle, and with the point carefully arrange -it to your satisfaction. Another drying is now necessary, but the -bleached leaves should be left on the ribbon paper, which may be put -between the leaves of a book as before. - -These can be kept for years, and should you be successful and obtain a -number of perfect specimens, they will form a very valuable addition to -your materials for Christmas gifts, and, prettily arranged, a very -acceptable present to any dear friend. - - - ―――――◀▶――――― - - CAMERA OBSCURA. - -Camera Obscura, a Latin name, meaning literally a dark chamber, belongs -to an instrument invented by Baptista Porta in the sixteenth century. - -[Illustration] - -The principle involved in the simplest and most refined forms is the -same, and may be illustrated by the following experiment: Let a small -hole be cut in an opaque window-shade, and the room darkened. If, now, -the beam of light entering the room by this hole be intercepted by a -sheet of white paper, held at a small distance from the hole, an -inverted image of objects without will be seen upon the paper. By -placing a small convex lens over the hole this image is rendered much -more distinct. It will also be found, that at a certain distance from -the hole the image attains the sharpest or clearest outline, and that if -the paper be removed from this point to any position either nearer to -the hole or further from it, the image becomes indistinct and confused. -At the point of greatest clearness the image is said to be _focused_. -Such being the principle of the camera, it is evident that in practice -the instrument may assume many forms, provided always that it consists -of a darkened box or chamber, having a hole at one end for the insertion -of a lens or combination of lenses, and at the other a screen, generally -made of ground glass, on which to receive the image. One of the first -home-made cameras I remember seeing was constructed by a boy friend many -years ago. In it he used a lens from an old ship’s spy-glass, which -still remained incased in its brass tube. Fig. 1 gives a view of this -form of camera. As every boy is not as fortunate as my friend in having -a brass mounting for his lens, it would be well to inclose it in a small -tube of papier-maché or pasteboard, so that it may be moved in or out of -the opening at will. The box itself was made of cigar-box wood, with the -cover sawed in two parts. After the hole had been cut at one end and the -lens inserted, a piece of looking-glass was placed obliquely across the -lower corner of the other end of the box, the longer piece of the cover -nailed on the front part of the top, and a piece of ground glass -carefully fitted, with the ground side downward, over the remaining open -space; the smaller part of the cover was then fastened on one side with -small pieces of tape. When not in use, this little cover fell down over -the glass, but when any object was to be viewed the little lid was -lifted into the position in the cut, and served as a shield to the -ground glass beneath. A piece of black cloth thrown over this cover, and -allowed to fall over the triangular side-openings, so as to still -further prevent outside light from reaching the ground glass, is a great -improvement. - -[Illustration] - -In the diagram, the dotted lines show the course of the light from the -object in view, through the lens (where the rays cross each other) to -the looking-glass, and thence to the ground glass above. - -[Illustration] - -A SIMPLER FORM OF THE CAMERA OBSCURA. - -[Illustration: Fig. 2] - -A simpler form of the camera obscura is seen in Fig. 2. Here the case is -a small soap or spice box, the lens a convex spectacle-glass, and the -board marked _b_ a partition, serving as a screen upon which the image -is thrown. In this form the lens may be fixed in the end of the box if -desired, which is much easier than adjusting it in a sliding tube. The -focal distance of an ordinary spectacle-glass averages about twelve or -fourteen inches, and the box should be, of course, somewhat longer than -the focal length of the glass used. A glass from “near-sighted” -spectacles will not do, as it is concave instead of convex. - -The box is now pointed out of the window, at some well-marked object, -such as a sun-lighted building, and the partition-board moved backward -and forward, till the point is found at which the image on it is best -defined. Then the board may be fastened (as _a_, _b_, _c_, _d_, Fig. 2) -and the top put on, of which the end should be cut off about four inches -from the screen, as shown in the figure. - -A piece of black cloth thrown over the head, and completely covering the -ends of the opening, renders the image more distinct. - -THE SKETCHING CAMERA. - -[Illustration: Fig. 3] - -[Illustration: Fig. 4] - -[Illustration: Fig. 5] - -This form of camera may be also used for sketching from nature, by -raising it on end, and providing it with an inclined mirror, as shown in -Fig. 4. The opening _a_, _b_, _c_, _d_, should in this case be -sufficiently large to admit easy play of the hand in sketching, and also -allow an unobstructed view of the image. The mirror may be prepared -without much difficulty. Get the glazier to cut for you a piece of -looking-glass three or four inches square, and cover the back with a -piece of thick paper or card, to prevent scratching; then take a wire of -sufficient length, and double it as in _A_; now bend this double wire in -the form of _B_, letting the ends come at _a_ and _b_, and placing your -mirror, face downward, upon the frame as in _C_; hold it in place by two -bands of strong paper, passed around the glass and wires, and pasted -strongly on the back, at the top and bottom of the mirror. When in use -this frame is placed over the lens, and reflects the image down upon the -drawing-paper placed on the screen below. The four round-headed screws -in the top are intended for attaching an opaque curtain to the box, -which, however, is only needed when the artist is working in the open -air. Then the dark curtain is buttoned in place, and falls over the head -and shoulders, completely shielding the image from any invading rays of -light which might otherwise confuse the draughtsman. - -As a matter of fact, in using the sketching camera, it is necessary to -turn one’s back to the objects sketched, if it is desired to draw them -in an upright position. I have represented the artist facing the house, -as it would look strangely in the illustration to see him seated with -his back to the view; but he is compelled, in consequence, to draw his -house, sister, and everything else which is included in the image thrown -upon his paper upside down, as a penalty for appearances. - -THE DARKENED ROOM. - -To those boys living in the country, and having a wide, extended -landscape stretched out before their windows, the “darkened room” is a -very interesting feature. It simply requires a room which can be made -perfectly dark. At the window (if there are more than one) commanding -the broadest prospect have a perfectly tight, opaque screen fitted, with -a small hole cut in the lower part for the insertion of the lens. Over -this fasten a small mirror to receive the image, at such an angle as -will throw the reflection down upon a stand placed two or three feet -from the window, and thus make it possible for the spectator to view the -scene in its normal condition. Should you be desirous of having the -whole sweep of the horizon at your command in the darkened room, a -simply constructed frame-work is necessary for the accommodation of the -movable mirror, and also for the lens; this would further necessitate -the cutting of a larger hole in the curtain. Fig. 5 represents this -arrangement; _a_ being the movable lens, which can be readily taken from -its socket if desired; _b_, the hole in the bottom of the bracket, which -should correspond to a larger hole in the shelf _d_, upon which the -bracket rests, and can be easily turned in any direction desired. This -hole should be large enough to allow the passage of all the diverging -rays, and _c_, a small mirror, fitted like the one for the sketching -camera just described, to receive the image and reflect it down through -_b_ upon the stand, or a sheet placed upon the floor for the screen. The -height of the shelf _d_ from the floor is determined by the focal length -of the lens, and must be decided by experiment before the hole is cut in -the shade. It is fastened in place by strings attached to small -screw-eyes at its corners, and tied upon tacks driven into the -window-frame. The arrangement shown in Fig. 5 can be moved on the shelf, -so as to face the lens toward any portion of the view commanded by the -window. - - - ―――――◀▶――――― - - PHOTOGRAPHIC PRINTING. - -If all boys are not so fortunate as to possess a camera, there is no -reason why they should be debarred from all the pleasures of -photography; and as there is much entertainment to be derived from this -simple amusement, it is advisable for every boy throughout the land who -is old enough to give it a fair trial. The first thing needed is a frame -for holding the print while it is being exposed. This can be made by an -ingenious boy, but as it is a rather troublesome job, it is better to -buy a small transparent slate for five or ten cents, and discarding the -copies, use the frame and glass for your work. The sensitized paper -should next be prepared. This can be bought at any place where -photographers’ supplies are to be found; many boys, however, are too far -away from our great cities to have access to such stores, and even those -who have will find more delight in making it for themselves. There is a -great satisfaction in the feeling of perfect independence, and the more -we can do for ourselves without aid or hinderance from the world at -large, the nearer we come to the ideal state. So, presuming that every -boy has this independent spirit well ingrained in his nature, I will -give two formulas for this kind of paper, and leave it to the reader to -decide for himself which he will use. The first produces a negative -impression; that is, one in which all the parts that are dark in the -copy come out light in the print, and _vice versâ_; and the second makes -a positive print, or one in which all the shadings remain the same as in -the original. - -FIRST PROCESS. - -Paper by this process is very easily prepared as follows: Make two -solutions: - - 1st.—Water, 1 ounce. - Prussiate of potash, 60 grains. - - 2d.—Water, 1 ounce. - Ammonia citrate of iron, 70 grains. - -When these are dissolved, mix them together, and pour them through a -piece of filter-paper into a tumbler, and then into a clean glass -bottle. If filter-paper cannot be had, nice clean cotton wool answers -the purpose nearly as well. This solution should be kept and also used -in a dark room. To sensitize the paper, pour out a little of the liquid -into a saucer; then having cut note-paper into rectangular pieces, a -trifle smaller than the glass in your frame, take one of these pieces at -a time, and place it evenly upon the surface of the liquid; let it lie -in this position until it is flat and not inclined to curl. Now take it -out by one corner, and thrusting a pin through this point, drive it -lightly into the edge of a shelf in your dark room, and leave it to dry. -It is now ready for use; should any be left after printing, roll it up -and place it in a tin box which has a cover, to keep it from the light -and dampness. To print on this paper, place your glass in the frame, and -next to it any engraving you may fancy, provided it is printed on thin -paper and has no type on its back. If a copy is desired precisely like -the original, place the engraving face downward on the glass, but if a -reverse is wished, that is, one in which all the objects in the original -are turned about, and its left side is to correspond to the right in -your print, then place it with its face toward you in the frame. When -this is adjusted to your satisfaction, take the frame to your dark -closet, and put in your sensitized paper, being careful to cover it -closely with the back of the frame well fastened in place before -bringing it to the light. Place the frame, glass side upward, on a -window-ledge, or in any place where it will be exposed to the free rays -of the sun, and let it remain until it is printed to the desired depth. -It will be noticed that at first the light changes the portions exposed -to a bluish color; the operation, however, is not finished at this -stage, but must be continued long enough to turn these portions a deep -metallic gray. Care must be exercised in examining the print, that the -paper is not moved from its position relative to the copy to be printed; -with the above frame this will be a very delicate matter, and it is -doubtful if it can be successfully done. A better way would be to make -one or two prints, without caring for accuracy of form, but simply with -a view of obtaining a good color, and time the operation; this would -form a sort of basis from which to work. If some subsequent engraving -was upon thicker paper, it would take a somewhat longer time to print -it, and if on thinner paper, the time required would be proportionately -shorter. It would be a great source of convenience if the back could be -cut in two equal parts, and a piece of canton flannel be pasted over -both, joining them as they were at first. This with the soft side -outward will keep the paper from slipping, and act as a hinge to either -half. Now instead of one fastening, two will be required, one on either -half of the cover; if then you wish to examine your print, you have only -to open one end of your frame, and carefully lift up the edge of the -paper, while the other end, remaining firmly closed, holds the whole -thing in place. - -After your print has reached the proper degree of color, take it out and -immerse it in clean water, when it will become a rich blue, except those -parts which are to remain white. Change the water once or twice, or -until every part comes out distinctly; then take it from the bath and -dry between sheets of blotting-paper. - -The second way to prepare paper consists in washing good letter-paper -with the following solution: - - Bichromate of potash, 10 grains. - Sulphurate of copper, 20 grains. - Water, 1 ounce. - -Papers prepared with this are of a pale yellow color; they may be kept -any length of time in a tin box, and are always ready for use. For -copying engravings, the wings of dragon-flies, or of cicadas, the -beautiful skeletonized leaves or delicate ferns, arranged in tiny -bouquets on the inner surface of the ground glass, this paper is -excellent. - -After it has been exposed to the influence of the sunshine, take the -frame to your dark closet, and after removing the print, wash it over -with a solution of nitrate of silver of moderate strength. As soon as -this is done, a very vivid positive picture makes its appearance, and -all the “fixing” it requires is well washing in pure water. - -The dark closet spoken of above is necessary in all kinds of -photography, as light let in upon the sensitized paper would darken the -whole surface. To make a “dark room,” stop the upper part of the window -with any opaque substance, and pin a large sheet of dark orange paper -over the lower sash. The yellow paper used in making envelopes is -excellent for this, but if it cannot be found, four sheets of -tissue-paper, two red and two yellow, placed over each other, answer the -purpose very well. - -A friend of the writer utilizes an old disused chicken-house for his -dark room, and it answers its purpose capitally, while it was at the -window of this little room I first saw the tissue-paper successfully -used. - -The prints used for copy might be rendered more translucent by rubbing -them over with a little linseed oil mixed with turpentine. This, of -course, should be thoroughly dried before it is used in connection with -the sensitized paper. - -A great number of graceful, pretty things can be photographed in this -manner; the delicate maiden-hair fern, so common in several parts of our -country; the fine, feathery leaves of many of our wild flowers, some of -the finer flowers themselves, and many of the beautiful mosses and -sea-weeds after they are pressed, make exquisite little photographs, -worthy of a place in any collection. - -A dozen or more of these prints carefully taken, pressed, and trimmed, -would make a pretty Christmas present to a dear friend. The cover could -be of plain paper, with the name of the person for whom it was intended -neatly written upon the top, an appropriate sentiment on the middle, and -the donor’s name with the date upon the lower part of the page. - -The stencils, for the making of which full directions are given in -another part of this book, make very line subjects for photographs. If -intended for this purpose, however, they should be of a slender, -delicate pattern, small in size, and cut with extreme care. A snow-flake -caught upon a black surface, and examined in a cold room, will furnish -many suggestions for stencils designed for copy. - - - ―――――◀▶――――― - - THE TOY PANORAMA. - -The modern stereopticon has almost entirely superseded the old-fashioned -panorama, so popular a quarter of a century ago. - -[Illustration] - -Your parents will probably remember with what delight those itinerant -exhibitions were greeted by the young people of those days; how the very -handbills, those wonderful precursors of so many entertaining -spectacles, were studied and commented upon, and when the happy day -came, how we all rejoiced to see the manager enter the school-house -door, and after a few words with the teacher, address the school, and -offer to us children an afternoon exhibition, for the trifling sum of -ten cents apiece, if enough could be induced to attend. - -The panoramas the writer remembers most vividly occurred during the war -of the Rebellion, and as the subjects of the paintings were of a very -patriotic character, we had little difficulty in urging our parents to -permit us to go; and the afternoon session of the school was gladly -sacrificed for so good a cause. - -The battle of the _Monitor_ and _Merrimac_, was a favorite subject, and, -as the vessels moved to and fro, and sent forth from their tiny -port-holes volleys of real fire and smoke, while a big drum, out of -sight, gave forth the answering boom, the scene was very impressive, and -struck a kind of fascinating terror to our childish hearts. - -After the many accounts and fine illustrations which subsequent readings -have given, at the simple mention of that famous battle, my mind -instantly wanders back to the darkened hall, filled with boys and girls, -all intently gazing at the sham battle in progress before them; while -far back in the rear end of the hall stood the two brass field-pieces, -captured from Burgoyne at the battle of Saratoga, nearly a hundred years -before, grim and awful, and silently waiting for the time when they -should be called to take their place in the mighty conflict then so -fiercely raging in our land.[1] - ------ - -Footnote 1: - - This building was erected for an armory, but served the purpose of - town-hall as well. - ------ - -But finally the war ceased; and after all, the only part the old cannon -played was to thunder forth resoundings of joy, which shook our old town -to its very foundations, when peace was again restored. - -Although children’s hearts will never again be gladdened by these great, -clumsy shows, there is no reason why the little toy panorama should also -be banished from among us. The mere delight of making it is sufficient -reason for its existence, and when it is once finished it will continue -to be a source of enjoyment to each little member of the household in -turn. - -[Illustration: Fig. 1] - -The simplest form this can have is represented in Fig. 1, the foundation -being a small soap-box, the rollers, sections of a broomstick, with -small wooden pins glued into each end, which extend through holes made -in the box for that purpose. The pictures, taken from any illustrated -paper, are all cut the same width, about an inch narrower than the -length of the rollers, and pasted together at their ends, the only limit -to the length of this strip being the capacity of the box. - -[Illustration: Figs. 2, 3] - -When the paste is dry, attach an end to each roller. It is necessary -that the upper peg of each roller be also fitted with a strong crank, as -an even motion is requisite for the proper display of the pictures; and -this crank can be made in two ways: first, like Fig. 2, where a piece of -wood is nicely fitted and glued on the pin, or like Fig. 3, which is the -better arrangement, where a stiff wire is bent into the shape _a_, and -then passed through two holes pierced through the crank-pin as shown at -_b_; this arrangement securing the needful firmness, the projecting ends -of the wire are then bent, the upper one upward, the lower downward, so -completing the crank. - -After the mechanical part of the panorama is finished so that it runs -smoothly, two strips of stiff pasteboard can be fastened over the front, -corresponding to the dotted lines _a_ and _b_ in Fig. 1, which will hide -the rollers and give a neater appearance to the whole. If liked, a -second piece of the pasteboard can be cut, in length corresponding to -the width of the box, and wide enough to cover the cranks, and extend -down to the top of the pictures. - -When exhibiting the pictures, place the box on a table with its front -well lighted, turned toward the audience, and turn the pictures slowly, -by an even motion of the cranks, pausing slightly at each scene, at the -same time giving, if possible, a brief description of the thing -illustrated, as this will add considerably to the enjoyment of the -little folks. I forgot to add, in its proper place, that for a final -finish the whole thing should be covered with any pretty paper at hand. -Nice wall-paper or even common brown wrapping-paper gives it a neat -appearance. - - - ―――――◀▶――――― - - A MORE ELABORATE PANORAMA. - -Having thoroughly mastered the construction of the simpler form of the -panorama, a more elaborate one can be made by simply devoting to it -considerably more time and attention; but as this is greatly superior to -the other in every respect, it is well worth the extra trouble. - -This will necessarily require a much larger box than the one previously -described. For convenience in description, suppose we have a soap-box -two feet long, twelve inches high, and eighteen inches wide. We shall -first take away both top and bottom, then standing it upon its side, we -have the frame-work of our structure, which is still two feet long, but -now eighteen inches high, and twelve inches deep, that is from front to -back; next, we cut from the discarded top a false bottom, or shelf, like -Fig. 2, which, if your box is of seven-eighths inch material, will -measure twenty-two and a quarter, by eight inches. Mark the point _a_, -four inches from one side of the board, and equidistant from the ends; -through this draw the line _b c_, five inches long on each side of _a_, -or ten inches in all; mark at three and one-half inches from the ends of -the board the points _d_ and _e_, and draw the lines _b d_ and _c e_; -then cut out the piece thus marked off. - -[Illustration: Fig. 2] - -The holes at the bottom for the rollers are four and one-half inches -from the back _f g_, in order to insure that the line of pictures when -in motion shall not fall back from the line _b c_, and are equidistant -from the ends of the board and the oblique lines _b d_ and _c e_, to -secure as much room as possible for the roll. Make corresponding holes -in the top of the box, taking particular care that they are exactly -above those in the shelf, when that is in position. The rollers are made -from sections of broomstick, with holes bored in the ends, and the -wooden pins glued firmly in place. Remember that the upper set of pins -are to be much longer than the lower to allow for the insertion of the -crank. These rollers are about eleven and one-half inches long, and when -the glue has thoroughly dried, should be put in place and kept there by -inserting the shelf, and fastening it in place by nails driven through -the sides as at _i i_, in Fig. 3. - -[Illustration: Fig. 3] - -Fig. 3 represents what is called a horizontal section; that is, the work -is supposed to be cut across from front to back, a little way above the -shelf just mentioned, and the observer is supposed to be looking -downward at it. Fig. 4 represents the work in an upright position, and -the observer sees the front of it. - -[Illustration: Fig. 4] - -From the top of the shelf to the lower outside edge of the box should be -just five and one-half inches. Next come the two uprights, _a b_, _c d_, -Fig. 3, and _A A_, Fig. 4. They may be made from the bottom of the box, -which was taken out, it will be remembered, and let their width -correspond to _a b_ and _c d_, Fig. 3. Round off the edges at _a_ and -_c_, and smooth it with sand-paper, as it would soon tear the pictures -if left in a rough state; place these two boards in position, and secure -them by nails at the top and bottom. Now cut two oblong pieces from -stiff cardboard, as long as these wooden uprights, and wide enough to -cover the spaces left at _e b_ and _d f_, and tack these in position; -they are shown by dotted lines in Fig. 4. - -[Illustration: Fig. 5] - -From a thin board cut two other strips to cover the spaces _g h_, but -leave the placing of these till the work is nearly finished. A board two -feet long and about three inches high is also necessary for the lower -edge of the front, and should be put on after the other parts are in -position, to hide the flame of the foot-lights (consisting of a row of -short candles) from the spectator. The two pieces like Fig. 5 are made -of pasteboard and are designed to furnish the upper and lower portions -of the frame for the pictures. Their position is indicated by dotted -lines in Fig. 4. As it is somewhat difficult to arrive at the exact -proportions of these irregular pieces, without the actual box before -one, it will be easier to leave this to the maker, as it is simply -necessary to take a stiff piece of paper and place it in the position -desired; then crease the lines so that they shall meet the proper points -on the uprights; the lower piece comes up to the top of the shelf, and -the upper piece comes down just below the top of the picture. After -fitting this paper, it is an easy matter to trace the form on the -pasteboard, taking care that all the lines are perfectly straight. The -curtain should be next adjusted, and a piece of dark blue or green -cambric is best suited for this purpose. - -Cut (do not tear) from your cloth a piece of the required size, making -sure that the sides are at right angles to each other, and prepare -another roller from your broomstick twenty-one and one-half inches long. -This roller is seen between _e_ and _f_ in Fig. 3. Paste or glue one of -the ends of the cloth, which corresponds to the length of the roller, -smoothly around it; now letting this roll just touch the floor, draw the -other end up evenly, and tack it along the under-side of the top of the -box, on a line three inches from the edge. In order that the curtain may -roll up smoothly, it is best to mark straight lines with a pencil and -ruler, on both roller and box, and adjust its edges carefully to these -lines. - -Just in front of this line, and at two inches from either end, tack to -the box the ends of two pieces of fish-line, and, carrying the strings -down the front of the curtain, bring them under the roller, up on the -other side, and through two small holes bored for the purpose in the top -of the box, about three and one-half inches from the ends; next bring -the two strings together, and pass them through a screw-eye placed at -the middle and back edge of the top to receive them. At one side of the -back, in any convenient place, drive a small nail to wind the strings -upon when the curtain is up. By simply undoing this, the curtain can at -any moment be made to fall. It is also well to tie the two strings -together, and fasten a button to them just back of the point where they -pass through the screw-eye, when the curtain is down, and they are -evenly drawn, as this prevents an extra play of the cord, and obviates -entirely the danger of their slipping. Before the curtain is nailed on, -it is best to paper the whole beveled surface picture frame with some -neat plain paper; very dark red or green “velvet” house-paper being -preferable to all others. - -After the curtain is in a good working condition, fasten on the two -uprights, _g_ and _h_, indicated in Fig. 3, and the long piece across -the front which you have already prepared; make a fancy design for the -top out of stiff cardboard, taking especial care that it is wide enough -to cover the cranks on the top, while at the same time it extends low -enough to cover the upper edges of the curtain and the rough unfinished -wood in front. - -Cover the outside and edges of the box with fancy wall-paper, letting it -extend well over on the inside, wherever there is the slightest danger -of that surface being exposed to view; and lastly, fasten the long strip -of pictures on the rollers, and nothing is wanting but posters and -tickets, to insure a first-class show, of the best approved, -old-fashioned style. - - - ―――――◀▶――――― - - REPOUSSÉ WORK FOR BOYS. - -The term Repoussé is applied to any sheet-metal in which a pattern is -hammered out or left in relief, by means of a hammer and common nail, or -a regular tool made for the purpose. It does not simply refer to -brass-work, but applies equally to work of like character either on -silver or gold. - -[Illustration] - -If you have friends who have made the voyage of the Nile, you have -probably seen the beautiful silver bracelets bought by them of the -Nubian workmen as souvenirs of their Eastern travels. These bracelets -are made, I was told, by the natives of the interior, with simply a nail -and a stone, but the effect is very artistic and pretty. So, if ignorant -Nubians can make these beautiful things with such primitive tools, -certainly an intelligent American lad can do equally good work, with a -little instruction and better materials. - -REPOUSSÉ, OR HAMMERED BRASS. - -This work is chiefly produced by means of a punch and hammer. An -ordinary tack-hammer can be used, but that generally in use by most -workers is of rather peculiar shape, like that in Fig. 1. - -[Illustration: Fig. 1] - -The round end will be found very useful in working from the inside of -the pattern, which will be explained hereafter. The punches are of -various forms; but a set of common board nails of different sizes, and -varying shaped ends, make good tools for beginners. A very nice piece of -work can be done with a common French nail whose end has been ground -flat. - -It is desirable that a beginner should practice upon the thinnest -sheet-brass until he becomes perfectly acquainted with the use of his -tools. Brass can be obtained for about twenty-five cents a pound, and -one-quarter of a pound of No. 25 will be amply sufficient for this -practice. - -A tool which is of great assistance in all brass work is a dull chisel -or screw-driver, with a serrated edge, so that a dotted line is left -when it is pressed upon the metal; however, if this is not readily -procurable, a common screw-driver will answer the same purpose in most -instances. In this practice, the first thing to be done is to draw a -line of some design upon the brass with a soft lead-pencil or with -impression-paper, taking extreme care that this line is precisely like -that in the copy, as all irregularities should be corrected in the -drawing, and none left for the punch. It is, indeed, very difficult to -make the proper corrections after the work is commenced. Then having -traced your line as perfectly as you can do it, lay the brass upon a -piece of soft wood, and with the end of the screw-driver pressed evenly -upon the line, give the head a light blow with the hammer; then move the -blade along the penciled line, so that its edge shall just touch the end -of the last indentation, and give it another slight tap with the hammer. -If you strike with too much force your line will be unequally deep in -some places, and your work will not present as good an appearance when -finished. This process should be repeated along the entire design, and a -perfect unbroken line should be the result. Until this is accomplished -it is best to attempt nothing further. After you have succeeded in -making one unbroken even line, mark two parallel lines upon the metal, -and do them in the same manner. When these present a satisfactory -appearance, trace some very simple design upon the same thin sheet, and -after nailing the sheet at each corner to the block, commence with the -chisel and mark lightly around the figure. It is often necessary to do -this tracing over two or three times during the process of working, as -too deep denting at first warps, or, as the regular brass-worker would -say, “buckles” your pattern. Now commence at the outside edge of your -design, with your nail placed near the line, strike upon it with a light -blow, and continue this operation until your whole background is covered -with little dents, and presents a thickly mottled appearance. When this -is removed from the block, the pattern will seem to stand out from the -rest of the surface. - -Care must be taken at first not to crack or break holes in the brass, -but after a little practice, and a thicker quality of brass is used, you -will learn to avoid this danger. - -PLAQUE IN HAMMERED BRASS. - -When quite confident in the use of your tools, you can proceed to make a -card-receiver decorated with an antique head, as in the figure; or by -enlarging the design, and making the background circular, a plaque will -be the result, which will be useful for holding fruit, or, set in a -velvet frame, will make an ornament for your walls. A sheet of brass -nearly one-eighth of an inch in thickness, and at least seventeen inches -square will be required. - -As in work of this character a deeper relief is desirable, you will find -it more agreeable to work over a bed of composition, which is more -yielding than wood, and can be made with but little trouble; this -composition can be obtained in small cakes at any store where jewelers’ -tools are for sale; but you can easily make it yourself by thoroughly -mixing fine sand, well-sifted wood ashes, or even brick-dust, with equal -parts of pitch or resin; a tiny bit of tallow improves it considerably. -This pitch bed, as it is called, can be spread on a flat table or board, -and the sheet of brass, after the design has been carefully traced -thereon, fastened down upon it by means of four screws at the corners. -To draw the design for the plaque, with a strong pair of carpenter’s -dividers describe a circle whose diameter shall be sixteen and one-half -inches, and within this draw a second circle, with a diameter of fifteen -inches. The space between these two circles is to be left untouched, as -it will be turned over to inclose the wire which forms the edge, if for -a platter; or will extend under the edge of the velvet, if intended to -be framed. Be sure and put your screws outside the large circle, as -holes in the body of the plaque would ruin its effect. In this work -heavier blows with the hammer will be needed; and a large, well-shaped -nail used for the background. Work around the pattern until it stands -out in line relief. - -The brass will become discolored and black during the process of -hammering; but, when done, it can be readily cleaned, at first with -oxalic acid and rotten-stone, then a final polishing with chamois-skin. - -When well polished, take it to a tinsmith and he will make it up for you -as a platter, or trim and bend the edges for a plaque. - -CARD-RECEIVER. - -In making the card-receiver, take the design off on tracing-paper, and -then carefully trace it with a sharpened stick or end of a bone -crochet-hook, over the impression-leaf on the sheet of brass. In this -also the relief should be high, thus rendering it necessary that it -should be hammered on the composition-bed. Polish and finish this in the -same manner as the plaque. - -FOXING. - -Foxing, or sticking the metal to be embossed upon a block covered with -pitch, is a favorite method with many workers. The block can be of iron -or wood, and should measure eight or nine inches across; this rests upon -a deep ring of straw, which is readily made by an ingenious boy, as it -simply consists of the twisting several wisps of rye straw in the form -of a large cable, and then bending them into a small ring of even -thickness. Catch them in place with a large darning-needle filled with -wrapping-twine. Nice rings, made of leather, and designed expressly for -this purpose, can be obtained in the trade, but the home-made ones -answer as well for any work a novice would be competent or even desirous -of undertaking. The top of the block is covered with pitch, which should -be warmed, and then given the slightest possible coating of oil, -whenever a new object is to be placed upon it. Care must be taken that -too much oil is not used, as in that case it will be impossible to make -the surface of the brass adhere to the bed. In work of a nice nature, -where the lines are many and fine, and the background complicated, this -is by far the most satisfactory bed to use, and when the metal is -“annealed” it will be found invaluable. - -ANNEALING. - -When working in very heavy metal, it is often necessary to soften it -somewhat, especially if a deep relief is desired. This is accomplished -by placing the plate upon a bed of glowing coals, and allowing it to -remain there till it becomes soft, but not in the least melted, and then -removing it with pincers. Hammering upon the cold metal is inclined to -make it brittle, and at times slightly unmanageable, and this unpleasant -quality can be overcome by annealing; but so much care and patience are -required to accomplish this process successfully, that it is not very -popular with young workers. In many larger designs, a very high relief -is obtained by turning the brass after the plaque has been hammered upon -the right side as much as seems necessary, and with the round end of the -hammer sending strong, even blows into the figure, at whatever points -the highest work is desired. By annealing the metal, and working the -pattern from the inside after the background is finished, a very fine -bunch of well-rounded grapes is easily formed, and makes a very nice -subject for a fruit-dish or dining-room plaque. A dragon, and the emblem -of St. Mark, both make unusually fine designs for a mediæval plaque. - -As you become more expert in this art you will constantly desire new -punches. Designs will suggest themselves to you, and it will be -impossible to obtain them ready-made, so it is well for a boy to learn -to make his own tools. A kind of square steel wire about one-eighth of -an inch thick is made for this purpose, and can be bought in any -quantity; this can be cut with a file, and the ends formed into the -desired shapes. - -A SALVER IN REPOUSSÉ. - -A very beautiful salver, which will not only be ornamental but -exceedingly useful, can be easily made by one accustomed to work upon -sheet-brass. A piece twenty by fifteen inches in size, and about -one-eighth of an inch thick, will be required for one of medium size. -Strike off with the dividers a quarter circle in each corner, to give it -a slightly oval effect, and draw a line around the salver parallel to -the intended edge, and one and three-fourths inches from it. The entire -central surface can be hammered in the honey-comb pattern, which is so -popular just now, and is done with a perfectly straight-edged punch, its -length determining the side of the hexagon, or if preferred the -pentagon, as both forms are equally attractive; or it may contain some -graceful design done in low relief. The more original the design the -more unique the salver, provided it is artistic and in harmony with the -object and use for which it is intended. - -It would be well for all young workers in brass to examine carefully any -work of that nature which comes within their field of view, especially -any antique or foreign brasses, with a view toward perfecting their own -designs, or gaining ideas for others. - -When the work on this salver is completed, take it to the tinman, and -tell him how you wish it made up, and he will do it for you for a very -small sum. - -A SILVER BANGLE FOR A LADY’S BRACELET. - -For the past few years there has been an increasing passion among young -girls for the little round bangles, which tinkle so musically with every -movement of the slender white wrist, that we are forcibly reminded of -the old nursery rhyme: - - “With rings on her fingers, - And bells on her toes, - She shall have music - Wherever she goes.” - -And as it has long been a matter of rivalry, as to who should display -the greatest number of these resonant favors, it is quite certain that -one of the pretty trifles will make a very acceptable present to any of -your sisters or girl friends you may desire to please. They are usually -made from ten cent pieces, but occasionally a bit of silver no larger -than an old-fashioned three-cent piece is used. The coin is beaten or -rolled flat, and the giver’s initials or monogram, with perhaps a date, -is engraved on one side. Now a much more unique and artistic thing could -be made by annealing the coin, and beating its surface flat on some -firm, hard bed. After the silver is reduced to the proper size and -thinness, with a pen or pencil draw some odd designs, and hammer it in -shape with a small, blunt-pointed nail. Ancient coins, such as are -frequently on exhibition in store windows, afford excellent subjects for -this class of ornaments. When the design is well indented, the work can -be cleaned by boiling it in sulphuric acid and water, and polishing it -with chamois-skin. - -A BANGLE BRACELET. - -A bangle bracelet can be easily made of hammered work, from a narrow -strip of sheet-silver, which can be obtained from any silversmith at a -small cost. The design is to be traced on the silver in the same manner -as upon the sheet-brass, and great care must be taken in the working out -of each little detail. When the work is finished, it should be sent to a -jeweler to be made up and polished. This is of course an expensive, as -well as a very nice piece of work, and should not be tried until -considerable skill in the manipulation of sheet-metal has been acquired, -and success seems in a large degree certain. - -Many ladies are fine workers in repoussé, and it cannot fail to be a -source of satisfaction to every one interested in the art to know, that -each year its merits are becoming more fully known and appreciated by -that great class of people, whose purchases govern the prices of all -artistic things. Now, boys, I have simply touched upon this very -interesting subject of repoussé, and given you a few directions, culled -from my own experience. If, however, I have succeeded in stimulating in -you a desire to pursue this subject further, you will find many -excellent helps, in the form of books or pamphlets, in any of our large -stores devoted to artists’ materials and supplies. - - - ―――――◀▶――――― - - A FRAME FOR A PLAQUE. - -A fine frame for any kind of plaque, whether repoussé, porcelain, -leather work, or papier-maché, can be easily made from a square piece of -wood, about six inches wider than the subject to be framed; this can be -beveled at the edges, or left as when sawed. In the center, with a -strong pair of carpenter’s dividers describe a circle, whose diameter -shall be half an inch shorter than that of the plaque. Bevel the front -edge of this opening, then covering the whole front surface of this wood -with thin glue, lay it, face downward upon the piece of plush or velvet, -intended to cover it; the material lying flat and smooth, with its -raised surface downward, upon an uncovered table. Cut the center of the -cloth away, allowing enough on the edge to draw over the opening of the -frame; slash this to within a short distance of the wood, that it may -lay evenly when finished; now glue this firmly down upon the back, and -bring over the outside edges and fix them in the same way. When this is -dry, fasten in your plaque with brads driven into the back of the frame, -and extending over the edge of the opening at its back. Finally, when -certain all is securely fastened, wet a piece of brown paper, cut to -exactly cover the entire back of plaque and frame both, cover it with -paste and press it in place. It is necessary to wet the paper first, to -prevent its wrinkling or forming great bubbles when dry. When the paper -is dampened, a bit of paste around the edge is all that is necessary to -hold it in place. - -After this backing is completed, a couple of screw-eyes and a wire cord -are to be added, and your plaque is ready for your walls. - - - ―――――◀▶――――― - - THE AQUARIUM. - -[Illustration] - -The name aquarium was formerly sometimes given to a tank or cistern -placed in a hot-house, and intended for the cultivation of aquatic -plants; but in later years its signification has widened, so that it now -embraces animals as well as plants in its category. Its use seems to -have been known nearly a hundred years ago, and a number of gentlemen, -in the latter part of the eighteenth century, made several successful -experiments by means of this “scientific plaything,” as some writer has -happily called it. The aquarium can be used for either salt or fresh -water animals, the former necessitating a residence conveniently near -the sea, for the purpose of occasionally replenishing it with a fresh -supply of the water. It may be an ordinary globe, or it can be made of -slabs of heavy glass, fastened inside an iron frame-work, with a -peculiar kind of cement, made specially for the purpose. They can be -obtained in different sizes at several places in New York and other -cities, and as the materials in themselves are expensive, and the work -of making one usually results in a series of disappointments, and -finally, in total failure, the expediency of buying one ready-made -cannot be too strongly urged upon the young naturalist. Although the -large aquarium accommodates more inmates, the globe is much more easily -cleaned, and answers equally well for a few fishes, as the one in my -window will testify. As fresh-water animals and plants are more -accessible to the larger proportion of boys in the country, and the -globe much cheaper, while it occupies less space than the large square -articles alluded to above, it may possibly not come amiss for me to -give, for the benefit of those of my readers who are interested in the -subject, a description of my own fresh-water aquarium, and what little -experience I have derived from it. - -It is a globe of ordinary shape, and has the capacity of a common -water-pail. For several years it was stocked with gold-fish, but it was, -moreover, a source of ceaseless anxiety and trouble. The fish would die -or turn black without any apparent cause, and, still worse, would -frequently have what we termed “fits” in the night, and jump out of the -globe on the floor, where they would be found, cold and lifeless, in the -morning. - -The experiment of keeping these decidedly troublesome pets was finally -given up, and the empty globe placed high and dry upon a closet shelf. - -One day nearly a year ago, a young member of our household brought home -three small fishes (the common dace), and begged so hard that the globe -might be brought out, and converted into the family fish-pond once more, -that we finally consented, and the little fishes were soon at home in -our library window. Not more than a week after this, a genuine -mud-turtle was added to the collection, and, strange as it may seem, -these little creatures have lived at peace with each other ever since. - -We covered the bottom with a few pebbles from the brook, and afterward -added some sand and a handful of shells from the sea-shore. - -We experimented with several species of water-plants, but were convinced -that a tiny fine-leaved plant, of which I have forgotten the name, but -which grows very plentifully in our northern fresh-water brooklets, and -the _vallisneria Spiralis_, or common tape or eel-grass, gave the -greatest satisfaction on the whole. With these little plants growing on -its bottom, we are not obliged to change the water for several days at a -time. - -In bright sunny weather the plants give forth plenty of oxygen for the -fishes to breathe. This can be readily seen by noting the little -air-bubbles adhering to the leaves and stems, or rising slowly to the -surface of the water; but in cloudy weather this gas-making process -diminishes, so that after awhile the air becomes vitiated, and the -fishes, finding it hard to breathe, are forced to swim near the top, -with their heads at the surface of the water. At such times it is well -to introduce fresh air into the water, by filling a cup with the water, -and, holding it an inch or two above the surface, pour it slowly back -into the globe; by repeating this process several times the water is -made comparatively pure once more. Another and easier way of -accomplishing this is by using a small syringe instead of the cup; but -care must be taken in either case to avoid hitting the fish with the -descending stream. - -Their food consists of angle-worms and flies in summer, and bits of -fresh meat cut very fine with the scissors, during the colder portions -of the year. - -THE SALT-WATER AQUARIUM. - -[Illustration] - -The globe answers equally as well for salt as for fresh water fish, -provided its inmates are not crowded and are supplied with a sufficient -quantity of good sea-water. In obtaining this supply, it is desirable to -have it dipped from deep water some distance from the shore, or from the -channel if possible. - -In preparing your globe, put a handful of gravel and sand on the bottom, -then with three or four irregular stones build a cave or little arch, -for the fishes to play beneath. - -Although some authorities say that the aquarium should be kept in the -shade, the one with which the writer was familiar through childhood -always stood in a south window, which was only partially shaded by some -great trees in the garden beyond. - -Occasionally, on very sunny days in spring or early summer, before the -leaves were fully grown, a newspaper would be placed between the glass -and the window-pane, or over a corner of the top, to give the desired -protection; but the tiny cavern usually supplied sufficient shade, and -it was ever a source of unabating amusement to watch the little fellows -swim in and out through the arches, darting now here and again there, -hiding in the shadow of some moss-grown stone, to spring out a moment -later upon an unsuspecting companion swimming leisurely by; their little -games of hide-and-seek and of tag were very entertaining to witness, and -we children would frequently find ourselves quite excited over the -success or failure of our special favorite in the game. - -As the aquarium of which I speak was a large one, it frequently had -several inmates at the same time; among these the little nippers, or, as -the dwellers along the coast of New York State call them, killie-fish—so -named by the Dutch settlers from their frequenting the little kills, or -inlets, along the shore—always held a conspicuous place. Indeed, these -little fishes seem to be blessed with a long string of names entirely -disproportionate to the size of their tiny little bodies. In some places -they are known as minnows, while on the shores of the Narragansett they -retain their old Indian name of Mummychog. They are a bright, lively -little fish, darting through the water with such rapidity, that you hold -your breath in fear lest they dash themselves against the glass at the -end, but they never do; just as contact with it seems a matter of -certainty, they suddenly turn a sharp angle, face about, and perhaps -come to the front and peer at you through the glass, with their funny -little faces pressed up close to its surface. They are of a -greenish-gray color upon the back, which gradually shades to a bright -silvery tone at the sides, and their eyes, which are large and staring, -have a very mild, good-natured expression. - -Very different from these are the sticklebacks (_Gasterosteus_), also -fine subjects for the aquarium, for a more pugnacious or plucky little -fellows it would be hard to find than these graceful little tyrants, -which in early spring are found in our creeks and salt-water ditches in -great abundance. As this is the only season of the year in which they -can be captured, it is best to be on the watch for them during the last -of March or the first of April. A dip-net, made of a piece of mosquito -netting caught over a small hoop, and attached to a long, slender -handle, is best for catching all kinds of fish for the aquarium, and the -shores of bays or salt-water streams supply a greater abundance than the -open sea, or the shore washed by the heavy ocean waves. If your globe is -the vessel you are to use, the sticklebacks will afford you quite as -much amusement as any fish you could find, for aside from their quick, -lively manner, they are a very handsome fish. The male is of a rich -ruddy color, his little silvery sides giving forth gleams of red or -blue, which vary considerably, according to his temper. If he feels -quiet and peaceful, they are pale and soft in tone, but if indignant, -they become very brilliant, and the little chap with his savage, fiery -eye, becomes an object of great respect and terror to all the other -denizens of the water within reach of his teeth or sharp little spines. -The female is less brilliantly colored than the male, is blunter in -build, and has a comparatively mild disposition, leaving all little -differences with other fish for her liege lord and master to settle, for -which duty he is perfectly well fitted and takes great delight in -performing; indeed, so quarrelsome were these little fellows, that they -would soon kill all fish of other species in the tank, and when no other -subject was at hand, would fall to and fight one another, biting as ugly -dogs might do, and spearing with their tiny spines, till one had -acquired complete supremacy over all the rest. It is very interesting to -watch the process of their nest-building, and to see them, like so many -lilliputian carpenters, lay the sticks and hairs in place, working as if -their whole life depended upon their unceasing exertions. We used to put -in bits of broom-corn split in threads, and bristles from the -floor-brush, for materials; and the work of building would generally -occupy three or four days. The nest was built in one corner of the box -(we were obliged to keep the sticklebacks in a separate glass case, as -they killed all the other fish if together) and well up on the sides, -with a tiny round hole at the top for the fish to go in and out. After a -short time—I do not remember now just how long—hundreds of little fish -came out from the nest, and were very lively for two or three days, but -in a week they were all dead, and the parents had the waters to -themselves once more. We never succeeded in raising the young fish, I -remember, but I do not now recall whether any reason was ever ascribed -to our failure, or if it was even known. - -But to go back to our large aquarium. Fortunately for us, not many fish -are as quarrelsome as the sticklebacks, and most of those I shall now -describe live together in perfect harmony. The young of larger fish do -very nicely for a time in the aquarium, and a young eel is a rather -amusing although somewhat sluggish fellow to keep. - -The most amusing denizens are creatures of the crab family. The little -hermit-crabs, found in quantities on any shelving beach of the bay or -sea inlet, create much sport for the young naturalist. These little -crabs, you must know, are soft little fellows, for whom nature in a -frugal moment prepared no house or covering to protect them from the -thumps they might receive from both water and stones; but the little -fellows, with a shrewdness one would hardly suspect in creatures so -small, rise equal to the occasion, and help themselves to the empty -snail-shells left by their more fortunate neighbors. When small they -occupy the little black snail-shells, moving from a smaller to a larger -as they increase in size. After outgrowing these plainer homes they take -possession of the pretty grayish-white shells also found in abundance on -our shores. It is frequently quite amusing to watch two fight over a -particularly desirable one, which either has chosen for its own, and -ofttimes the battle will be long and heavy before either will give up -that which he considers by rights his own. If you have one or more of -these little wanderers in your globe, remember to put in two or three -empty snail-shells for them to flee to when they have outgrown their -present abode. Their manner of eating affords a very entertaining -spectacle. Clams, either soft or hard, cut into tiny bits, form the -principal food for all the dwellers in the aquarium, and a long stick -with a needle driven in one end, to form a tiny spear, is used in -passing it to them. When a particular crab is to be fed, a bit of clam -is taken up on the needle, and lowered down in the water to a position -directly in front of him. At first, before he has become acquainted with -this mode of dining, he draws in his claws, and nothing but the shell is -to be seen upon the bottom; but in a few moments the little fellow lets -himself out again, little by little, with a quick, jerky movement, till -at last his two little eyes stand in an upright position, and he is -ready to seize the tempting morsel. This he does with his longest claw, -and holding the clam firm in his grasp, he proceeds to pick it in pieces -with the other long claw, and pass it along to the smaller set, which in -turn give it to the next in order, until it finally disappears in the -mouth itself, and is swallowed by the little creature. - -It is important to have two or three snails in your globe to act as -scavengers, and keep the water free from the refuse which would -otherwise remain on the bottom. These little creatures are often seen -moving slowly along on the surface of the glass, feeding upon the green -moss or confervæ which accumulates so quickly on all the objects under -water. The pipe-fish, a peculiarly shaped specimen, comparatively rare -on our Atlantic coast, is worthy a place in your collection; and the -shrimp, the acrobat of the aquarium, whose funny little backward -movements, when the poor little fellow is frightened, create so much -laughter among the little folks, must not be forgotten. Young scallops -are very pretty, and when left undisturbed open their shells a trifle, -disclosing a beautiful fringe of tiny blue tentacles which wave to and -fro with every motion of the water. - -The medusæ, also called jelly-fish, with their umbrella-like cover, and -long, slender tentacles streaming downward, are pretty for a time, but -do not live long after they are taken from the sea. The Cydippe and the -Beroe are very lovely specimens of this class, the former particularly -is noticeable for its beautiful iridescent colors. The beautiful orange -colored medusa is an unsafe inmate, as he very soon kills all the fishes -within his reach. - -[Illustration] - -If it is possible, obtain one or more of the beautiful sea-anemones, and -add it to your globe; the large, bright-colored members of this class -are only to be found in the tropics, but very pretty, delicate specimens -are sometimes found in our northern waters, where a rock or bit of -stonework is constantly washed over by a swift current. If possible, it -is better to take the stone on which they rest, as it is almost -impossible to remove them from its surface without killing them. This -was, however, done several times with success, and the anemones lived in -our aquarium as long as they could be expected to exist in perfectly -quiet water. When these creatures are at rest or frightened they draw -down into little shapeless masses; but when looking for food they -stretch up again, and expand on the top of the long stalk, as we may -call it, a beautiful flower-like head, resembling an aster in form, and -of a deep brownish-yellow color. When food is passed down to this -animated blossom, it will fold its little tentacles one by one around -it, and pass it down into its mouth, open to receive it, but which is -entirely hidden by the beautiful petals of this delicate flower. - -All of you have probably noticed the serpulæ, or worm-like excrescences -often seen upon oyster and other hard shells. If one of these shells be -taken from the water and immediately placed on the bottom of your -aquarium, after a few days, when the little animals feel quite at home, -they send out of one end of their slender tubes bunches of the -loveliest, delicate brown fern-like feelers, which sway about in the -water like the beautiful roadside ferns in a gentle summer breeze. - -But in the salt as in the fresh water aquarium, vegetation is necessary -for a healthful condition of the inmates. Here we see on a miniature -scale that wonderful balance of organic forces which exists on the -larger globe around us. The vegetation exhales the purifying oxygen, -which renders the water fit for sustaining animal life; the fishes and -other animals in their turn give forth the carbonic-acid gas, which is -equally needed for the healthful development of the plants; while, last -of all, the snails—those little scavengers nature has so wisely -provided—remove such minute portions of decaying matter as might -otherwise pass unnoticed, and so contaminate the entire water in the -globe. - - - ―――――◀▶――――― - - THE WOODEN WINDMILL. - -So common were these little toys among the companions of my childhood, -that it seemed almost superfluous to insert what I supposed every boy -must be familiar with; but upon questioning my young friends, I find -that very few of them away from the sea-coast towns of New England, and -the sailor-like influence or atmosphere which permeates them, know -anything of the pretty little windmills, or weather-vanes, which we -copied from those of our sailor friends. - -It was no uncommon thing in those days for some boy less ingenious than -his companions to use a little strategy, and so get his work done for -him by proxy; and the manner in which he would proceed was generally -something like this: Early some bright spring morning, with jackknife -and shingle in hand, he would saunter down to the wharf, upon which he -knew at an early hour the old sea captains of the village would -assemble, and wait his chance. Here the old captains, and the sailors, -who by reason of their advanced age took the same honorary title, were -wont to gather on the sunny side of the weather-beaten old store-house, -and watch from under their heavy gray eyebrows the bay stretched out -before them, while they enjoyed their pipes, and lived over again the -wonderful adventures and disasters of their successive voyages; and here -he would watch for his prey, little suspected by those kindly old souls, -who had, years long gone by, ruled with iron will over the crews and -destinies of great ships, known to him only by their names. Occasionally -two or three would arrive at the wharf together, and he knew his chances -were gone for that day at least; but usually some one, whose breakfast -may not have claimed as much attention as usual, would be seen making -his way down the quiet village street, easily recognized by his rolling -gait, his inseparable pipe, and manner of scanning the clouds and -horizon. Now our friend would begin to whittle in earnest, soon -attracting the attention of the ancient mariner by his awkward -movements. Of course, he would receive no end of ridicule for his -stupidity; but as that did not sink very deep in his boyish soul, he was -prepared to pay a greater price, if necessary, for the work he expected -to receive. It not unfreqently happened that the old fellow would take -the shingle to show him how to begin, and would get so much interested -in the work that he would offer to do it during the day, and would -actually whittle away on the little boat, while he or one of his -companions related for the fiftieth time how the _Nautilus_ passed -through so many hair-breadth escapes, and finally reached port at last, -with no soul missing and cargo untouched. - -It was during these long voyages, when time hung heavily on their hands, -that they acquired their skill in fashioning these mechanical toys, -which almost always had for their motive power the wind or the waves. - -[Illustration: Fig. 1] - -[Illustration: Fig. 2] - -[Illustration: Fig. 3] - -[Illustration: Fig. 4] - -The simplest form of windmill from this source I remember seeing is very -easily constructed. It is made from an oblong piece of wood like Fig. 1. -Through the center of this bore a hole, _a_, for the pivot upon which it -will finally turn, and mark the two lines at _b_. Now, commencing at the -point _b_, cut off the corner, _b c_, and make the surface flat as in -Fig. 2; then cut off the opposite side of the other end, indicated in -Fig. 1 by the dotted lines _d e_, in a like manner. Your figure will now -resemble Fig. 2, and both ends will form a prism like _b c d e f_; but -_b c d e_ should be a thin flat blade, so the corner or edge, commencing -at _f_, should be cut down in the same manner that _e d_ was treated in -Fig. 1. Make the other blade to correspond and chamfer out the middle, -or square piece, as seen in Fig. 3. This middle piece is not a square, -although I have spoken of it as such, but is oblong, to allow room for -another two-bladed piece made precisely like this to interlock with it. -When these two pieces are fitted together, fasten them with one or more -nails, and then insert the small round stick upon which the windmill is -to turn. Fig. 4 shows an arrangement by which two windmills are operated -on the same stick. These should turn in opposite directions to make them -effective, and this is easily accomplished by simply cutting the vanes -of the one so that the wind shall strike it at an angle opposite to that -with which it strikes the other. Should you care to decorate them in -colors, it had best be done by painting bands or stripes across each -vane, all to correspond with each other in width and shade. For -instance, take the windmill in Fig. 4; let the outside bands be of -chrome yellow and one inch wide; the next red and two inches wide; while -the third yellow, and the fourth blue, should each be an inch in width. -The axis should have a greater diameter where the larger revolves upon -it, but should be cut smaller where it meets the back of the little -windmill. Nails in front and back of the larger, and front of the -smaller, are necessary to keep them in place. - -[Illustration] - -Perhaps the most satisfactory way of arranging such a windmill is to -place it on the end of a weather-vane, as shown in Fig. 5. It is then -always presented to the wind. The vane and the windmill may be painted -the same color, or the latter may be decorated in stripes, as before -described, and the vane given a color which will harmonize with it. Care -must be exercised to fasten each part strongly in place, as the strain -is very great during a strong wind or in a storm. - -THE SCREW-PROPELLER; OR, WEATHER-VANE AND WINDMILL COMBINED. - -[Illustration] - -Take a piece of board, seven-eighths of an inch thick, and large enough -to make a vessel of the size you desire. Cut out a hull like that in the -illustration. Make a small windmill like that just described, but with -rounded ends to the vanes, like that represented in Fig. 2. Pass a -strong wire through the hole in the center, and drive it into the stern -of Fig. 1; fasten the other end into the rudder, which should be -stationary. Be careful when planning your vessel to allow sufficient -room for the windmill to revolve below the over hang. Bore a hole at a -for the pivot to rest in, upon which the weather-vane is to turn, and -insert the two masts in their proper places. Cut a small mizzen-sail -from thin board and nail it to the mast. - -[Illustration] - -The flags are of red and blue flannel, the stays of copper or galvanized -wire, and the bowsprit a small stick, cut from a tough bit of wood. This -propeller may be painted to suit the fancy, but usually is black, with a -narrow yellow or white stripe near the top. The lower third is -frequently painted green, however, which adds considerably to its -nautical appearance. The windmill should be a bright red, and the entire -vessel should have plenty of time to dry before being placed in its -final position. - -THE SIDE-WHEELER. - -[Illustration: Fig. 1] - -Another, and very pretty windmill, which can be easily constructed by a -boy, is in the form of a steam-boat, the paddles of which are always -presented to the wind by the position of the boat itself. Cut out of a -seven-eighths of an inch board a hull like that seen in the -illustration, and make the hole for the pivot at the middle point -between bow and stern; bore another hole just aft of this for the axle -of the paddle-wheels. Out of thin wood cut two circular disks for these -wheels, and dovetail the paddles into their edges as seen in Fig. 2. -Next cut out two half circles of your thin wood for paddle-boxes, and -bore a hole in each for the axle of the wheels. These are to shield the -upper half of the wheels from the wind. Now take a piece of tin, in -shape like Fig. 3, and wide enough to accommodate the wheels on either -side, and nail it to the edges of the paddle-boxes, as seen in the -figure; the ends, _a_, are to be nailed upon the deck of the steamer, -and answer the purpose of keeping these boxes in position. Paint this -boat black and green, the latter occupying the lower third of the hull, -while a narrow line of yellow or white around the top relieves the -somberness of the upper part. The paddle-boxes should be black, with -narrow lines of light red radiating from a small semicircular figure of -the same color near the bottom. This boat should also be fitted with a -small mizzen-sail, made of tin or thin board, and painted white. The top -of the paddle-boxes is buff or light yellow, and the wheels or windmills -are a bright red. - -[Illustration: Fig. 2] - -[Illustration: Fig. 3] - -In this steam-boat, a “dummy” walking-beam, cut out of a single piece of -thin wood, can be added if desired, and should be painted in solid -black, or, if liked, it can be striped like that in the “Toy -Steam-boat,” elsewhere described in this book. The smoke-stack in this, -as well as the screw-propeller, should be nailed in place before the -first painting. - -If you should care to take the trouble, the walking-beam can be made to -move by simply cutting away the hull between the paddle-boxes, to allow -the crank to turn in, and bending the axle of the wheels in the form of -the crank described in the “Toy Steam-boat.” A long slit must also be -cut in the tin cover of the paddle-boxes, to allow of the play of the -connecting-rod. Small flags of bright-colored strong cloth can be placed -in the proper places if desired, and really add considerable to the -bright, pretty effect when first made; but as they are soon ruined by -the combined influences of sun, rain, and wind, they are hardly -desirable, unless the boat is in some position where it can be easily -reached, and the little flags changed for new ones, as they become faded -or torn. - -THE REGATTA WINDMILL. - -[Illustration] - -Take two sticks of wood, about three feet long, and one inch in -diameter; fasten them together at their central points, so that their -arms shall be at right angles with each other (see Fig. 1); and bore a -large hole through the point of intersection. From shingles cut out four -boats, each eight inches long, and fit them with masts; next cut from -strong new cloth four small triangular pieces for sails, and sew them to -the masts; fasten the lower corner by a strong bit of cord to the stern, -as seen in Fig. 2; then cut a small flag from red flannel and nail it to -the top of the mast. You can paint these boats if you like, and also the -cross-pieces upon which they are finally nailed. Care must be taken that -they all head the same way. Observe their positions in Fig. 1. - -[Illustration] - -Fig. 1 shows the affair finished and mounted on its pole. Place them in -as high a position as possible, so that they may catch the breeze from -all directions. - - - ―――――◀▶――――― - - A BOY’S SOLAR MICROSCOPE. - -The microscope is, as every boy knows, an optical instrument, which -enables us to see and examine objects which are too small to be seen by -the naked eye. The arrangement of the solar microscope is similar to -that of the magic lantern, the sun taking the place of the limelight -usually employed. In this form of the magic lantern, two difficulties -are to be overcome; one, the necessarily fixed position of the -instrument; and the other, the very inconvenient habit the sun has of -constantly changing his position; so that it would be impossible to -adjust the lens without the aid of a mirror, to throw sufficient light -in upon the object to be examined. Both of these obstacles are -surmounted in the simple arrangement of the solar microscope here -described. - -[Illustration: Fig. 1] - -First make a strong frame of wood, seven-eighths of an inch in -thickness, that will exactly fit in the lower half of the window when -the sash is thrown up; and in the middle of this fit an upright board a -foot wide, which has a hole cut in its center ten inches in diameter. -Fasten it strongly in place by four nails driven through the frame, and -well into the ends of the boards, or, if more convenient, by long screws -inserted in the same places. Fig. 1 shows the position of the board _a_, -also that of the nails _b_. The open spaces, _c_, are to be closed by -several thicknesses of brown paper pasted or tacked across on the inside -of the frame. The upper part of the window must also be closed, so that -no ray of light shall enter the room, except through the hole _d_. - -[Illustration: Fig. 2] - -Before proceeding further, it may be well to remark, that, as perhaps -the largest part of the work is the cutting of no less than seven -circular holes of various sizes, through as many pieces of board, a -scroll-saw will be found an almost indispensable aid to the construction -of this apparatus. Also, that the window in which this microscope is -used must necessarily have a southern exposure. - -[Illustration: Fig. 3] - -In Fig. 2 we have a disk of half-inch wood, twelve inches in diameter, -with an opening in the center four inches across, to hold the condensing -lens, _a_; _b_ is a mirror five inches wide and ten inches long, turning -on an axis which passes through the supports, _c c_, the latter being -attached to the disk. These supports should be long enough to admit of -the mirror turning entirely around without touching the disk, and are -fastened in place by screws passing through the disk and into their -ends. When the mirror is in place, cut the slit _d_ parallel with the -edge of the mirror, for the wire _e_ to pass through. The manner of -attaching the wire to the back of the mirror is seen in Fig. 3. The back -is first covered with paper to prevent its scratching; then the wire is -bent and laid in place, and lastly, a piece of very strong paper is -pasted over the wire and entire back, and caught down over the edge of -the front, forming a narrow frame to the glass; the ends of this wire -should pass through rather small holes in _c c_, so that it will not -turn easily out of position. A handle (see _f_, Fig. 4) should be placed -on the other side of the disk, and just across the lens from the slit -_d_. - -[Illustration: Fig. 4] - -Next take two pieces of wood, fifteen inches square and half an inch -thick; in the center of one cut a hole twelve inches in diameter, while -in that of the other cut another round hole only ten inches across. In -Fig. 4, which represents a section of this microscope, _g_ is the -central board of the screen, marked _a_ in Fig. 1; _h_ is the piece you -have just made, with the central opening twelve inches in diameter; and -_i_ is the second piece, which measures fifteen inches square, but has a -hole of only ten inches diameter in its center; _d_, which has a dotted -surface, to distinguish it from the frame-work, is the large disk (Fig. -2), which, you remember, is just twelve inches in diameter, and, -consequently, will exactly fit the opening in _h_; if these edges are -rough, sand-paper both with a coarse quality first, finishing them off -with a finer kind. When _d_ is in position, and moves easily but not -loosely in _h_, place _i_ over it and fasten it in place with screws, -passing through _i_ into _h_; but _h_, of course, must first be strongly -nailed or screwed upon _g_. - -You will now see that by turning the handle, _f_, the position of the -mirror, which is fastened to this disk, can be easily changed so that it -shall face in any direction, while by drawing the wire, _e_, it can be -turned so as to reflect the sun’s rays through the lens, _a_, from -whatever quarter of the heavens it may be shining. This double -adjustment of the mirror and lens enables you to throw the rays of the -sun through the opening in upon the object, _o_, at any hour of the day. -As the mirror is adjusted in Fig. 4, the sun must be very low, as its -rays, to strike the mirror, would necessarily be nearly horizontal. - -[Illustration: Fig. 5] - -The lens, _a_, should be held in place by two pieces of whalebone, bent -around on either side of it, at the edge of the opening in _d_; this -lens is four inches in diameter, and has a focal length of nine or ten -inches; its adjustment had better be left till everything else in the -microscope has been finished. Fig. 5 shows the appearance of this when -completed. - -[Illustration: Fig. 6] - -As the outer part of the work is fitted, we will now turn our attention -to the other, or inner, side of the screen. In Fig. 4, the board _j_ is -eighteen inches long by ten inches wide, and half-an-inch thick. In the -middle is a small circular hole, one and one-half inches in diameter. -This is fastened to the middle board, _g_, by the four horizontal posts, -_p_, each six inches long. - -Now take a square piece of half-inch board, five inches across, cut a -circular hole two inches in diameter in the middle, and fit into this -hole a pasteboard tube four inches long, which is painted black on the -inside. The edge of the circular hole in _j_ should also be black. In -Fig. 6, which represents this board, you will notice two cleats, _l l_, -fastened to the back of _k_; these are also made of half-inch wood, and -are five inches long by one wide. In Fig. 4, the position of _k_ and _l_ -is seen in connection with the longer piece, _j_; the center of the -openings in _j_ and _k_ should form one and the same horizontal line. -The opening between _l_ and _l_ is for the glass slides upon which the -objects to be examined are placed. - -After these parts are fastened in their proper places, make a pasteboard -tube, with a black inner surface, as represented at _n_, about four -inches in length, and inclose in one end two lenses, each one and -one-half inches in diameter, and each having a focal length of four -inches. Fit this tube in the one marked _m_. Now, having everything in -place, fit in the lens, _a_, so that it will send the rays of light -directly through the hole in _j_ upon the object in _l_, and fasten it -securely in place with your bent whalebones. - -The screen upon which the image is thrown can be the opposite -whitewashed surface of the room, if by a proper adjustment of the tubes -the image can be made distinct, or it can be a sheet stretched over a -frame-work of light wood; the latter is preferable, as it can be more -easily brought in focus. Of course, in this form, as in any other “magic -lantern,” the nearer the screen to the lantern, the longer the tubes _m -n_; but the image, which is smaller, gains in brilliancy of -illumination, while with these conditions reversed, the results are the -opposite; a larger image, but less bright in appearance. The same light -being spread over a larger surface is necessarily less strong. - -SOME OBJECTS FOR THIS MICROSCOPE. - -The objects which can be examined by aid of this instrument are many in -number, and can be readily prepared by simply inserting them between two -pieces of glass, sufficiently small to slide in the opening _l l_, and -pasting bits of brown paper over the edges to hold them in place. - -In this manner the legs of flies and mosquitoes, the heads of the latter -with their venomous sting; hairs of the dog and cat, also from the human -head; tiny sections of human skin; down from the butterfly’s wing, -obtained by dusting off a few of the tiny particles upon a glass plate; -the pollen from different flowers; spores of the puff-ball and tiny -grains of dust, all make very interesting subjects for study, when -magnified and thrown upon the screen in the darkened room. - -One of the most interesting experiments with this form of the magic -lantern is made by throwing the image of a drop of some solution, like -sulphate of copper, upon the screen, and watching the process of its -crystallization; sulphate of copper and of iron; hyposulphite of soda, -which latter may be colored by adding a very little permanganate of -potash to the solution. - -The eels in a drop of vinegar, drops of stagnant water, and the larvæ of -the mosquito are also interesting objects, when viewed by the aid of -this powerful magnifier. - - - ―――――◀▶――――― - - SEA-MOSSES. - -[Illustration] - -No boy who has lived on our coast, or, indeed, who has spent much time -near the sea, could have failed to notice and admire the beautiful -feathery mosses which sway about so gracefully under the surface of the -water. The most delicate mosses are not found upon the open sea-beach, -but in the more sheltered bays and inlets near the coast, and one who -has never given them especial attention cannot fail to be impressed by -the great variety of form and color to be found within a small space of -water. Ranging in color from the palest pink or straw to the deepest -purple or brown, and from the lightest sea-green to the darkest shade of -olive, they are capable of being arranged in most beautiful bits of -coloring, while the delicate, fine specimens, united with the coarser -varieties, add to the effectiveness of the whole. To gather and arrange -these mosses is not as difficult a task as most people imagine. Any boy -can, with a little care, make a fine collection, which would be valued -very highly by some inland friend who cannot reach the sea-shore every -year, or perhaps not more than once or twice in a lifetime. If any of -you, my boy readers, have any such friend, do not fail to collect a -quantity of the mosses common to the waters near you, and arrange them -on cards for their preservation. In gathering your mosses have an old -tin can filled with water in the bottom of the boat, and after detaching -from the stones, throw them immediately into the can. When you get home -they can be left in the can of salt water over night, if you have not -the time to attend to them at once; or they may be put into a basin of -fresh water, and left for awhile to wash away the salt and sand that -remains on them. When they seem perfectly clean, take two or three -carefully up on a bit of paper and throw them into a basin of clean -water. - -Now the delicate part of the process is reached. Have a number of square -pieces of unglazed paper at hand—ribbon paper is very good for the -purpose—and thrust them carefully into the water under the bit of moss -you desire to take out. With a long, slender darning-needle carefully -arrange the tiny filaments, so that they shall form a graceful -composition, and raise the card carefully from the water. It is not -necessary to exercise as much care with the coarser “silver mosses,” as -their more wiry branchlets naturally assume graceful positions, and the -water flowing from the surface of the card does not so easily disarrange -their positions. When all the mosses have been taken up on cards, fasten -each to a table or shelf to dry. This is done by driving a pin through -one corner of the card into the edge of the shelf or table, and allowing -it to remain undisturbed until both the moss and paper are perfectly -dry. They may now be mounted upon cards prepared for the purpose, and -their names, with the locality where they were found, neatly written -beneath; or they may be preserved in a case or frame. - -[Illustration] - -The illustrations show two different arrangements of sea-mosses for the -frame. In the first, that seen in Fig. 1, they are glued upon a -background of fine white cardboard, one layer superimposed above -another, until they extend forward from the card for an inch or more. -Their stems are finally covered by a small, well-striped scallop-shell -which has been washed clean and varnished. It is perhaps needless to add -that the effect is very pretty. The “silver mosses” are best adapted for -this arrangement. - -The design given in Fig. 2 is quite grotesque in its appearance, and -appeals rather more to the average boy’s taste than the former -arrangement. Red and brown mosses are used entirely, unless the effect -seems too somber, in which case a little “silver moss” may be introduced -on the back to lighten it a trifle. - -Tiny baskets, made of pretty scallop-shells nicely fitted together and -varnished, are often filled with the coarser varieties of moss, and are -very pretty; but if they are unprotected from the dust they are soon -destroyed, and unless covered with a glass case or inverted thin plain -glass tumbler, they hardly pay for the trouble of making. - - - ―――――◀▶――――― - - ANTIQUES AND HORRIBLES. - -[Illustration] - -This is another of the mechanical toys which was common during my -childhood. The whole affair is so simple that a small boy could make it, -in a less finished form at least, and the most sullen little fellow in -all the land could not fail to be amused by the grotesque procession of -clowns and hobgoblins, kings and countrymen, birds and fishes and -animals, whose names no naturalist could tell, and whose like was never -seen on this earth before. This procession travels on and on, as long as -the crank is turned. The above illustration gives some idea of a few of -the many members of the band, but any boy at all ingenious, will see -that he has a variety—the more grotesque and outlandish the better the -effect. Fig. 2 shows a section of the machinery; the box-like covering -is removed, and the frame-work exposed to view. First procure a board, -_a_, about twenty by eight inches; next two rollers upon which the band -is to turn, for you must have seen that these little images are made of -thin cardboard, attached to an endless band of strong cloth. These -rollers should be rather larger than broomsticks, and held in place by -four uprights, _c_. Only two of these can be seen in the cut. A table, -_d e_, extends between the rollers and is supported by four legs, _f_, -which should be of sufficient length to make the top, _d e_, come just -below the upper section of the band, _g g_ are boards, the same width as -the bottom, _a_, and of sufficient height to make a good foundation for -the top, and to allow free passage of the procession. None of the -figures should be much over three inches in height, and none should be -attached to the cloth in more than one place; that is, by only one foot, -as they would be unavoidably torn in passing over the rollers if more -firmly fixed. The top and front are of pasteboard, and the whole exposed -surface is covered with pretty wall-paper. On the right roller at the -back end, fix a small crank, or handle, and the machine is started by -turning this. When about to give a grand exhibition, be careful to turn -in the right direction, and not set the whole procession running -backward, as you might easily do if unobserving or forgetful. The images -are much more amusing if painted in bright colors. Use plenty of blue, -red, yellow, black, and white paint, with a touch here and there of rich -green and purple; and you may perhaps almost make your audience believe -that Fourth of July is here again, and they are viewing the “Antiques -and Horribles” through the large end of a spy-glass. - -[Illustration] - - - ―――――◀▶――――― - - THE MUSICAL CHICKENS. - -[Illustration: Fig. 1] - -One of the most pleasing toys for children, which may be counted among -those made by boys themselves, is this little coop of chickens. Make a -box like Fig. 1, leaving off the top and back boards until the works are -placed within it. The little bars which separate the chickens are thin -strips of wood. In Fig. 2, _a_ represents one of the chickens, which is -also made of thin wood and painted yellow; a hole is made at _b_, to -allow the passage of a strong stiff wire, upon which the chickens turn, -and by which they are also kept in place. At the end, _c_, of each, a -strong piece of linen thread is tied through a small hole bored for the -purpose, and each line is caught to a separate nail, driven in the -bottom of the box, just below the chicken, in such a manner that when it -is drawn tightly in place it will just touch the roller _d_. Fig. 1 -shows just where each chicken is placed, and how far their heads -protrude through the bars. The ends of the wire, _b_, which holds them -in place, can be fastened on one side by simply pushing one end into a -hole bored partly through the wood to receive it; the other should be -slipped into a groove made for it, and fastened in place by a wedge -nailed just above it when in position. Fig. 3 shows the roller in full, -and the little blocks or cams which are placed along its surface. These -little cams are made of wood, not more than three-eighths of an inch -thick, and are placed at such distances from each other along the roller -that the middle point of each shall come opposite one of the threads. - -[Illustration: Fig. 2] - -[Illustration: Fig. 3] - -Between these blocks, but so situated that they will not come in contact -with any one of the threads, are little quills, driven into tiny gashes -made in the roller. These quills are an inch long, and should all be of -the same length. One end of the roller is fitted with a crank, while the -other is fastened in place by a wooden pin or long nail. Below this, at -either end of the box, is a curved bridge, _e_, into which grooves are -cut and slender brass wires drawn very tightly, as seen in a violin. The -curve made by the wires, however, is unlike that in the above-named -instrument, being concave instead of convex. Now it will be seen that by -placing the roller in such a position that the quills will strike the -wires with some force as the wheel revolves, a constant tinkling sound -like that of a toy piano is the result; and at the same time, as the -little blocks come in contact with the strings, they push the thread -backward, and in so doing lower the point _c_, and consequently raise -the head of the chicken. The top of the extension in front of the bars -is made of thin board and painted green, while a slight sprinkling of -yellow over its surface represents the meal the chickens are supposed to -be eating. The remainder of the box may be painted to suit the fancy of -the maker. - - - ―――――◀▶――――― - - CAPTAIN S.’S PEG PUZZLE. - -One bright summer morning, which seems but a short while ago, unless I -stop and count the years that have passed since then, we children were -invited to take a sail across the bay with one of the kind-hearted old -captains who owned a trim little cat-boat, which her owner was wont to -boast would beat any other craft of her length in the harbor. But there -was not much chance of beating anything on the morning of which I write, -for, although a light northerly breeze was stirring when we intended to -start, the girls of our party took so much time in which to get ready, -that by the time we were fairly under way we were scarcely able to fill -our sail. However, we managed to make some little headway, and in the -course of two hours reached the beautiful rocky point covered with its -grove of fine old trees, which, but for the delay in starting, would -have been reached much earlier in the day. This point was quite a -favorite spot for excursionists, and was hailed with delight by most of -our party. We boys, however, cared more for the little _Sea Dog_, and -the companionship of old Captain S., than for the walks on shore. So, -claiming our full share of the good things packed in the baskets stowed -away in the cabin, we decided to remain on board and share our picnic -with the captain on the bay. - -After all were on shore, and the hampers had been taken to the grove, we -hoisted the sail and made for deeper water; but there was no wind, and -we had to content ourselves with looking at the glassy surface around -us, and feeling that we were in a boat away from shore, even if not in -rapid motion. We ate our lunch as we listened to a delightful story told -by the captain, of how his ship was once chased by a pirate, and only -escaped through the timely interposition of a snow-storm. We next tried -our hands at the oars and rowed some distance further from the land. -Finally, as we were about to return for the others of our party on -shore, a small piece of wood Fred found on the cabin floor changed the -current of our thoughts, and we saw for the first time the little device -I am about to describe. This bit of wood which he had picked up was a -thin strip of a cigar-box cover. In one end was a circular hole about an -inch in diameter, in the middle was a square hole of the same diameter, -and at the extreme end was still another opening, in the form of an -isosceles triangle, the perpendicular being of the same length as the -side of the square. - -[Illustration: Fig. 1] - -When Captain S. saw the piece of wood he challenged us each to make one -peg which should exactly fit all three holes. “But it can’t be done, -Captain,” we both exclaimed at once; “the holes that have corners -couldn’t be fitted with a round peg, and the peg large enough for the -square would be too large for the triangle,” continued Fred, as he -examined the openings more carefully. “But it can be done,” answered -Captain S., with a peculiar kind of chuckle he always gave when very -much pleased. “It can be done, for I have done it hundreds of times.” - -He had done it hundreds of times; had made one peg which should fit a -round, a square, and a triangular hole, and fit them nicely! How was it -to be done? We thought it over, and tried to study it out; we even took -out our jackknives and whittled away at an old broken thole-pin which -lay in the bottom of the boat. But we couldn’t make it work; there were -always the corners to be filled, and little spaces would be left if we -tried to compromise, and make the pin less round as it increased in -length; then the triangle! that wouldn’t accommodate itself to any shape -we could devise. We whittled away for over an hour, now and again -receiving a little encouragement from the captain, who greatly enjoyed -our successive failures. During the meantime a brisk south-west wind had -sprung up, and we were bounding over the water at a delightful speed; -but we paid little attention to the sail; in fact, we hardly knew we -were moving at all, so intent had we become to solve the mystery. After -the others of the party came on board, we soon fired them with our -enthusiasm, and every bit of available wood and every jackknife was -brought into use. But not one of the party was bright enough to hit upon -the right shape. I shall never forget the fun made of us by the -girls—not one of whom, by the way, could sharpen a lead-pencil -decently—when the captain finally showed us how the thing was done. -Asking one of the older boys to take the helm, he picked up a bit of -wood we had thrown aside as too small, whipped out his jackknife, and in -less time than it takes me to write it, had the peg made and fitted to -the holes. How he made it fit so well in so short a time has never -ceased to be a source of wonder to me; but probably the practice of -years, while off on lonely whaling cruises, had something to do with his -dexterity. - -[Illustration: Figs. 2, 3, 4] - -He first whittled out a cylinder, which exactly fitted the circular -hole; then he cut it off, so that its length should be the same as the -diameter of the square (see Fig. 2). Now, by putting this sideways into -the square opening, it fitted it perfectly. Lastly, leaving the base of -the cylinder undisturbed, he cut away from either side until he had a -shape like Fig. 3, which, when looked at from another point, presents -the appearance of Fig. 4, and would, of course, perfectly fit the last -and triangular opening. - - - ―――――◀▶――――― - - SLATE GAMES FOR CHILDREN. - -A slate is one of the most useful presents which can be given to a -child. Long before the little hands can fashion letters, or the infant -mind comprehend them, the baby fingers can make marks and scratches upon -the smooth surface and derive considerable amusement from the exercise. - -As the little one grows older, these meaningless scrawls gradually -change to more intelligible forms, and then it is that the “Tit-Tat-To,” -so very old, and yet so delightfully new, to every little girl or boy in -their turn, comes into play. - -[Illustration] - -TIT-TAT-TO. - -This game is played on a figure similar to the above, made on an -ordinary slate. The players alternately mark in the figure, the one a -cross, and the other a nought; he who first obtains a row, either -horizontally, perpendicularly, or diagonally, wins the game, and calls -out the following rhyme: - - “Tit-Tat-To, my last go; - Three jolly butchers all in a row.” - -The object of each of the players is equally to obtain such a row and to -prevent his opponent from obtaining one. - -AIR, EARTH, OR THE SEA? - -This game—which is sometimes called _Birds, Beasts, and Fishes_—is -instructive as well as interesting to children who have some slight -knowledge of natural history. It is played as follows: Two boys take -their slates, and each writes down the first and last letters of the -name of some bird, beast, or fish, first stating whether it belongs to -the air, earth, or water, or from which category the name is selected, -and puts a cross for each of the intermediate letters. For example: -James writes upon his slate T × × × r, and remarks, as he passes it to -his companion, “the earth.” Charles selects a bird and marks upon his -slate as follows: E × × × e, saying, at the same time, “the air.” They -exchange slates, and each tries to guess the name of the beast or bird -indicated, and fills up the blanks accordingly. It is evident that those -indicated above are respectively tiger and eagle. - -TURKS AND RUSSIANS. - -[Illustration] - -The slate should be divided into three divisions, the top and bottom -divisions each having a small compartment marked off therein, as shown -in the annexed diagram. - -One of the two end divisions should be allotted to the Turks, and the -other to the Russians, and marks put therein, to represent the soldiers -of the respective nations. - -Each player having provided himself with a well-sharpened pencil, the -game is played as follows: The players decide the order of play, and the -first selected being supposed to be a Turk, places the point of his -pencil at the spot marked in the smaller compartment of the Turkish -division of the slate and draws it quickly across the slate in the -direction of the opposing army. - -The pencil will, of course, leave a line marking its track, and all the -men of the opposite side through which the track passes count as dead. -Each player plays alternately, and he wins who first kills all the men -on the opposite side. - -The track of the pencil must be rapidly made and must be either straight -or curved; any track in which there is an angle does not count. -Sometimes the players turn their heads or close their eyes when making -the track. - -THIRTY-ONE. - -[Illustration] - -Although this game is usually played upon a board similar to the one in -the cut, and with small wooden blocks made for the purpose, a slate -properly marked off would answer very well for the board, and bits of -pasteboard, marked with the necessary figures, do equally well for the -blocks. - -The game consists of playing these bricks or squares of pasteboard, so -that the column added up makes just thirty-one. - -As only two persons play together, suppose William and Mary are -contestants. Mary commences the game by playing a six; that is, she -slides one of the blocks numbered six over to the right-hand side of the -board. Then William plays block No. 4. This makes ten. Mary then plays -two, and William follows with a five, making seventeen total. Now, some -calculation is necessary if either will win. Mary, after some study, -ventures a five, and William plays a six. It is now only necessary for -Mary to slide No. 3 over to the right side, to make the total thirty-one -and beat. - -That move of Mary’s—which was made after considerable deliberation—was -not a safe one, as William could have moved over a one and made the -total only twenty-three. This would require eight more to complete the -required thirty-one, and as six is the largest number on the blocks, -William would have had the last play and gained the contest. - - _Rules for Thirty-one._ - -The object of each player is to gain thirty-one, or _nearer_ thirty-one -than his opponent, _without going over_ that number. - -Put the blocks or bits of pasteboard on the left side of the board; and -each in turn moves any piece they like to the other side. - -Each player moves alternately one piece at a time. - -Add together the numbers on _all the blocks moved_, until one or the -other gains thirty-one, without going over that number. - -The player gaining this number by his individual block wins. - -The final honor is given to him who wins three out of five single games. - - - ―――――◀▶――――― - - SOLITAIRE. - -[Illustration] - -During the long winter evenings, we cannot have too many games to amuse -the younger members of the household, and a variety is always -acceptable. - -Where the family is large and the means small, and especially in the -country where boys are forced to rely upon their own devices in the way -of amusement, few of the ready-made games find their way into the -household. - -Now boys, and girls, too, let me whisper to you so softly that your city -cousins may not hear—you are no losers because of that fact. A great -part of the enjoyment of a thing consists in the making of it. And many -of the games which are best enjoyed by children all over the land you -can, with a little ingenuity and some trouble, perhaps, make for -yourself. - -Among the many things which a boy can make, there are very few more -interesting or fascinating than the simple game of Solitaire, or, as it -is more frequently called, _The Peg Puzzle_. - -Take a piece of smooth board, from nine inches to a foot square, cut out -the corners as indicated in the illustration, and bore holes in the -positions indicated by the dots. - -Out of soft pine or other suitable wood whittle thirty-two pegs, which -are to fit into these holes; the middle or thirty-third hole is to be -left empty. - -The game consists in removing all the pegs excepting one from the board, -and that one is to be left in the middle hole. - -This is effected, as in “checkers,” by a series of captures; that is, -when taken off the board, the peg removed must first have been jumped -over by another peg. - -In beginning the game, peg No. 1 jumps over peg No. 2, and is placed in -the central hole. No. 2 is then removed from the board. As the hole -occupied by No. 2 is now empty, peg No. 3 jumps over No. 4, and is -placed in the empty hole No. 2. No. 4 is removed, and the moves continue -in like manner as those described. - -The following is a key to the solution of the puzzle, but should not be -consulted until you find it impossible to accomplish the feat without -its aid. - -KEY. - - 1 to centre - 3 to 2 - 5 to 4 - 2 to 3 - 7 to 4 - 8 to 6 - 9 to 7 - 11 to 3 - 7 to 4 - 6 to 8 - 13 to 2 - x to 1 - 15 to 2 - 16 to 14 - 2 to 13 - 18 to 11 - 20 to 19 - 8 to 21 - 22 to 20 - 20 to 19 - 11 to 18 - 24 to 14 - 26 to 25 - 25 to 17 - 28 to 14 - 17 to 25 - 29 to x - x to 27 - 30 to 24 - 32 to 25 - 27 to centre. - - - ―――――◀▶――――― - - BATTLEDORE AND SHUTTLECOCK. - -[Illustration] - -If any of my young boy friends wishes to make a useful, and at the same -time acceptable, present to a sister or girl friend, he cannot do better -than make a set of this pretty and amusing game. - -The battledore is readily made with a hickory stick and a piece of hoop, -and the shuttlecock with a cork and a few short feathers. The forms of -the two are shown in the illustrations. - -The game is played by two players, each having a battledore, and each -bats the shuttlecock from one to the other, the one failing to return it -when it is batted to him within possible reach losing a point in the -game. A game consists of twenty points, and the best two out of three -games gains the match. - - - ―――――◀▶――――― - - RING TOSS. - -[Illustration] - -This light pastime for the summer lawn, or for the parlor on a winter’s -evening, is one of the most graceful and pretty games ever invented. -Although particularly intended for the fairer sex, boys are generally -the most skillful, if not the most graceful, competitors in the game. - -This game is played with a target-post, more or less ornamental, as the -skill and taste of the maker may decree, and a number of light rings or -small hoops, ranging from five to ten inches in diameter. - -The rings are nicely made of old hoop-skirt wires, bent in the desired -shape, and strongly fastened with cords, the whole covered with bright -silk or ribbon; the greater variety of colors used the brighter the -effect of the game. The ribbons need not necessarily be perfectly fresh, -as in winding the rings any soiled spots can readily be hidden. - -It is also better to have the rings divided into three sets or sizes, -and all those of each set as nearly as possible of the same size. For -instance, if eighteen rings are to be used, let six be about five inches -in diameter, six more be seven or eight inches, and the remaining six to -be ten inches across. - -The game is simply to toss the rings so as to fall on the target-post. -The smaller the rings the higher the count. - -For the large rings one point is scored, for the next in size two -points, and for the smallest or five-inch rings, three points—fifty -points being a full game. - -The distance on a lawn which the player stands from the target-post is -twenty-five feet. In the parlor it is fifteen feet. - - - ―――――◀▶――――― - - CHECKERS. - -[Illustration] - -As I write the above title, I wonder if there is a boy or a girl in this -great American land who does not own a checker-board, or does not know -how to play this delightful game. The game was brought to us from -England, we cannot say how many years ago, probably by the first -settlers in these then lonely wilds. - -This game of checkers is a scientific one and is governed entirely by -calculation. So, in order to become a good player, one has to give -considerable time and thought to the subject, which is perhaps as good -mental discipline as many of our less interesting school studies. - -The game is played upon a board or table, divided off into thirty-two -white and thirty-two black squares, with twelve white and twelve black -men or checkers. - -The board can be made out of thin wood, or upon a strong piece of -pasteboard, the white squares left the original color of the material -used, and the black colored with ink or paint, whichever is most -conveniently at hand. - -For the checkers, small pieces of wood may be used, or black and white -buttons be substituted in their place. - -The table or board should be so placed that each player shall have a -black square at his right hand, if playing on the white squares, or a -white square, if playing on the black. - -The men move obliquely _forward_ until they arrive at the last, or the -adversary’s head row, when they are made kings and can then move -_backward_ as well as _forward_. - -To distinguish a king from a common man he is crowned, by placing -another checker of the same color on top of him, as soon as he reaches -the _king’s row_. - -The adversary’s men are taken by leaping over them, and _must be taken_ -whenever offered or exposed. No move can be recalled after the man has -been quitted; that is, after the finger has been removed from him. - -The players have the first move in each game alternately. - -Checkers may best be learned by playing, for awhile at least, upon a -board on which the white squares are numbered, some authorities advising -the placing of permanent numbers in a corner of each white square, so as -to be seen when the men are placed. - -The numbers are arranged as follows: 1 being on your right hand and 4 on -your left; number 5 the right hand of the second row, and 8 the left, -and so on. See illustration. - -The black men are placed upon 1 to 12; the white on 21 to 32. - -In order to understand the game more readily, it may be of some -assistance to beginners to show how a simple game might be played. - -Suppose B., who has the black men, makes the first move from 11 to 15. -W. follows him with 22 to 18. B. now moves from 15 to 22, jumping over -18, and capturing it by the move. 22 is now exposed, so W. is obliged to -take it, and to do so moves from 25 to 18. B. now commences a new line -of moving, and passes 8 to 11. W. moves 29 to 25 thus breaking his -king’s row. B. 4 to 8; W. 25 to 22; B. 12 to 16; W. 24 to 20; B. 10 to -15. Now W. moves 27 to 24, and loses the game by so doing. B. follows -with 16 to 19, thus exposing 19. As it is a law in the game that the -opposite side must take up the exposed men, W. is obliged to jump 19, -and moves from 23 to 16 in so doing. B. moves from 15 to 19; W. 24 to 15 -to jump 19; B. 9 to 14; W. 18 to 9, and captures 14. B. now sees 15 and -22 exposed, and moves from 11 to 25, thus capturing both men by the act. -W. 32 to 27; B. 5 to 14, jumping 9. W. 27 to 23; B. 6 to 10. W. 16 to -12; B. 8 to 11. W. 28 to 24; B. 25 to 29, and is made a king. W. now -moves 30 to 25, but as 29 is a king and can move backward as well as -forward, B. moves from 29 to 22 and jumps 25, but exposes the king, -which is quickly captured by W., who moves from 26 to 17. Now both sides -proceed in a quiet manner for a time, B. moving from 11 to 15, W. 20 to -16, B. 15 to 18, W. 24 to 20. B. captures 28 by moving from 18 to 27, -and W. takes 27 by jumping from 31 to 24. B. 14 to 18; W. 16 to 11, -which is taken by B. who moves 7 to 16. W., in turn, takes 16 with 20, -which he jumps over to 11. B. 18 to 23; W. 11 to 8. B. 23 to 27, and W. -now gains another king by moving 8 to 4. B. moves 27 to 31 and also gets -a king. The king, you remember, can move backward, so W. moves from 4 to -8; B. 31 to 27. W. 24 to 20; B. 27 to 23. W. 8 to 11; B. 23 to 18. W. 11 -to 8, and B. 18 to 15, which shows the game is lost to W. - -[Illustration: Figs. 1, 2] - -The two following problems are given for practice, and are intended to -materially assist the learner in gaining some knowledge of the -intricacies of the game. - - SOLUTION TO NO. 1. - - Black to move and win. - - Black. White. - - 1st move 6 to 1 5 to 9 - 2d move 10 to 15 9 to 5 - 3d move 15 to 18 5 to 9 - 4th move 1 to 5 9 to 6 - 5th move 18 to 15 21 to 17 - 6th move 5 to 1 6 to 9 - 7th move 15 to 18 9 to 5 - 8th move 18 to 22 17 to 14 - 9th move 1 to 6 5 to 1 - 10th move 6 to 2 14 to 10 - 11th move 22 to 18 1 to 5 - 12th move 18 to 14 White loses. - - SOLUTION TO NO. 2. - - White to move and win. - - White. Black. - - 1st move 18 to 14 5 to 1 - 2d move 14 to 9 1 to 5 - 3d move 22 to 17 5 to 14 - 4th move 17 to 10 21 to 25 - 5th move 10 to 15 25 to 30 - 6th move 15 to 19 30 to 25 - 7th move 27 to 32 25 to 22 - 8th move 19 to 24 20 to 27 - 9th move 32 to 23 White wins. - - - ―――――◀▶――――― - - THE SPIRIT JEW’S-HARP. - -During the Christmas holidays, when families are home for the season, -and entertainments are the principal things desired in the long bright -evenings, perhaps a few more tricks may not come amiss. - -Among these the spirit jew’s-harp will be sure to amuse and at the same -time mystify both the older and younger members of the company, who will -probably form the audience on these Christmas or New-year’s evenings; -and will form a pleasant entertainment between the acts of a charade or -the lapses in the music. Briefly described, the trick is as follows: - -A jew’s-harp is placed in the mouth, and played upon for awhile with the -finger in the ordinary way. Gradually, however, the performer moves his -hand away, but continues the motion of playing some distance from the -mouth, while the instrument continues to play quite as clearly and -distinctly as before. The hand may wave above the head, or in any -position, to show the audience that no thread or string is connected -with the tongue of the instrument, but must keep up the motion of -playing as long as the sound continues to come. - -Procure a jew’s-harp with a very flexible tongue, and cover the end with -a smooth ball of sealing-wax. Now place the instrument in your mouth -with its tongue pointed inward, and if your tongue is placed against the -ball of sealing-wax and suddenly pushed out, and as suddenly released, a -sound will be produced much as if it was pushed out in the ordinary way -with the finger. - -After a time you will find it possible to produce different notes upon -it, and with some practice will find it as possible to play tunes as by -the common method. - -It will now be seen that during the whole performance the music is -elicited by the tongue, and not by the finger as at first appears; the -placing the forefinger of the right hand to the mouth, and moving it as -if playing in the ordinary way, is simply a little _ruse_ to mislead the -audience. - -The performer should so stand that the light does not shine too strongly -upon his face, and thus expose the absence of the tongue of the -jew’s-harp, and a complete mastery of the instrument in the inverted -position should be acquired before one attempts the trick in public. - - - ―――――◀▶――――― - - A NEW WAY TO KINDLE THE FIRE. - -There are many ways given for producing fire, but the following is the -most unique, and at the same time convenient, of all these various -methods, as it consists in simply blowing the flame from the mouth, and -so igniting the camp-fire or whatever else one wishes to burn. - -To all appearances you fill your mouth with raw cotton, and then, taking -a fan in your right hand proceed to make the fire. First a stream of -blue smoke will be seen curling from your lips, and after a moment or -two a bright spark will appear in the mass of cotton in the mouth. This -spark is quickly followed by others until at last a clear bright flame -bursts forth. - -Many of the audience may not believe that it is a genuine flame, but a -paper may be lighted from it and passed around the room, which will soon -convince the most skeptical that it certainly is _bonâ fide_ fire. - -To perform this trick, procure from a chemist a piece of _amadon_ or -German tinder. This is an inexpensive material, brown in color, and soft -and silky to the touch. Tear off a small piece—perhaps as large as a -dime—and roll it in a small bit of cotton wool, having already _lighted_ -one end of the tinder. Place this with other cotton in your hand, and -you are ready to produce all the fire your audience may demand. - -First place the cotton which conceals the lighted tinder in your -mouth—it will not burn you—and then some of the loose cotton you have in -your hand; and remember to draw the breath in through the nostrils, but -_breathe it out through_ the mouth. This will fan the tinder and in a -moment light the cotton in front of it, so that the smoke will begin to -pass out with the breath; then the sparks will appear, and finally the -flame, as described above. While placing fresh cotton in the mouth, you -may take advantage of the fact that your hand is before your mouth to -let some of the burnt cotton fall out. By exercising a little tact your -audience may be mystified for a long time, and, in fact, will probably -be unable to guess the secret at all, unless you yourself divulge it to -them. - - - ―――――◀▶――――― - - A HOME-MADE COMPASS. - -Break a knitting-needle in two pieces, and magnetize one of the pieces -by passing it two or three times over one of the poles of a strong -magnet. Insert this piece through a small cork. Fix an ordinary needle -in the end of the cork with the end projecting. - -[Illustration] - -Break the other piece of the knitting-needle into two equal parts; and -having wound one end of each with thread pass the other end into the -cork, as seen in the illustration. - -Next procure a small brass thimble, deeply indented, and balance the -cork upon it by dropping melted sealing-wax upon the thread-covered -ends, first on one side and then on the other, until the equilibrium is -established. - -A small round box is next needed, and having fitted the top with a disk, -like that seen in Fig. 2, cut the central hole large enough for the easy -movement of the cork. - -[Illustration] - -Now place the thimble on the bottom of the box, holding it in place with -a few drops of glue. (Le Page’s liquid glue is best for this, as for all -occasions in which glue may be required in constructing the objects -described in this book.) Balance the cork upon it, with the needle-point -resting in one of the indentations on top of the thimble, the magnetic -needle having been temporarily taken out. Now adjust the cardboard disk -in place. - -Lastly, insert the magnetized needle, and your compass is completed. - -This compass can be made very useful upon the various excursions into -the woods which boys are always fond of taking, and, as a simple -mechanical toy, much amusement may be derived from it. - -By presenting the south pole of the magnet to the north pole of the -compass, and jerking it quickly away, the momentum of the needle will -carry it around several times before the impulse is exhausted. - -The same experiment may be tried with the magnetized blade of a -jackknife. - -The magnetic needle does not point to the north pole of the earth, but -to a point called the magnetic pole. This variation, or declination, is, -from the Atlantic region of this continent, a few degrees westward of -the direct north. - -The arrow indicates about the average variation; and if the compass be -so placed that the needle will rest directly over it, the line N. S. -will more nearly indicate the true north and south. - -The card should be held in place not by glue, but by a few very short -pins (filed off and re-sharpened). Then if the needle is shaken from its -perch, the card can be removed to permit its re-adjustment. - - - ―――――◀▶――――― - - HOW TO MAKE A CIRCLE. - -Many of the operations described in this book require the making of -circles of various sizes. - -Those readers who own a pair of dividers, especially if they are -furnished with a pencil-holder, will find this an easy matter. Those who -are not as fortunate may be glad to learn the following ready way of -describing circles accurately to any size desired. - -One of the common substitutes for dividers is a loop of string or thread -passed around the pencil-point, and a pin inserted in the center of the -proposed circle. This is a tiresome and vexatious method, as it is -difficult to tie the loop at just the right length when a circle of a -specified size is to be made, the stretching of the thread adding to the -perplexity. The loop is also very ready to slip up and down on the -pencil or pin, making it altogether a matter of unusual good fortune to -obtain a satisfactory result. - -The better way is to take a strip of stout paper or thin card, about -half an inch wide and a little more than half the length of the circle’s -diameter. A strip cut from a postal card will serve the purpose -admirably. - -Near one end of this make a hole large enough for the insertion of the -pencil-point. Toward the other end make a pinhole, the distance of which -from the first hole must be half the diameter of the circle required. -Stick a pin through this hole into the center of your proposed circle; -place the pencil-point in the other, and you can achieve your result -with accuracy and ease. - - - ―――――◀▶――――― - - THE MAGNETIC CIRCUS. - -[Illustration] - -This mechanical toy is comparatively simple in its construction, and -will serve as the foundation for one of the many Saturday shows, which -are so dearly prized by most of the bright, active boys in our land. - -A good-sized soap-box serves as a table on which the toy is to rest. The -back is removed, and a hole cut in the top admits the passage of the -crank. It is perhaps unnecessary to add that the exposed surface of this -box should be papered, or covered with a cloth curtain, in such a manner -as to give it a decorative effect. - -The attraction of a magnet or iron is the principle on which the -“circus” is made to work. - -Procure or make from thin wood a box about a foot square, and five or -five and a half inches deep. Cut a hole through the central point of the -bottom, to allow of the passage of the crank. - -[Illustration] - -Now from a board cut a round disk which shall revolve easily inside the -box, and pass through its center an axle which shall be long enough to -form a support for the ring-master on the top or stage, and extend down -through the top of the soap-box, where it ends in a crank by which the -whole machinery is worked. On the top of this disk, and a short distance -from the edge, fasten a common horseshoe magnet, which should be about -four inches long, and can be bought at almost any toy store for ten -cents. This must be fastened in an upright position by means of staples, -as seen in the illustration. - -After the magnet is arranged so that it will revolve easily, fit the top -of the box with a stiff pasteboard cover, which shall just clear the -magnet; and mark upon this a circle which is to represent the ring of -the circus. - -[Illustration] - -Out of stiff pasteboard cut the ring-master, and with a small nail or -strong pin fix him in place. Now from four thicknesses of pasteboard cut -out a horse and rider, something like that represented in Fig. 3, and -insert between the layers which form each forefoot, a nail, the head of -which extends slightly below the pasteboard. File these nail-heads so -that they shall be smooth and rounded. Glue the two layers together to -form the legs of the animal, and spread them slightly apart, as seen in -Fig. 4 (which gives an end view of the object), having already glued all -four layers to form the body of horse and rider. - -[Illustration] - -Various horses of different colors, forms, positions, and with or -without riders, may be made in a similar manner; and elephants or other -animals may be substituted for the horses, and made to move around the -track, as if subject to the master’s whip. After the glue is dry, the -outside edges should be rounded and the roughnesses removed by the use -of a rasp and sand-paper. - -The ring-master should be so fastened, facing the horse, as to turn with -each revolution of the axle. - -The back of the box is fitted with a pasteboard or cloth screen, painted -to represent stage scenery, and supported on either side by uprights, -from the top of which float banners. For further decorations the twigs -of evergreen trees are added, those of the larch or spruce, or perhaps -best of all the small branches of the juniper or cedar tree, are best -for the purpose. When these tiny stage trees become brown and faded, -they can be easily exchanged for fresh ones, or may be painted with -green paint, if a new supply is not readily obtainable. - -The front of the box may be papered with fancy wall-paper, or otherwise -decorated to suit the fancy of the maker; and the one who supplies the -motive power, or, in other words, turns the crank, should be kept out of -sight of the audience if possible. As the horses are not connected with -any visible motive power, the cause of their revolution will be -enveloped in a mystery which will add vastly to the entertainment of the -little folks. - - - ―――――◀▶――――― - - TO PRODUCE RAISED FIGURES ON AN EGG. - -Melt some tallow, and with it paint on the shell of an egg, making -letters, numbers, profiles, or any outline which your fancy may suggest, -or the fineness of the brush may permit. Then immerse the egg in strong -vinegar. After the lapse of a few hours, whatever is covered with the -lines of tallow will project slightly, the vinegar, which is mainly -acetic acid, having dissolved away the unprotected surface. By painting -with a fine brush an intricate scroll or vine pattern, carrying it all -around the egg, the result is very pretty, giving somewhat the effect of -carved ivory. - - - ―――――◀▶――――― - - AN ARITHMETICAL CURIOSITY. - -Write the nine digits in their order, and multiply them by 9; the result -will be composed of units, excepting the next to the last, thus: - - 123456789 - 9 - ---------- - 1111111101 - -Multiply by 18, instead of 9, and the product will consist of 2’s. By -27, and it will be 3’s. In this manner all the digits may be obtained by -multiplying by the multiples of 9; as 36, 45, 54, etc. - - - ―――――◀▶――――― - - ONE WAY TO FIND THE NUMBER OF DAYS IN THE MONTH. - -Count the knuckles of the hands, with the spaces between them; all the -months with thirty-one days will fall on the knuckles, and those with -less than thirty-one in the spaces. Thus, beginning with the forefinger -of the left hand, July will come on the knuckle of the little finger; -then beginning with August on the forefinger of the right hand, December -will be reached at the knuckle of the third finger. - - - ―――――◀▶――――― - - SOME ELECTRICAL EXPERIMENTS. - -Considerable amusement may be derived from the electrical phenomena -manifested by a sheet of stout brown paper, when friction is applied to -it. Having warmed such a sheet, and rubbed it with the dry palm of the -hand, or some woolen fabric, giving six or eight smooth, steady strokes, -with considerable pressure, and all in one direction, away from the -body, then place a bunch of keys in the center of the paper, and lift it -by the ends; a spark of electricity may now be taken from the keys. - -If ordinary unglazed paper be immersed in a mixture of equal parts of -sulphuric and nitric acids, then well washed with plenty of water and -dried, it becomes extremely electric. If placed on a wooden table, or, -better still, on a waxed cloth, and rubbed with the hand, it attracts -feathers, pith-balls, fragments of paper, or other small light objects. - -When suddenly stripped from the waxed cloth in a darkened room, the -entire surface will have a luminous phosphorescent appearance. A spark -can be taken from it by holding the finger about half an inch from the -surface. If placed against the wall it will adhere to it and keep its -place for several minutes. - -This paper retains its electrical properties a long time. When weakened, -it is sufficient to slightly heat it to restore all its energy. - - - ―――――◀▶――――― - - THE ELECTROPHORUS. - -[Illustration] - -This instrument, whose name, derived from the Greek, means _bearer of -electricity_, consists of two parts; first, a cake or disk of resin, or -of shellac and wax, these substances being melted and poured into a tin -mold; second, a disk of brass, or sometimes of thin, well-dried wood, -covered on each side with thin sheet-brass or even thick tin-foil. This -should be fitted with a glass handle, to insulate it; a stout, round -bottle of moderate size will answer. The cake of resin is rubbed -vigorously; a surface of fur is the best to use for this, such as a -cat-skin or fox-tail. The disk is then taken by the handle and rested on -the cake, and its upper surface touched a moment with the finger; then, -on withdrawing the disk from the resin, a bright electric spark can be -obtained from it. By resting it once more on the resin, again touching -and withdrawing it, another spark may be elicited, and so on for eight -or ten successive trials. - -The scientific explanation of this phenomenon is, that negative -electricity is excited in the cake by friction. When the disk is -applied, the electricity does not pass into it from the cake, but is -_induced_ in the disk by the law of electrical polarity; the lower -surface being covered with positive electricity, while the negative is -repelled to the upper side, from which it is drawn by the finger. Then, -when the disk is lifted, the spark of positive electricity may be drawn. - -If the construction of the instrument just described appears too -formidable a task to my young readers, perhaps they may yet be inclined -to experiment with - -A SIMPLE ELECTROPHORUS. - -[Illustration] - -Take a lacquered iron “tea-tray;” cut a sheet of stout brown paper so as -to fit the flat part of the tray, and fix two strips of paper at each -end by means of sealing-wax. These strips serve as handles by which to -lift the paper, and the sealing-wax, being a non-conductor, prevents the -electricity from passing off. The tray is also insulated by placing it -upon two tumblers. - -The sheet of paper is now heated quite hot, placed on a wooden table, -and rubbed with a hard and very dry clothes-brush. Then it is lifted and -placed on the tray. - -The paper is negatively electrified; it induces a similar state in the -lower side of the tray, which should be touched a moment with the -finger; then lift the paper from the tray. An electric spark can now be -taken from the latter. - -The strips by which the paper is lifted can be brought together, and -held by the thumb and finger of one hand, leaving the other free to take -the spark. The paper may now be replaced. By touching the lower surface -of the tray, and lifting the paper as before, another spark may be -obtained, and so on for several times, if the air be dry. - -THE EBONITE ELECTROPHORUS. - -This piece of apparatus, also called Pfeiffer’s electrophorus, is -composed of a thin sheet of ebonite, measuring about six by eight -inches. A small sheet of brass, about five by three inches, is fixed on -one side. With this, electricity may be evoked with unusual readiness. - -It is placed flat on a wooden table, and rubbed successively on both -sides with the open hand; if lifted in the left hand, and the right hand -is presented to the brass, a spark will be received. - - - ―――――◀▶――――― - - A LEYDEN JAR. - -[Illustration] - -This may be made as follows: Fill a plain glass tumbler two-thirds full -of shot; insert the bowl of a spoon in the shot, leaving the handle -projecting. Hold the tumbler in the hand, and bring the handle of the -spoon near to the electrophorus—previously prepared for action—so as to -receive its spark. On repeating this a few times, the electric fluid -will be accumulated in the “jar,” and the many small sparks may be -obtained as one large one, by approaching the finger to the spoon, still -holding the tumbler in the other hand. - -This idea may be varied by using a large wide-mouthed bottle or small -jar, instead of the tumbler, and covering the outside nearly up to the -top with tin-foil. If that rare treasure, a bullet-mold, is to be had, a -ball may be formed on the end of a stout wire, and used instead of the -spoon, the end with the ball being the projecting one, thus making an -article corresponding more nearly to the regular professional pattern. - - - ―――――◀▶――――― - - THE PITH DANCER. - -[Illustration] - -This fastidious little skipper never dances except to piano music. It is -fashioned from pith, cork, or other light material. Generally it has a -human head and body; but when we consider its dancing extremities, we -must regard it as a quadruped, or even a tripod, as the case may be; for -it stands on three or four stout hog’s bristles. These may be borrowed -from the floor-brush, and should be even at the lower ends, that the -dancer may stand erect. It should be painted in a gay and conspicuous -manner, to compensate for its diminutive size, and a mantle of colored -tissue-paper may add to its consequence. When the image is complete, -stand it on the sounding-board of the piano, which should be operated -with vigor. The dancer will respond to the lively notes with edifying -briskness and vivacity. - - - ―――――◀▶――――― - - THE OBEDIENT BOTTLE. - -[Illustration] - -Fashion a shape like a small bottle, out of pith, paper pulp, or some -other light substance. Cut a bullet in two, and fasten the base of the -bottle to the flat portion of one of the halves. A straight piece of -large wire, the length of the bottle, should be provided, and a hole -made down through the center of the bottle, into which it will slide -readily, and remain with the end out of sight. This hole may be made -with greater ease before attaching the bullet. This object can be made -to yield apparent obedience to the commands of its maker. If he orders -it to remain upright, he will place it on the table without inserting -the wire, when nothing but constant pressure will induce it to lie -prostrate. Then, taking it into his hands, and skillfully introducing -the wire while the attention of the observers is directed elsewhere, he -next orders it to lie flat; and, as the weight of the wire overbalances -it, it will tumble over as often as it is set up. - -The bullet should be covered with thin paper as smoothly as possible, -and the whole affair painted, to better conceal the _modus operandi_. - - - ―――――◀▶――――― - - THE IMMOVABLE CARD. - -If a card, such as an ordinary visiting card, is turned down about a -quarter of an inch at each end, at right angles to the rest of the card, -and then placed on a table so as to rest on the turned edges, you may -safely challenge most persons to blow it so as to make it turn over on -the other side. It would naturally seem easier to overturn a card so -prepared, than one whose shape remained unchanged; but whoever tries it -will find that the facts are otherwise. - -The card can be overthrown, however, by blowing on the table, toward the -card, as the stream of air is then reflected against its under side. - - - ―――――◀▶――――― - - A TRIPLE BRIDGE. - -[Illustration] - -This may be constructed by means of three table-knives, in the manner -illustrated in the figure. Three goblets or tumblers will serve as the -piers; these are to be arranged in a triangle, a little farther from -each other than the length of the knives. Lay two of the knives on the -table, with the blades crossing each other. Then pass the blade of the -third knife over the uppermost blade of the other two, and under the -undermost; then take them up and place them with the ends of the handles -on the rims of the glasses. The bridge now sustains itself, and if a -moderate weight be placed upon it, it will be all the firmer. - - - ―――――◀▶――――― - - AN ILLUSTRATION OF “INERTIA.” - -Inertia is defined as the tendency of a body to persevere in its state -either of rest or motion. It is generally used in the sense of -persisting in a state of rest. Among the many illustrations of this -property of matter, is one which figured in the text-books of thirty or -forty years ago, and which the boys of that time adapted to their -amusement by constructing the apparatus here illustrated. - -It consists of three parts: the board which forms the base, a post about -six inches high, and a strip of stout whalebone, or dry, elastic wood. - -The board should be as much as seven-eighths of an inch in thickness, -and the elastic strip or spring should be firmly inserted in an inclined -slit cut through the board. The places of the spring and post should be -so adjusted to each other, that when the latter is secured solidly by a -good-sized screw passing up through the board, the former will press -with its upper end against the top of the post (as shown by the dotted -line) with some degree of force. - -[Illustration] - -The top of the post should be hollowed slightly, to retain the ball; and -the appearance of the whole will be improved by a coat of shellac or -paint. - -Now place a card on the top of the post; and if it is sufficiently -level, a marble or bullet may be induced to remain on it, directly over -the column; if not, a large bean, a spool, or a coin, will prove more -tractable. Draw back the spring with the thumb and finger, as in the -illustration; let it go _suddenly_, and it will snap the card away, -leaving the superimposed object resting quietly on the top of the -column. - -The same principle is sometimes illustrated by balancing a card on the -finger, placing a coin on the card, and snapping away the card with the -other hand, the coin remaining on the finger. - -Another way is to pile up a small tower with “checkers” or “draughts.” -By a quick blow with a ruler, one checker may be knocked from between -the others, without overturning the tower. - - - ―――――◀▶――――― - - OTHER CHRISTMAS HOLIDAY AMUSEMENTS. - -Perhaps one evening of this ever delightful season might not be more -entertainingly spent than in witnessing an exhibition of some feats in -_Magic_, if any lad of the company could become sufficiently expert in -the art to render them with a fair amount of skill. - -There are many of these mysterious tricks performed by the professional -“Thaumaturgist” or “Prestidigitateur,” but as most of them require a -complicated or expensive apparatus, I shall only call your attention to -such as are comparatively simple, and require but few “aids” or -materials for their fulfillment. - -HOW TO PALM A COIN. - -As it is necessary for any boy or girl who intends to become an expert -sleight-of-hand performer to be a successful _palmer_, this is naturally -the first lesson to be learned. Indeed, very few of the tricks performed -by an expert prestidigitateur would be effective without its use. - -To explain this art is difficult, although it is an easy matter to show -how the thing is done. By the aid of an illustration may be seen, -however, the final position of the coin, or how it is held while it is -palmed. - -If possible, balance a half-dollar on the tip of the second finger of -the right hand; but if not at first easily accomplished let the coin -rest on the tips of the second and third fingers, steadying it, in this -position, by touching it lightly with the thumb. Close the hand quickly -and the coin will rest in the palm. Then, by throwing the thumb forward, -the ball of the thumb will hold the silver piece on one side, and that -part of the palm which lies between the second and third fingers holds -it securely on the other. - -[Illustration] - -Practice this well, and be sure you can depend upon yourself to -accomplish it perfectly with the left as well as the right hand, before -you try any of the following tricks in the presence of a critical -audience. - -HOW TO PASS A COIN. - -Borrow of your audience two half-dollars and lay them on your table. - -Next shake your sleeves and let your friends see that you have no coins -hidden about you. When they are convinced that such is the case, pick up -one half-dollar with the thumb and second finger of your _right hand_. -Palm this in your right hand while you _pretend_ to pass it to your -left, of course making a motion with the _left hand_ as if it received -and still held the coin. - -The right hand will then _seem_ to be empty, although still holding the -half-dollar. Next pick up the other coin with the right hand, and place -the hand behind you, being careful to keep the left well in front, and -always in sight of your audience. Make some few remarks concerning the -difficulty of the trick, and at last pronounce the magic word “Pass”; at -the same time clink the two coins together, as if one had hit the other -in the meeting. Then bring the right hand forward, and, opening it and -the left at the same time, show that the coin has actually left the -latter and entered the former, as you promised it should do. - -HOW TO ROB PETER AND ENRICH PAUL. - -Twenty pieces of money are necessary for this trick; and two-cent -pieces, or quarters, are perhaps the most convenient sizes to use. Of -these, borrow fifteen from your audience, the other five have at hand, -but concerning which your friends are to know nothing. - -Having borrowed them from the company, count out five, and give them to -one of your audience, while to another you give ten, and after having -seen that the latter counts his carefully, take those given to the -first, mutter some cabalistic nonsense, and order them to pass into the -hands of the one who has the ten pieces. Finally, request him to count -them again, when, strange to relate, he will find that he has fifteen, -instead of the ten pieces which he was supposed to have. - -The trick is performed in this manner: Upon receiving the money, throw -it upon a plate or box cover—the plate is the best—and passing it to the -first person, request him to take five of the pieces away. Now give the -remaining money, with the plate, to the second, and ask him to drop each -coin as he counts it, on the plate, that all may know he has counted -correctly. - -Then comes the only difficult part of the trick. Ask the one who has -counted the coins to hold both his hands, while you pour the money into -them, and taking the plate in your left hand, pour the contents into -your right, where you have already _five more palmed_ (the five the -audience have not seen). Now pour the fifteen into the hands of number -two, and impress upon him the importance of keeping his hands well -closed over the money. This will prevent his noticing that an addition -has been made. Take the five from person number one, and pretend to -place them in your other hand, but instead palm them. Do your talking -and command the money to pass. If you have taken proper care in palming -your coins, the audience, as well as the one holding the money, will be -greatly amazed by the trick. - -DANGER OF REPETITION. - -In almost any performance of this kind, the audience, especially if of -one’s intimate friends, are anxious for the performer to try again -whatever strikes them as strange or mysterious, being of course on their -guard to watch certain movements, at points in the performance which -they had scarcely noticed before. - -So it is very unsafe to try any trick over again immediately after it -has been once performed, or in fact during the same evening; although -perhaps it might be safely done if a number of different ones -intervened. If beseeched to try it “just once more,” make as graceful an -excuse as you can, and suggest in its place something equally -interesting. - -THE INEXHAUSTIBLE HAT. - -For this trick, seven half-dollars are required, and are concealed in -the right hand by “palming,” as the five two-cent pieces were hid in the -former trick. - -First, borrow of one of your audience a tall silk hat, promising to -return it “as good as new” at the end of the performance. Let the -audience examine it to see that the owner is not in league with -yourself, and then, walking to the back of the room, place it upon a -table. While walking toward the table, with the back toward the -audience, palm your coins, which should be held in some convenient -pocket, readily accessible when the moment comes for using them. - -Next, turn to your audience, having your coins well concealed in your -right hand, and request some one to lend you _six_ half-dollars; but -immediately, under the pretense of disliking to trouble them, step -forward, and, excusing yourself for the liberty, take a coin from the -folds of a lady’s dress, by simply letting one of those concealed in -your hand slip to the end of your fingers. If you have had sufficient -practice in “coining” you will find no difficulty in doing this, and -your audience will be inclined to believe you actually found the money -secreted in the fabric, although they may believe you had some hand in -placing it in its hiding-place. - -If you have been thus far successful, go to the hat, and, calling -attention to the fact, drop the half-dollar into it; then, as if you -imagined some one was doubtful whether the coin was really in the hat, -make some remark to the effect that if they do not believe you dropped -it you will do so again, at the same moment thrusting your hand down to -the crown to take it in sight again. - -At the moment the hand is in this position, carefully place the six -half-dollars on the bottom, and let one remain in the palm. Pick up one -of these six, and holding it high, let it drop, being careful, however, -that it does not hit the other five. - -The coin in your hand you proceed to take from any unusual place which -may occur to you—the window curtain, portière, a gentleman’s beard, or a -lady’s coiffure, are those most naturally suggested. As soon as you take -a half-dollar from its hiding-place, you pretend to place it in your -left hand, and from there command it to pass to the hat, but in reality -you palm it in your right where it is ready for the next position from -which you desire to take it. Proceed in this way until you have gathered -in six half-dollars. - -As these have been lying quietly in the hat during all this time, you -have no anxiety about sending them there, and must simply avoid going -near it while apparently filling it with the money. When the last silver -piece has been sent to its destination, request the audience to select -some one of its members to count the money in the hat, and see that none -has been lost in its flight hence. It will, of course, be found all -right, and great will be the curiosity to know how you placed it there; -but do not allow yourself to be influenced into trying it a second time, -for with the close watching you will undergo your secret will be -discovered. - -ANOTHER HAT TRICK. - -The hat may well be called “inexhaustible,” for all manner of things may -be made to come from its prolific crown, and in such profusion, that a -receptacle of double its size would hardly contain them. - -If two boys have learned the art of palming well, they may assist each -other, and, if at all ingenious, invent a variety of tricks for an -evening’s amusement. - -The following is but a suggestion, which may be varied by different -materials: - -Let them borrow from the audience two tall silk hats, and place them -upon chairs standing some distance from each other. Each having provided -himself with a small rubber ball—the one resembling the other as nearly -as possible—they are ready to proceed. The hats were of course empty -when passed to the stage, but as the first boy takes his place, back of -the chair which contains a hat, he should glance down into it, and with -surprise, draw out a ball which he has had concealed in his right hand, -show it to the audience and then pretend to put it in his left hand, but -instead _palm_ it in the right; at the same time extending his left -toward his partner. The second boy stretches out his right arm as if to -receive the ball, and at the moment his hand touches the fingers of No. -1, he lets that which he has been palming in his right hand slip down to -his fingers, as if he had just received it from his friend. Now, -pretending to change it to his left, he palms it, as No. 1 has done, and -finally drops his left hand, which is supposed to hold the ball, into -the hat in front of him, at the same time giving the side or crown a rap -with one of his fingers, to imitate the falling of the ball. This same -thing may be repeated indefinitely, until you have balls enough to stock -the village. When you see the audience is beginning to tire, let No. 1 -say, “My hat is empty; shall I help you count the balls in yours?” No. 2 -nods assent, and looks down, as if expecting the hat to be full. He must -then pretend great surprise, and taking up the hat must turn it upside -down, gently shake it—remembering it is borrowed—and with the audience -wonder what has become of all the balls. - -Eggs, small lemons or oranges, little china dolls, and a number of small -toys may be substituted for the rubber balls above given. - -THE PERAMBULATING EGG. - -This trick is one of the easiest, while at the same time one of the most -pleasing, of the magician’s arts. In it an egg, apparently without any -impulse beyond that which resides within itself, travels over a hat, and -after reconnoitering it in its every nook and corner, passes gracefully -over to another, and commences its journey of discovery around the -second in much the same manner it has traversed the first. - -Two hats are borrowed from the audience, and a dish of eggs is placed -upon the table by their side, when the performer requests the lady -stationed at the piano to give some music, and the exhibition commences. -The egg which is used is merely a shell, the inside having been sucked -or blown out through tiny holes made at either end. A slender silken -thread is tied to the upper button of the performer’s waistcoat, while -attached to the other end is a small piece of wax or other sticky -substance. Just before the performance commences, show the dish of eggs, -and then pass away from them and back of your audience, to show that -they (the eggs) are in no way attached to your person. - -As the music strikes up, walk to the table, take the shell from the -dish, making it appear that you had no choice, but took the first one -you chanced to touch, and place it inside the hat, at the same moment -pressing the bit of wax to its side. - -As the egg is _in the hat_ it is necessary for it to pass out upon the -outside surface. To do this the hat is slowly moved downward until the -egg is even with the brim; then by careful management and a little -practice, the effect is produced of the egg walking up the hat instead -of the hat being lowered to the egg. You may now take the egg in your -hand and, holding the hat with the crown upward in a horizontal -position, place it beneath the egg, and turn it slowly away from -yourself. The effect will be that the egg is traveling up hill. By -placing the other hat close to the one upon which you are performing, -and slowly drawing it under the egg, the latter will appear to pass over -to the crown of the second hat, and very much the same movements may be -repeated on this as on the first. - -THE MAGIC DISPATCHER. - -Borrow a quarter or half-dollar from your audience, and ask the owner to -place some mark upon it by which it may be identified. Wrap this in the -corner of a handkerchief, and give it to some one to hold. Next take a -ball of yarn, and having placed it in a tumbler, ask some other person -in your audience to hold his hand over the top of the tumbler in such a -way that the ball will be kept in place, and the yarn will run smoothly -through the fingers. Hold one end of the yarn some distance from the -tumbler, or near where the coin is held, and inform your audience that, -as your dispatcher is in good working order, you will proceed to send -the coin your friend has in his hand into the very center of the ball of -yarn. Take the opposite corner of the handkerchief from the one holding -the money in your right hand, and having counted one, two, three, -command the coin to pass, at the same instant snatching the handkerchief -from your friend’s hand. Next commence to unwind the ball, being careful -to keep some distance from the tumbler while so doing. - -[Illustration] - -As the yarn is nearing its end, the silver piece will drop upon the -bottom of the tumbler, and nothing is left for you to do but to request -the owner of it to step forward and see if it is the one he lent you. - -In this, as in many of the tricks you have already learned, very little -preparation is required. First, a coin of the same denomination as the -one borrowed is sewed in a corner of the handkerchief. The ball is wound -upon a stick of a particular shape, which is drawn out when the coin is -to be substituted in its place. This stick should be about two and a -half inches long, one and a quarter inches wide, and an eighth of an -inch thick, rounded off at one end, and scraped until it is perfectly -smooth. - -When winding your ball, be careful to have the rounded end of the stick -in the center of the ball, and the other end projecting slightly on one -side. - -After you have procured your coin, palmed it, and given the handkerchief -containing the other into the hands of some person to hold, go for your -ball, which should be at some distance from your audience, that you may -have time to draw out the stick and insert the coin in its place, while -you are walking back to the table upon which is your tumbler. - -The trick is now done, but the audience must be kept ignorant of the -fact, while your conversation and subsequent acting should shroud it in -all the mystery possible. - -THE TURKISH RING TRICK. - -A few years ago I had the good fortune to see a famous magician perform. -Many and wonderful were the things he did, and at times it seemed as if -other than human skill must be aiding him in his craft. - -Among others, he gave the following trick, which was as enthusiastically -applauded as many of the others. It had for me no element of -strangeness, as I was already initiated into its secret. Since it has -ever been a favorite in the little amateur performances we have from -time to time been in the habit of giving, I hope it may gain a wider -popularity in the larger circle of friends to whom I am about to -disclose it. - -[Illustration] - -To the public it appears as follows: A plain gold ring is borrowed, -placed in a handkerchief, and given to a person to hold. A small stick -is held by two others, in such a position that its center is hidden by -the handkerchief; each person holds an end. The magician commands the -ring to pass, at the same moment snatching the handkerchief, a corner of -which he has taken, away from the one holding it—when behold! the ring, -which a moment ago was in the spectator’s hand, is now whirling around -the stick, which it evidently has just reached. - -It is performed as follows: When the ring is taken from its owner, it is -palmed, and not placed in the handkerchief, as one is led to suppose, -the handkerchief being supplied, as you probably have already guessed, -with a ring which is sewed in its end. In passing the stick to the -holders, you have simply to pass it through the right hand, in the -center of which your ring is palmed, and, of course, through the ring -itself. Then, holding it until it is hidden by the handkerchief, is not -difficult to do. When you first take up the stick, be sure and use your -left hand, so that you will have it ready to pass through your ring -without any awkward or suspicious movements. Finally, pulling the -handkerchief suddenly and quickly across the stick, causes the ring to -whirl upon it very much as if it had just dropped in its place. It is -always well, when performing with the handkerchief, to have a second and -similar one in your pocket, to show in case suspicion should be aroused -concerning it. - -HOW TO MELT AND RE-COIN A HALF-DOLLAR. - -Supply your table with a candle in a light candlestick, and a glass of -water. When ready to perform, request some one of your audience to lend -you a half-dollar, suggesting at the same time, that a new bright coin -would best suit your purpose. Have it marked that the owner may be sure -of its identity. - -If nothing but dull coins are to be found, have a small bottle of -ammonia at hand, and holding the piece in your hand, pour a few drops of -the liquid upon it; let it stand a few moments and then wipe with a bit -of cloth. Treat both sides in the same way, and brighten up the edges in -like manner. All this while you may be talking of this treatment, as if -it were intended to render the metal more fusible, but be careful not to -mention what the fluid is, or for what it is really intended. This -treatment is, of course, not necessary in the case of new coins, in -which case it can be omitted. - -When the silver is bright, and presents the appearance of a new coin, -take it between the thumb and forefinger of your right hand, look at it -carefully, and then pretend to drop it into your left hand, but instead -palm it in your right. - -Now continue to move your left hand as if working the coin around in it, -keeping up a continual flow of small talk during the whole performance. -The difficulty of melting silver, the amount of heat required, and the -comparative hardness of different metals, forming good subjects, with -which you will become familiar before your public exhibition. - -To render the idea of palming an apparent impossibility, take up the -candle in your right hand. This will render the holding of the coin less -troublesome, and appear to your audience as a conclusive evidence that -the half-dollar is in your left hand. - -After you have pretended to place the coin in your left hand, do not for -an instant forget to appear as if it really was there, and keep that -hand always in sight of your audience. - -Having taken the lighted candle in your right, hold the left hand above -the flame, and move the fingers as if allowing the silver to pass down, -drop by drop, into the candle itself. If, just before this, previous to -taking the candle, you could catch up the glass for a drink and drop a -spoonful of water into the hollow of your left hand, the dropping of it -into the candle-flame would add to the impression of melting silver. You -can wet your hand slightly in many natural ways, as no one would imagine -the water had anything to do with the trick. Continue to pretend to drop -the silver, until it would naturally be gone; then, without removing -your hand, open it and announce that the half-dollar is melted, and can -be found in the candlestick; assuring the donor that he need not be -alarmed, as you can bring it out as it was before it went in, if he will -but have patience. - -Put the candlestick down upon the table, and pretend to pick out bits of -silver from the various parts of it with the right hand, placing them as -they are gathered in the palm of the left hand. At a convenient moment, -when the right is exactly above the left hand, drop the half-dollar into -it, and the trick is done. But it would not do to let the audience know -this, so you must continue to work the left hand as if molding the coin -in shape, blowing with the mouth into the palm as if cooling the heated -mass; toss it from hand to hand as if to cool it more rapidly, and -finally return it to the spectator from whom it was borrowed. - -BURNING THE CENTER FROM A HANDKERCHIEF. - -The young performer will find but little difficulty in performing this -simple sleight-of-hand trick successfully. A lighted candle, a small -stick, or magic wand, and a piece of thin cambric or muslin about six -inches square, are the materials required. - -Place the lighted candle on your table, and the wand on another table or -shelf some distance from the former with the bit of cambric behind it. - -Now borrow of some lady present a handkerchief, a gentleman’s being -inconveniently large. Take the handkerchief by the center, pull it -carefully between the fingers and thumb of left hand, and advance toward -the candle. - -Just as you are about to burn it, stop and say, as if in answer to some -remark overheard, “Oh, no, I have not changed the handkerchief. See!” -and at the same time allow another inspection of it. - -Suggest now to its owner, if, in case her handkerchief is burned, she -would like it restored again to its proper condition; and, upon her -answering in the affirmative, announce the necessity of the magic wand -for that purpose. Walk to the spot where the wand is lying, and take it -up, managing to pick up at the same time between the left thumb and -forefinger the bit of cambric; the center of this piece should be -pointed outward so that it may be readily pulled out at the desired -moment, the remainder being neatly rolled up and palmed under the thumb. -This piece should have been rolled up with the central point slightly -projecting when first placed on the shelf, and the performer should -manage to turn his back toward the audience for a few moments when -taking up the wand. - -Place the wand in one of your coat pockets as you advance toward your -candle, and again take the handkerchief, putting it this time into the -left hand, and pull up the small piece of material, completely hiding -the center of the real handkerchief between the second and third fingers -and the palm of the hand. - -The portion of the cambric extending beyond the thumb and forefinger may -now be safely burned, and the audience may be sure the handkerchief is -burned, as you can make some display of rolling it up in a ball, taking -care, however, to separate the burned piece from the real article. Now -take the wand from the pocket, and at the same time manage to drop the -small semi-burned piece of muslin unperceived into the pocket; touch the -handkerchief with the wand, and, after some magic word or words, return -the handkerchief to the owner to be examined, remarking that you hope -not even an odor of smoke is noticeable about it. - -Whenever displaying feats in magic, it is better for the performer to go -forward among the audience if he has anything to show or have examined, -than to allow the latter to come to his portion of the room. His table -has often some things upon it which if seen near by would do much toward -dispelling the mystery connected with his works. - -A wide space should be left between his table and the front row of -spectators, as he often has occasion to step between the two in some of -his feats. - -The lights also should be judiciously arranged, so as not to shine too -directly upon his hands or person, or even upon his table. Always have -everything you can possibly need in some easily accessible place, and in -just the position most convenient to be taken. - -Decide beforehand what tricks you will perform, and in just what order -they are to be given. Of course, all the materials are not to be spread -on the table at the commencement of the entertainment, as they would be -in the way, and confuse you in your first acts; but they should all be -at hand, and while articles are being examined which have passed through -the various vicissitudes in a former trick, you can utilize the time -when the attention is thus carried away from yourself to gather together -and properly place the materials for your next feat. - -Never be induced to perform a trick a second time, unless nearly a whole -evening’s performance intervenes. Even then it is pretty sure to be -detected. - -THE MAGIC ROPE. - -Take a piece of clothes-line, six or seven yards long, and pass it among -your audience for inspection. While it is going its rounds, have your -hands securely tied with a handkerchief, which should be passed around -the wrists and knotted on one side. - -When the rope is returned to you, drop one end between your arms, or -inside the handkerchief, and request some one to take both ends of the -rope and pull, to make sure your hands are firmly tied. It would now -seem impossible to get the rope off, unless the hands were untied or the -ends released. After two or three rapid motions, however, the rope drops -to the floor, while your hands remain tied as at first. - -[Illustration] - -First, do not have your hands tied so tightly that you cannot move them; -this can be arranged by holding them slightly apart while they are being -tied. After the rope has been pulled by the holder, it is somewhat -relaxed; and then, by rubbing it between the wrists a loop may be -formed, into which the second finger may be slipped. The whole hand is -now readily thrust through, and only a jerk is necessary to send the -rope upon the floor. In performing this trick, work as quickly as -possible, that your movements may not be easily followed. - -A CAMPING-OUT COOKING-STOVE. - -Although the winter season is now well upon us, and its reigning king, -Jack Frost, jealous if we but mention the “camp-fire,” has covered its -very site with ice and snow, we need not fear incurring his displeasure -by the following exhibition. - -Procure an old silk hat if possible, and pass it among your audience for -inspection. Have upon the stage, or at your end of the room, a table, -with a drawer open at the back. In this drawer have a small cake in the -tin in which it was baked. Let it be made in a patty-pan if convenient. -Beside this cake have a small tin cup, which will fit rather tightly -into the mouth of a china jar you have also provided. On the top of the -table have an unlighted candle, the jar, which should be porcelain if -possible, a basket containing a few eggs, a pitcher of water, some -flour, and a box marked sugar. The hat, after having been examined, is -returned to you; and the cake, along with the cup which is to receive -the eggs and flour, are put into it. This is effected as follows: Take -the cake and cup in your left hand, keeping it down behind the table, -and your hat in the right hand; bring the cake and cup up to the edge, -and immediately cover it with the hat, which you begin brushing with -your right. Keep up a running discourse all the time, so that the -movement will seem natural, and not be suspected. In a moment or two -partly withdraw the left hand, and grasping the brim of the hat, turn it -upside down upon the table. If the tin is not in a good position to -catch the eggs and flour which you are to drop into it, palm a penny and -pretend to find it in the hat, chiding your audience for carelessly -overlooking it, remarking that although a useful thing to have, it is -not exactly a proper ingredient for cake. Of course, while pretending to -pick up the coin, you can arrange the tin cup on top of your cake in the -middle of the hat. Be sure that it stands firm. - -Now proceed to break one or more eggs, and drop the contents into the -hat, taking especial care that they drop into the cup. Next throw in a -spoonful of sugar, and then pour a few drops of water and one or two -spoonfuls of flour into the jar, and stir well with a spoon. Pour the -contents of the jar into the cup, and then, under pretense of draining -the last drop into the hat, force the jar down over the cup, and work it -around until the cup is well pushed up into the mouth of the jar. It is -needless to add that you must pretend all the while that you are -scraping or shaking out the mixture. The jar can now be taken out and -carelessly placed behind the sugar-pail or any other object, to prevent -the edge of the tin cup from being seen. - -The trick is now completed, the only necessary thing to do is to keep up -the acting until the cake is supposed to be finished. - -First, stir it well by moving the spoon around quite actively in the -hat; then light the candle, and, informing your audience that the cake -is ready for baking, take the hat in one hand and hold it over the -candle for a minute or two, occasionally glancing in to see if it is -doing well. - -In a short time announce that it is baked; and after blowing out the -candle, take the cake from the hat, turn it out upon a plate, and -placing a knife by its side, pass it to some one to cut, and politely -request your friends to try it, and judge upon the efficacy of your -camp-stove. If the hat was borrowed, return it with thanks to its owner, -and congratulate him upon having such a useful article always on hand. - -NECESSITY OF A SOBER COUNTENANCE. - -In most, in fact all, of these exhibitions, it is absolutely necessary -that one should keep a sober countenance while performing. No matter how -hard your audience laugh, do not allow the shadow of a smile to flit -across your face. If you do it will take away much of the effectiveness -and half the mystery, from whatever you are doing. - -I once had a young friend, a quick bright boy, who was very successful -in palming, and in many of the other elements in sleight-of-hand tricks, -but he had a ridiculous and unconquerable habit of laughing whenever his -audience laughed, and, in fact, of sometimes anticipating the laugh, and -commencing before his friends saw anything worth laughing about. - -He was of course not successful, and was never watched with as much -interest as his brother, who, although not as clever, was as sober as a -judge from the beginning to the end of the performance. No amount of -hilarity in the audience affected him in the least. If he found it was -impossible to make himself heard, he stood still and waited; but always -with the same quiet, calm countenance he would have worn had he been -walking up the aisle of a church. Learn to command your countenance, as -one of the most important requisites of a successful magician. - -THE GREAT CHINESE ROPE FEAT. - -Many years ago this trick was exhibited in a show-window on Broadway, -but as probably most of the people who then saw it have long since -forgotten how it was performed, I give the following account: - -Two ropes, each about three yards in length, are given to the audience -to examine, which of course are pronounced perfect; then they are passed -through the sleeves of a coat, in such a way as to suspend it; the ends -are then given to two boys to hold. The performer then places his hand -inside the coat, and having requested those who are holding the ends of -the rope to pull, the coat falls to the floor, having in some mysterious -manner worked off the ropes. - -[Illustration] - -Of course, the whole secret of this trick depends upon the arrangement -of the ropes, which are of themselves perfect. After they have been -examined, and are returned to the performer, he pretends to measure -them, and while so doing manages to bend each rope double; that is, he -brings the two ends of each together; while still holding them he -contrives to slip a small elastic band over the center of one, and -bringing the middle of the other alongside of it, he slips the band over -both, thus tying them together, as shown in the illustration. - -[Illustration] - -Now holding this juncture carelessly in his left hand, over which arm a -coil or two of the rope is thrown, he passes the ends marked _A_ through -one sleeve of the coat, and the end marked _B_ through the other, and -these are the ends he gives to the two persons to hold. - -If he now slips off the rubber band, the coat will fall; but each person -will have both ends of the same rope in his hand, and the mystery would -be easily solved. To remedy this, however, the performer, under pretense -of making the trick still more difficult, takes an end from each of the -holders, and proceeds to tie a single loop, as seen in the illustration, -thus reversing the ends, which he then returns to them. - -Of course, when the band is taken off, each person has but one end of -either rope in his hand. - -TO PULL A STRING THROUGH A BUTTON-HOLE. - -Tie together the ends of a piece of string about two feet long; pass it -thus tied through a button-hole of your coat. Hitch the two ends on your -thumbs, and catch up with each little finger the upper string on the -thumb of the opposite hand; then, stretching the hands apart, the string -will appear in a very complicated tangle. If the hold of the right thumb -and left little finger, or _vice versâ_, be then loosed, and the hands -quickly separated, the string will come away from, and appear as if it -had passed through, the outside edge of the button-hole. - -TO UNITE A PARTED STRING. - -Take a piece of string about four feet long; hold the ends, pointed -upward, between the first and second finger and thumb of the left hand, -and the first finger and thumb of the right hand, letting the remainder -of the string hang down in a loop. Now bring the right hand close to the -left, crossing at right angles that end of the cord held in the left -hand, and continue to pull until half the length of the string has -passed the left hand, at the same time slipping the third finger of the -left hand between the two parts of the string. - -The first finger and thumb of the right hand should then seize the -string at a point just below the little finger of the left hand, the -third finger of that hand at the same time drawing back the string -toward the palm of the hand. - -The part of the string now held horizontally between the two hands is -only the continuation of the end held in the left hand, though it will -appear to be the middle of the string. - -This piece of the string some one of the audience should be invited to -cut, and thus apparently divide the string in halves, although in fact -he only cuts off two or three inches. - -Place all the ends of the string between the teeth, withdraw the short -piece with the tongue, and show the remainder, apparently as the string -was at the commencement. - -Of course, the string must not be measured, or the trick will be -detected. - - - ―――――◀▶――――― - - A MINERAL GARDEN. - -Fill a clear glass jar—a fruit jar will answer the purpose—with sand, to -the depth of two or three inches; insert a few pieces of sulphate of -iron, sulphate of copper, and sulphate of aluminum, so that they will be -barely covered with the sand. - -Now fill the jar to within about three inches of the top with a solution -of silicate of soda, commonly known as “water-glass,” which can be -procured at most large city drug stores. This should be diluted with -three times its bulk of water before it is poured in; and care should be -taken not to stir up the sand and disarrange the chemicals. - -After standing about a week, the silicates of the various bases will -appear in a luxuriant and variously colored growth, resembling -vegetation. - -Now the silicate solution may be displaced with clear water, which -should be poured in very carefully, so as not to break or disturb the -vegetation. This permanent miniature forest will be found to present a -very attractive appearance, and as no pruning or weeding are required, -the young gardener will probably feel that his trouble is well repaid. -Its development from day to day will be watched with interest by all the -members of the household, although it will be of especial value to the -invalid, to whom any new and interesting object to watch is a blessing -indeed. - -Another pleasing and ingenious device I insert for the benefit of this -class of my readers, wishing, in the meantime, that it might be in my -power to make their in-door life so bright and full of interest, that -they would forget the more active sports of their sturdy brothers and -sisters, or at least cease to regret their enforced confinement. This -little affair I shall call - -THE CRYSTAL VASE. - -This sparkling ornament will almost make itself, so little trouble is -required. - -You have only to half fill a tall glass tumbler with water, and put in -half a teacupful of table salt, then let it stand. - -As the water dries out, put in a little more, adding salt also in due -proportion; and keep this up for five or six months. - -By degrees an incrustation of crystals will fill the tumbler, and spread -gradually down the outside; extending and thickening till the whole -vessel is covered with an irregular glittering mass, which might well be -the work of the ice-sprites in the kingdom of Jack Frost. - -As the crystals approach the bottom of the tumbler, the latter should be -set in a saucer; when the tiny stalactites have enveloped this also, the -vase is complete. - -Should it be desired to enhance still further the decorative effect of -this by the use of color, a blue tint can be communicated by adding a -little indigo blueing to the salt and water. Should other colors be -desired, almost all of those employed in coloring alum crystals (see -page 25) may be used with equal success in this case. By adding -different colors at different times, a variegated effect may be -produced. - -The gradual growth of the crystals, and enlargement of the mass, is a -very interesting spectacle. - - - ―――――◀▶――――― - - THREE CHRISTMAS OR BIRTHDAY GIFTS. - -When speaking of Christmas presents in an earlier portion of this book, -I unintentionally omitted three quite interesting and easily made -puzzles, which are always pleasing sources of amusement to the young -folks, and sure to while away many half-hours on stormy days. Such -presents are always valuable additions to the nursery closet, and in an -indirect way are as gratifying to mamma and nurse as to the little -recipient himself. The first of these is called the - -OCTAGON PUZZLE. - -This puzzle consists of twelve irregular pieces of stiff pasteboard or -wood, which are to be arranged in the form of an octagon. - -Although these pieces can be cut from pasteboard, they are more lasting, -stronger, and better every way if made of wood. White holly, such as is -employed for brackets, is a nice material to use. - -[Illustration] - -With a jig-saw cut four pieces in shape like that represented in Fig. 1, -four like Fig. 2, and four more like Fig. 3; rub the edges down with -sand-paper, and, if you like, paint each set a different color. When the -paint is dry, varnish them. - -Pack them in a small pasteboard box, which you can neatly cover with -paper—any fancy color will do—and you will find your little brother or -sister will be as well pleased with them as with many toys which have -come direct from the store. - -Another puzzle of the same character as this is - -THE CROSS PUZZLE. - -In this, as in the Octagon, the pieces composing the cross may be made -of pasteboard, but are better and stronger if made of the white holly or -other thin “bracket wood.” - -[Illustration] - -Cut three pieces—with the jig-saw, of course—in shape like Fig. 1, one -piece like Fig. 2, and one like Fig. 3. - -These pieces may be of any size, but relatively each one must correspond -with the sizes and shapes indicated in the diagram. - -Paint as fancy may dictate, after smoothing the edges off with -sand-paper. Pack in a box treated like that used for the “Octagon -Puzzle.” - -The last of these interesting puzzles is known as the - -SQUARE PUZZLE. - -Of the pasteboard or white holly cut out eight squares of whatever size -desired; divide four of them into halves by cutting them from corner to -corner, so there are in all twelve pieces. - -[Illustration] - -The puzzle is to form a square of these twelve pieces. The illustration -shows how this is done. - -When these puzzles are given to the little folks, no “key” should -accompany them, but the children should try to put them together without -help. If, however, you find they begin to lose interest, show them the -first step, and encourage them to try to finish it by themselves. - -There are great differences in children in this respect; some -persevering and unwilling to be helped at all, while others become -discouraged at the smallest obstacles and refuse to try. The latter -should be encouraged by a little help, care being taken, however, that -they do a considerable portion of the work themselves. - -No doubt this “indolence,” as it is sometimes erroneously called, is -generally due to a weak physical condition, rather than to inferior -mental powers. A child of this temperament, instead of being ridiculed -by his more vigorous companions, should be encouraged and stimulated to -action; and such games or puzzles as those contained in this book are -just the things to accomplish this end. - - - ―――――◀▶――――― - - A SIMPLE FOUNTAIN. - -Take a bottle holding eight or ten ounces, and insert a tube in the -cork. A fine glass tube or even a pipe-stem will answer. - -The tube should reach nearly but not quite to the bottom of the bottle, -and should fit air-tight in the cork. - -Fill the bottle about three-fourths full of water, and blow with -considerable force down the tube. Upon removing the mouth, the water -will spurt out, forming a miniature fountain; which will continue to -play as long as any water remains in the bottle. - - - ―――――◀▶――――― - - THE FAN FROM NAGASAKI. - -A few months ago, a friend who had been for several years a resident of -Japan, came home to America for a visit, and brought with her a bright -little son and daughter, neither of whom had ever set foot on our -American shores before. The children were delighted with their American -cousins; and evidently could not find words strong enough to sound the -praises of the new games and sports which they were constantly learning. - -Their lives had been spent with Chinese or Japanese nurses; and although -kind-hearted and devoted as my friend assured me these people were, the -little exiles must have had a sorry time of it in their foreign -play-room, when compared with our own boys and girls. The respect and -almost reverence with which they regarded Jack, the most daring -scapegrace in our family, would have been very amusing had it not been -pathetic. What Jack did was always marvelous in their eyes, and into -many an unsuspected trap they were beguiled by his mischievous pranks. -They were what most of you boys and girls would call very green, when -they first reached us, but under Jack’s tuition, I fear that next -winter—in fact, at the very time you are reading this—perhaps they will -be trying the same tricks upon their innocent Japanese nurse that Jack -tried upon them. - -It will not be strange if that long-suffering personage does not in his -secret heart have less respect for this illustrious nation than he has -been wont to have before. - -But if so ignorant in most things, these children were very ingenious -and uncommonly happy in making things of paper. - -One rainy morning, about a week after they came to us, I had occasion to -go into the nursery for something, and was quite surprised to find the -children busily engaged in folding paper. Edith had brought down some -rice-paper from her trunk, and with the help of her brother, was -fashioning all sorts of odd things from it; while the younger members of -my own family were looking on with intense interest. - -I left the room, after watching them for a few minutes, but an hour -later, upon entering it again, found them still employed in the same -amusement. - -It seems that their nurse had been in the habit of teaching them many -Japanese arts to keep them still while under his charge. Their nurse was -a man, strange to say, as very few female servants are employed in -either China or Japan, and now they in their turn were teaching these to -us. I confess the graceful, pretty things they were making had quite a -fascination for me, and I even left off what I had been doing, and -became a pupil with the youngsters. I took up the article which they -were just beginning to learn, and, following my little teacher’s -directions, I made what I have styled “The Fan from Nagasaki,” because -my little instructress was born and lived in that city, and learned her -art from a native Jap, and not because the fan itself, if it can -strictly be called a fan, came from that region. - -The children called it by a delightfully odd Japanese name, which you -would find it hard to pronounce even if I should invent a way of -spelling it. - -Edith used Japanese or rice paper for those she made; but we found a -stout quality of brown wrapping-paper, not too stiff, answers nearly as -well. - -If brown paper is used, a rectangular piece about two feet long, by one -and a half feet wide, is a good-shaped piece to use. - -Mark off each of the edges which measure eighteen inches into six equal -parts, each division being of course three inches long (see Fig. 1). Now -double the paper on the line at _x_, and you have a shape like Fig. 2. -Fold the uppermost half under at the line _a a_, and again outward at -the line _b b_; then fold the under half in precisely the same manner, -and your paper is like Fig. 3. - -[Illustration] - -Upon examining the edge _a a a_, two openings between the folds will be -seen; whereas at the edge _b b b_, three openings will be found. The -hand has next to be placed in the middle of these three openings, and -the paper spread out toward the right and toward the left; that middle -fold lying flat or unfolded for the time being. Another figure is now -made like Fig. 4. Now commencing at one end of this long strip, crinkle -it the whole length as you would a lamplighter top, making the folds -even, about a quarter or half an inch wide. Be careful not to make these -folds wider than this, as the fan does not work as well when they are -wide. Yon have now a figure like that seen in Fig. 5; and if your folds -have been carefully and firmly creased, your paper is prepared to make -all sorts of strange shapes. I think Edith told me her nurse could make -sixty-five different forms from a similarly folded bit, and most of -these she was able to reproduce; but as it is some time since the -children left us to visit other friends, and I have not given the -subject a second thought till now, I find I have forgotten how many of -the more intricate ones were formed. Perhaps with the directions for -these my readers will catch the _knack_, as we Yankees call it, and can -improvise some forms unlike any of these, for themselves. Whatever you -succeed in making, you may be quite certain that the Nagasakian nurse, -away off on the other side of the earth, is ahead of you, and has made -the same form before; for his sixty-five must include about everything -one could possibly fashion from its folds. - -In Fig. 6, the lower edge of Fig. 5 is held between the thumb and -forefinger of the left hand, while the top is spread out like a fan. For -Fig. 7, take Fig. 6, insert the fingers at _a_, and pass them round to -_b_, raising the paper outward. Fig. 8 is a continuation of 6 and 7, as -the upper layer of the overhanging edge in Fig. 7 is raised by passing -the finger under it at _c_, and bringing it out at _d_. - -Fig. 9 is a reverse of Fig. 8. Catch the paper by the part now -uppermost, pinch that part well together, and loosen the part which was -confined in Fig. 8. - -[Illustration] - -It must be remembered that every time the fan is changed, the paper must -be pinched into its original form, Fig. 5. It will now be necessary to -make that change. After creasing the folds firmly in place (Fig. 5), -lift up the upper part _a_, bring the lower plaits _b_ well together, -and hold them for the handle. With the disengaged hand, arrange the -upper part in the form of a sunshade. Another form may be got by raising -the upper layer of the sunshade cover, a species of cup or goblet. By -drawing out _b_ until it is at right angles with the upright, the goblet -form is nearer correct. - -Now reverse the paper, and spread out the lower part so that it may -represent the body of a wine-glass; that which in Fig. 10 was the top of -the sunshade, is now the foot of the glass, as seen in Fig. 11. - -[Illustration] - -The Chinese lantern (Fig. 12) is as easily made. Open out all the paper, -and twist it around; catch it now by the central part, and by -compressing the central folds well together, these wheels are produced -(Fig. 13). - -The hat, or cup and saucer (Fig. 14), is readily made by opening the -paper out again, and catching it at the two ends. - -We now come to a new form of subjects, so the original form (Fig. 5), -must once more be reverted to. If the paper is caught at both ends, it -can easily be folded so as to form Fig. 15, and a table-mat may be made -by drawing it out like Fig. 16. - -[Illustration] - -A “nappie” dish, oval in form, and resembling Fig. 17, may be made from -Fig. 16, by simply raising up the sides _a_ and _b_. By pressing the -paper inward, Fig. 18 is obtained. Fig. 19 is made by drawing the paper -out again, and letting it loose at the end. Thus you see, by pulling out -some parts and drawing in others, a quantity of things could be made -other than these I have shown. It would be quite interesting if every -boy and girl who reads this, would try on some rainy day to see how near -to the sixty-five he or she could come. If two or three friends in the -same neighborhood should unite their forces, and count all which are -unlike, without reference to the maker, they might not fall so far short -of the illustrious Japanese—I wish I could remember his name—after all. - - - ―――――◀▶――――― - - THE MINIATURE YACHT AND HOW TO RIG HER. - -Boat making and sailing are most fascinating pursuits, and we do not -know but the old saying, “When a man has taken to boat-sailing, he is a -sailor to the end of his days,” is to a certain degree applicable to the -boy who intelligently fits out his tiny craft, and sends her on little -voyages across the neighboring pond. - -If the sailing is to be done on water of any depth, there is one caution -we should like to give at the very outset: _Learn to swim before you -sail her_. No mere pleasure is worth risking one’s life for, and -accidents will happen even to the most careful boys. - -After this, you may play on or near the water with as much safety as on -the land. - -Aside from the pleasure, one learns an extremely useful lesson in making -a miniature model yacht, and in sailing her. A certain familiarity with -the rigging, and the looks of the thing, will thus be obtained, and if -your fingers have patiently set up shrouds and stays, and rove the mimic -halyards, they will be less at sea with the ropes and stays of a real -vessel. - -Many boys living near the sea, and accustomed every day to see vessels -lying at anchor, or sailing in and out of the harbor, have very hazy -ideas concerning the rigging of any kind of craft. Well I remember in my -early days of being obliged to run down to the wharf to see where to -attach my topmast. Whether it belonged forward or aft of my mast I had -not the slightest remembrance, and yet scarcely a day went by without my -seeing a vessel in some form or other. - -Boys are not the only persons, however, who look at things and do not -see them. The power of minute and careful observation is a rare quality, -and the majority of people go through life without forming the habit, or -indeed dreaming they have not made the best use of their sight. - -For the benefit of the boys who belong to this class, and those less -fortunate ones living inland where yachts are unknown, I write this -chapter. - -In several of our large cities, ponds are set apart for the especial -purpose of sailing toy vessels. They are the exclusive property of the -boys, and any fine afternoon in season, and frequently out of season, if -the ice does not interfere, crowds of boys may be seen sitting on the -edges of these “lakes,” intently watching the graceful fleet as it skims -lightly over the water. The sixty-acre lake in Prospect Park, Brooklyn, -and Conservatory Lake, Central Park, New York, are both set apart for -the owners of these miniature yachts; and it is wonderful how many older -people, as well as the boys themselves, take interest in this amusement. - -[Illustration] - -The building and sailing of tiny yachts is carried to a much greater -extent in England than in this country. There the Prince of Wales is -deeply interested in the sport, and has instituted a “Royal Yacht Club,” -presided over by himself, which has regular yacht regattas. These -regattas take place on Serpentine Lake, in Hyde Park, every summer, and -are considered quite important events. The yachts belonging to this club -are very elegant affairs, one of them being valued at $5,000, yet none -of them are over five feet in length. - -We do not expect our boy readers to emulate their British cousins, but -with the following simple directions we feel confident they can, with a -fair amount of skill in the use of tools, and careful labor, make a very -respectable miniature yacht, which shall be correct as far as she goes -in both form and rigging. - -In the fashioning of a miniature boat, the hull is the first thing which -claims our attention; and in making this, two elements are to be -considered, rapidity and stability. - -The rapidity or ease with which a vessel moves through water, is gained -by a narrow hull—that is, narrow in proportion to its length—which, to -be sure, renders the vessel somewhat unstable; but this instability may -be overcome by loading the keel with lead. There is danger, however, of -carrying this to too great an extent, by lowering the vessel so much -that the friction against her sides more than counteracts the fine -proportions of her build. Hence a skillful designer reconciles these two -points. - -There are two types of model recognized in yacht building: First, the -English cutter model, which is narrow, and quite deep in proportion to -width, with its keel heavily weighted to secure the necessary stability. -This model is best adapted to rough cruising in strong winds and heavy -seas, such as prevail on the English coasts. - -Second, the American: This, our model, is much wider, or, in nautical -phrase, has much more beam in proportion to length and depth. Indeed, it -is often so shallow as to merit the term “skimming-dish,” ofttimes -applied to this class of vessels. - -These boats are usually fitted with center-boards, which can be lowered -or raised according to the need of the moment, instead of the deep keel -of the English model, American vessels having the advantage of smoother -water in which to make their cruises. The sheltered surface of Long -Island Sound and the bays which adjoin it at either end, afford -excellent sailing grounds for those owned in New York and the vicinity. - -For the toy boats our boys may desire to make, a medium between these -two types will probably be found preferable in practice. - -The center-board may be ruled out at once, as both itself and the well -in which it plays would require more time and patience in their -construction than most boys would care to give. - -It is much better to have your boat too wide than too narrow, as a -capsize is far more disconcerting to the average young yachtsman, than a -slight inferiority of speed. - -For a sloop yacht, the greatest width should be about one-third the -length; and the point of greatest width, or beam, should be somewhat -nearer the stern than bow. - -Probably the best way to make a toy yacht is to procure a piece of wood, -which is about three times as long as it is wide and deep, and whittle -out your hull as your judgment or fancy may dictate; keeping in mind a -few essential points, however, to insure ultimate success. - -First, draw a line from the middle point of one end to the middle point -of the other end of the top of the block; this will serve as a guide to -the bow and the center of the stern. Care should be taken not to make -your vessel too blunt at the bow; as a sailor would say, “the lines at -the bow should be _fine_ when they meet the water.” - -The elegant appearance of the boat is increased by giving an overhang to -the stern, instead of running it up vertically; and if the young builder -is confident in the use of his tools, a sheer, as it is called, of the -lines at the top, or the gunwale, will add greatly to the grace of its -appearance. For the benefit of those who do not understand the meaning -of the word sheer, it may be explained that it is the gradual and -graceful downward curve from bow to stern, noticeable in the bulwarks of -vessels when seen from one side. - -It is perhaps superfluous to add that great care should be taken to have -each side of the craft alike, for if a preponderance of weight is on one -side, the vessel will tip; while if the curve is unequal, she will not -sail evenly. - -The hollowing out of the inside is most conveniently accomplished with a -sharp gouge and mallet, while the hull is secured firmly in a vise. When -this is finished, a hole should be made in the bottom to receive the -lower end of the mast, and care should be taken not to bore _through_ -the hull, as it would be difficult to stop the ingress of water through -it. - -We have now come to the keel, which must be firmly attached to the hull. -The best way to do this is to drive three slender brass screws through -the bottom of the boat, with ends projecting from one-fourth to one-half -an inch along the line of the proposed keel. Make a temporary box around -these, inclosing a space equal to the length and breadth of the keel, -with strips of thin wood, such as cigar-box wood; strips of heavy -pasteboard may answer the purpose sufficiently well. In either case this -mold should be firmly attached to the hull, in such a manner that after -casting the keel it may be readily removed. Perhaps the best way to -accomplish this is to paste it in place by means of narrow bands of -stout paper. The inside of the mold must be rubbed with oil or lard to -prevent the lead from adhering to its sides. This lead must be melted -over a very hot fire, so that it will not cool too rapidly upon entering -the mold, in which case it would not hold together as well. When cold, -the mold may be detached, and the keel will be held firmly in place by -the three screws. - -The deck should be made of thin board, cut so as to accurately fit the -top of your hull. If a sheer has been given to the bulwarks, it is of -course much more difficult to fit the deck accurately, as it should -follow the curve. It will very likely be found necessary to _steam_ the -board used, to make it sufficiently flexible. It will be possible to use -stout pasteboard for the purpose, if both sides and edges are given a -couple of coats of paint, which treatment should also be applied to the -inside of the hole for the mast. - -This hole should be placed very slightly farther astern than the hole -already mentioned, made in the bottom of the vessel. The effect of this -will be to give the mast a slight _rake_. This is always the case with -the masts of a schooner yacht, but builders of sloop yachts occasionally -omit the rake and “step” the mast in a vertical position. - -The _bowsprit_ may be fastened by two staples made of small wire, and -driven down over it. One is driven down into the stem, or extreme -forward point of the hull, and corresponds to what is called the “gammon -iron” in a full-sized craft; the other secures the “inboard” end of the -bowsprit, or that which is nearer the stern. This end is called the -heel, and should nearly reach the mast. The outer end should project -beyond the hull to a distance of nearly one-third the latter’s length. - -The rudder can be whittled from a thin piece of wood, in the shape shown -in the figure; the upper part or head is round, and passes up through a -hole in the overhang. The top of this rudder-head is squared off to fit -the hole in the end of the tiller or helm. The rudder is “shipped” very -much as a barn-door or window-blind is set in place. Suitable hinges for -the rudder of a toy boat can be made of pins from which the heads have -been filed. Two pins may be bent double for staples, and inserted into -the “stern-post” of the vessel; while two others bent at right angles -may be driven into the rudder, the projecting ends hanging down through -the staples. The rudder should turn with sufficient friction to hold its -place, at whatever angle it may be set. The hollow of the boat should -not extend back into the overhang, as water might enter it through the -rudder-hole. - -The mast is composed of two parts or pieces; the lower part is what is -always understood when the “mast” is spoken of. The smaller piece, -fastened to the upper end of the mast, is called the topmast. - -The “mast,” which extends above the deck to a distance equal to about -three-fourths the length of the hull, passes through the hole in the -deck already mentioned, and rests firmly in the hole made for it in the -bottom of the hull. - -The lower end of the topmast is lapped on in front of the upper end of -the mast, as seen in the figure, and may be secured in place by two -loops of fine brass wire. - -The spars of next importance are those which stretch the mainsail. The -larger is called the “boom,” and extends along the lower edge or “foot” -of the mainsail; while the other, which is called the “gaff,” is secured -to its upper edge or “head.” The boom is equal in length to the mast; -the usual meaning of the word is here intended, _i. e._, the lower part. -The gaff is a little over one-half the length of the boom. - -The mast and topmast taper slightly toward their upper ends, while the -gaff is nearly the same size throughout its entire length. The boom -generally swells a little, being somewhat larger in the middle than at -either end. - -The boom and gaff are adjusted to the mast by a “jaw” on either side, -forming a crotch, which keeps them from slipping off. Builders of -miniature yachts will, however, probably find it more convenient to -whittle the ends of the spars in the form of a crotch than to attach -jaws as separate pieces. - -Other smaller spars which enter into the equipment of racing craft, will -be mentioned in speaking of the sails. - -The _standing rigging_ is now to be considered; this consists of stays -and shrouds. “Shrouds” are ropes which lead from near the head of the -mast to either side of the vessel, where they are fastened into the -_chain-plates_. These are strong iron bands firmly bolted to the -timbers. The shrouds of the model yacht, however, can be attached to -copper tacks driven into the sides. They—the shrouds—are tied around the -mast just below the point where the lower end of the topmast ends. - -In “real” yachts these shrouds end in loops which encircle the mast, and -rest upon, or are held in place by blocks called “hounds” attached to -either side. But young ship-builders will probably find it will answer -all purposes to make a slight notch on either side of the mast, at the -point indicated. - -A sloop yacht has usually two shrouds on either side, while in a large -ship there are four or five, making, as is known, a good-sized ladder. - -The “fore-stay” runs from the same point on the mast to the top of stem. - -In case the reader may be ignorant of the meaning of nautical terms, it -may be well to say here that by “stem” is meant the piece of timber in -the hull placed farthest forward, also called “forefoot” and “cutwater.” -The “fore-stay” may be passed through the staple already mentioned, -which fastens the bowsprit to the hull. The jib-stay passes from -mast-head to outer end of bowsprit. - -The topmast-stay runs from the top of the topmast to the forward end of -the bowsprit; here it is sometimes passed through a hole in the end, and -brought down to the forefoot, near the water line. - -The bob-stay runs from the end of the bowsprit to the stem, and acts as -a brace to offset the strain of the “headsails,” or the sails in front -of the mast. In a large yacht it is necessary that this stay be very -strong; and in such cases it is often a substantial strip of iron or -steel. - -A yacht has, also, what are called “backstays,” which run on either side -from head of “topmast” to points on the sides somewhat abaft, or back of -the places where the shrouds are attached. - -There are also “cross-trees,” with “topmast shrouds” leading from them -to the top of the topmast; but these, as well as the backstays, may as -well be dispensed with by our juvenile naval architect, as a -complication of unnecessary cords is to be avoided on a miniature craft. - -We must now take up the sails, the most important of which is the -mainsail. The shape of this may be sufficiently well understood from the -figure. The edge next the mast is called the “luff,” while the outer or -longer side opposite to this is called the “leech.” The upper and lower -edges are called respectively the “head” and “foot.” The lower after -corner of this sail is called the “clew,” the lower fore corner the -“tack,” while the upper after corner is called the “peak.” - -The “mast-hoops” are attached to the “luff” and run up and down the mast -as the sail is raised or lowered. In vessels of miniature size, these -may be supplied by small brass curtain rings. The “foresail” also runs -on small rings or loops which slide on the forestay. The jib, in like -manner, is attached to the “jib-stay”; the “jib-topsail” or “flying-jib” -to topmast-stay. - -It may be well to dispense with the forestay, and to enlarge the jib so -as to occupy the additional space thus given, as the work will be less, -and the appearance quite as good. - -It now remains to consider the “gaff-topsail,” which occupies the space -between the topmast and the gaff. This sail is set in quite a number of -ways; in a sloop yacht it is usual to stretch it on two light spars, -which are contiguous to mast and gaff. - -Beside these, racing yachts in light winds carry a “balloon jib,” which -is simply an extremely large jib-topsail; and a “spinnaker,” which is -used in going before the wind. It is shaped like a large jib, and is -spread by means of a small spar extending along its foot, called the -“spinnaker boom,” so that it may take the wind on the side opposite the -mainsail. - -These sails are spread by means of _running_ rigging. First, the -_halyards_, by means of which the sails are hoisted. The mainsail -usually has two halyards, one line being attached to the gaff near where -it touches the mast, which is called the “throat halyards.” The other is -smaller, encountering less strain, and is termed “peak halyards,” as it -raises that part of the sail after the luff has been hoisted. - -The gaff-topsail of a regular yacht also has two halyards, one of which -raises the edge next the mast, and the other draws its foot out to end -of gaff. - -The “jibs” are each raised by one “halyard” attached to head or upper -corner. - -In a small boat like that we are considering, one halyard for each sail -will be amply sufficient. In fact it is a frequent practice to keep the -sails permanently spread; which has this in its favor, that they are -much smoother, much less wrinkled, than when furled between cruises. - -The “topping lift” is a line which leads from the head of the “mast” to -the outer end of the “boom,” which it keeps from falling on deck when -sail is lowered. - -The _sheets_ are not sails, as the reader not conversant with nautical -expressions would suppose, but ropes, or lines, which keep the sails in -their proper position in respect to the wind. The _main-sheet_, which -controls the mainsail, is attached to the boom at a point just above the -stern, to which the other end is led. Here it is fastened to a cleat. - -The sheets of the headsails are fastened to their “clews” or lower aft -corners, and led to cleats near foot of mast. In large craft the sheets -are passed through a number of pulleys in order to secure sufficient -purchase. - -In addition to the rigging already mentioned, many other ropes might be -enumerated, such as the “downhauls,” “outhauls,” “spinnaker brace and -guy,” “bowsprit shrouds,” etc., but as has already been said, the less -confusion of cords in a miniature craft, the better. - - - ―――――◀▶――――― - - A SCHOONER YACHT. - -[Illustration] - -In this the length should be greater in proportion to its other -dimensions than in the sloop yacht. The mainmast should be stepped a -little abaft the middle point of the hull. The foremast is stepped about -midway between the mainmast and the stem, and should be very nearly as -high as the mainmast. The foretop-mast, however, should be decidedly -shorter than the maintop-mast. - -The bowsprit of the schooner yacht should be somewhat thicker and -shorter in proportion than that of the sloop yacht, and is lengthened to -the desired extent by means of a small spar resting on its top, which is -called the jib-boom. - -The forestay comes down to the bowsprit head, instead of to the stem. -The jib-stay runs from the mast-head to the jib-boom, through which it -passes a short distance from the end of the latter. The topmast stay -extends from the upper part of the topmast to the end of the jib-boom. -The two latter stays pass from the jib-boom to the “martingale,” a short -spar, which has a hook at its upper end. This hook passes through an -iron ring on the under side of the head of the bowsprit. - -The martingale extends downward toward the water, while the stays pass -through it, or through iron loops affixed to either side, and are -fastened to the stem or the upper part of the bows. - -As in the sloop, one or more stout bobstays connect the bowsprit head -with the stem. - -The two masts are braced together by means of certain stays, of which -the most important is the _spring-stay_, which connects the mast-heads. -Two other stays extend from the maintop-mast to the foremast head. (See -figure.) - -[Illustration] - -The mainsail and its gaff-topsail are similar to those of the sloop, but -the foresail is much smaller, as it must pass between the masts in -tacking, and varies little in breadth from head to foot. - -A schooner yacht has a maintop-mast staysail, which is used in racing, -and comes down nearly to the deck. Its sheet is rove through a block at -the after end of the boom, whence it is brought back to the stern and -“belayed” to a cleat. - -“Belaying” is the nautical term for winding a rope on a cleat or -belaying pin; which is done as a boy winds his kite string, on each end -alternately, in figure-eight style. - -The fore gaff-topsail is not provided with spars or booms at its edges, -but has rings along its luff, like those of the lower sails, which run -on the foretop-mast. - -The sails of a large vessel have ropes called bolt-ropes, sewed entirely -around their edges, which may, of course, be dispensed with in the sails -of the miniature yacht, as they will be sufficiently strong without such -aid. - -The reef-points are short lengths of small rope, arranged at equal -distances from each other, in rows parallel to the booms; they pass -through the sail and hang down on either side. There are usually two -rows of these on the foresail, and three on the mainsail, while the -larger headsails are also provided with them. - -Before the sails are put on or _bent_, it will be advisable to paint the -yacht. A coat of paint should have been given to the inside of hull as -well as under side of deck, to prevent the wood from becoming -water-soaked in case of leakage. - -Custom has rigidly prescribed the colors for the exterior of a yacht, -above the water line; either black or white, with a narrow gold line -below the gunwale, being universally employed. Below the water line -greater latitude may be given to individual taste; either dark green, -brown, or black, may be used, according to the preference of the owner. - -The greatest pains are taken to keep the bottom of a racing yacht in the -smoothest possible condition. It is usually covered with black-lead and -polished to the utmost degree. This treatment is often renewed three or -four times in the course of a season. - -The mast should not be painted, but stained a bright yellow, with a -little raw sienna in oil. When dry it should be shellacked; in fact, the -latter will form a good coating for the painted surface of the hull as -well. If the shellac be thick, it may of itself stain the mast to a -sufficient extent, but in that case—if thick—it should not be used on -the white hull. The short space where the mainmast and topmast overlap -each other should be painted the color of the hull. The bowsprit should -be the color of the hull, and the jib-boom stained like the masts. The -deck may be painted with white, to which enough sienna has been added to -give it a buff tint. - -The prow, or upper portion of stem just below the bowsprit, is usually -carved and gilded; and the stem is occasionally decorated in like -manner; but although there seems to be no limit to the increasing -richness and elegance of the interior of our American yachts, the -tendency of the time leads more and more toward a severely plain and -quiet treatment of the exterior. - -A yacht always carries a little triangular flag at the topmast-head -called the “burgee.” - -A schooner yacht, of course, flies two of them, one at each mast-head. -These are simultaneously hauled down at the moment of sunset. A national -flag, called the “ensign,” is generally hoisted at the peak of the -mainsail. - -These instructions apply equally well to the papier-maché boats -described at page 90, which have the advantages of lightness and ease of -construction. - ------------------------------------------------------------------------- - - Transcriber’s note: - -Formats of index and Notes have been regularised. - -Index, full stop inserted after ‘ib.,’ “plants for fresh-water aquarium, -ib.;” - -Index, ‘3’ changed to ‘320,’ “Cross puzzle, the, 320” - -Index, ‘miscroscope’ changed to ‘microscope,’ “Objects, some, for solar -microscope, 225” - -Page 266, full stop inserted after ‘book,’ “in this book.) Balance” - - - - - -End of the Project Gutenberg EBook of How?, by Kennedy Holbrook - -*** END OF THIS PROJECT GUTENBERG EBOOK HOW? *** - -***** This file should be named 51315-0.txt or 51315-0.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/5/1/3/1/51315/ - -Produced by Chris Curnow and the Online Distributed -Proofreading Team at http://www.pgdp.net (This file was -produced from images generously made available by The -Internet Archive) - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. 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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: How? - or Spare Hours Made Profitable for Boys and Girls - -Author: Kennedy Holbrook - -Release Date: February 27, 2016 [EBook #51315] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK HOW? *** - - - - -Produced by Chris Curnow 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> - <h1 class='c000'>How?</h1> -</div> - -<div class='figcenter id001'> -<img src='images/frontis.png' alt='frontispiece' class='ig001' /> -</div> - -<div class='pbb'> - <hr class='pb c001' /> -</div> - -<div class='figcenter id002'> -<img src='images/cover.jpg' alt='Cover' class='ig001' /> -</div> - -<div class='pbb'> - <hr class='pb c002' /> -</div> - -<div class='nf-center-c1'> -<div class='nf-center c002'> - <div>Copyright, 1886,</div> - <div>By WORTHINGTON CO.</div> - </div> -</div> - -<div class='pbb'> - <hr class='pb c002' /> -</div> -<div class='chapter'> - <h2 class='c003'>PREFACE.</h2> -</div> - -<p class='c004'>Although this book is ostensibly a “boy’s book,” -many things which it contains are equally useful to girls; -and have been tried by the latter with entirely satisfactory -results. In fact, it was to afford amusement and -occupation, on rainy Saturdays and during the long -vacation, to the children of both sexes in my own family, -that the book was first written; and it was only an afterthought -which led me to give it to the public.</p> - -<p class='c005'>Everything it contains has been deduced from my own -experience or that of some trustworthy friend. While it -has been my aim to meet the wants of children of all -ages and in every condition of life, I have studiously -avoided every subject which might be a source of anxiety -to the most careful parent.</p> - -<p class='c005'>It is with the hope that this little work may fulfill its -mission in other families where it may be received, as -happily as it has done in mine, that I send it on its way.</p> - -<div class='lg-container-r'> - <div class='linegroup'> - <div class='group'> - <div class='line'><span class='sc'>The Author.</span></div> - </div> - </div> -</div> - -<div class='lg-container-l c006'> - <div class='linegroup'> - <div class='group'> - <div class='line'><span class='small'><span class='sc'>October, 1886.</span></span></div> - </div> - </div> -</div> - -<div class='pbb'> - <hr class='pb c001' /> -</div> -<div class='chapter'> - <h2 class='c003'>INDEX.</h2> -</div> - -<ul class='index c007'> - <li class='c008'>Æolian harp, the, <a href='#Page_68'>68</a></li> - <li class='c008'>Air, earth, or the sea?, <a href='#Page_244'>244</a></li> - <li class='c008'>Alum, crystals, methods of coloring, <a href='#Page_25'>25</a></li> - <li class='c008'>Amusing experiment with tooth-picks, <a href='#Page_17'>17</a></li> - <li class='c008'>Animated fire, <a href='#Page_26'>26</a></li> - <li class='c008'>Annealing (repoussé), <a href='#Page_180'>180</a></li> - <li class='c008'>Antiques and horribles, <a href='#Page_230'>230</a></li> - <li class='c008'>Aquarium, the, <a href='#Page_186'>186</a>; - <ul> - <li>the author’s freshwater aquarium, <a href='#Page_189'>189</a>;</li> - <li>trouble of keeping a gold fish globe, <a href='#Page_190'>190</a>;</li> - <li>plants for fresh-water aquarium, <i>ib.</i>;</li> - <li>artificial aeration, <a href='#Page_191'>191</a>;</li> - <li>salt-water aquarium, <a href='#Page_191'>191</a>;</li> - <li>preparing rock-work for, <a href='#Page_192'>192</a>;</li> - <li>minnows, <a href='#Page_191'>191</a>;</li> - <li>sticklebacks, <a href='#Page_195'>195</a>;</li> - <li>nest of stickleback, <a href='#Page_197'>197</a>;</li> - <li>hermit crabs, <a href='#Page_198'>198</a>;</li> - <li>snails, <a href='#Page_199'>199</a>;</li> - <li>medusæ, sea-anemones, <a href='#Page_200'>200</a>;</li> - <li>serpulæ, <a href='#Page_203'>203</a></li> - </ul> - </li> - <li class='c008'>Arithmetical curiosity, an, <a href='#Page_274'>274</a></li> - <li class='c008'>Arithmetical trick, an, <a href='#Page_37'>37</a></li> - <li class='c007'>Baby, a box-sled for, <a href='#Page_44'>44</a></li> - <li class='c008'>Basket, a hanging, <a href='#Page_118'>118</a></li> - <li class='c008'>Balancing doll, the, <a href='#Page_20'>20</a></li> - <li class='c008'>Balancing pin, the, <a href='#Page_44'>44</a></li> - <li class='c008'>Ball, a good, <a href='#Page_16'>16</a></li> - <li class='c008'>Bangle bracelet, a, <a href='#Page_184'>184</a></li> - <li class='c008'>Barometer, a boy’s, <a href='#Page_18'>18</a></li> - <li class='c008'>Barometer, an infallible, <a href='#Page_19'>19</a></li> - <li class='c008'>Battledore and Shuttlecock, <a href='#Page_251'>251</a></li> - <li class='c008'>Birds, Japanese paper, <a href='#Page_78'>78</a></li> - <li class='c008'>Blow-pipe, how to make a, <a href='#Page_27'>27</a></li> - <li class='c008'>Boats, paper, <a href='#Page_83'>83</a></li> - <li class='c008'>Boats, papier-maché, <a href='#Page_90'>90</a></li> - <li class='c008'>Book, how to make a, <a href='#Page_11'>11</a></li> - <li class='c008'>Boomerang, the, <a href='#Page_20'>20</a></li> - <li class='c008'>Boot puzzle, the, <a href='#Page_57'>57</a></li> - <li class='c008'>Boston clapper, the, <a href='#Page_71'>71</a></li> - <li class='c008'>Bottles, to cut the top from, <a href='#Page_18'>18</a></li> - <li class='c008'>Bottle imp, the, <a href='#Page_107'>107</a></li> - <li class='c008'>Bottle, the obedient, <a href='#Page_281'>281</a></li> - <li class='c008'>Boxes, paper, <a href='#Page_119'>119</a></li> - <li class='c008'>Box-sled for baby, <a href='#Page_44'>44</a></li> - <li class='c008'>Boy’s barometer, a, <a href='#Page_18'>18</a></li> - <li class='c008'>Boy’s solar microscope, a, <a href='#Page_216'>216</a></li> - <li class='c008'>Bracelet, a bangle, <a href='#Page_184'>184</a></li> - <li class='c008'>Brackets, an idea for, <a href='#Page_115'>115</a></li> - <li class='c008'>Brass, hammered, or repoussé, <a href='#Page_175'>175</a></li> - <li class='c008'>Bridge, the triple, <a href='#Page_283'>283</a></li> - <li class='c008'>Bubbles, soap, <a href='#Page_31'>31</a></li> - <li class='c008'>Bubbles, resin, <a href='#Page_32'>32</a></li> - <li class='c008'>Burning the center from a handkerchief, <a href='#Page_304'>304</a></li> - <li class='c008'>Button-hole, to pull a string through a, <a href='#Page_314'>314</a></li> - <li class='c007'>Camera obscura, <a href='#Page_144'>144</a>-<a href='#Page_154'>154</a>; - <ul> - <li>principle of camera, <a href='#Page_145'>145</a>;</li> - <li>camera with horizontal screen, <a href='#Page_146'>146</a>;</li> - <li>a simpler form, <a href='#Page_149'>149</a>;</li> - <li>the sketching camera, <a href='#Page_150'>150</a>;</li> - <li>the darkened room, <a href='#Page_152'>152</a></li> - </ul> - </li> - <li class='c008'>Camping-out cooking-stove, a, <a href='#Page_308'>308</a></li> - <li class='c008'>Captain S’s peg puzzle, <a href='#Page_238'>238</a></li> - <li class='c008'>Cars, a set of, <a href='#Page_47'>47</a></li> - <li class='c008'>Cards, the three magical, <a href='#Page_33'>33</a></li> - <li class='c008'>Card-receiver, papier-maché, <a href='#Page_75'>75</a></li> - <li class='c008'>Card-receiver, repoussé, <a href='#Page_179'>179</a></li> - <li class='c008'>Checkers, <a href='#Page_256'>256</a></li> - <li class='c008'>Chickens, the musical, <a href='#Page_235'>235</a></li> - <li class='c008'>Chinese rope feat, <a href='#Page_312'>312</a></li> - <li class='c008'>Christmas presents, <a href='#Page_113'>113</a>, <a href='#Page_318'>318</a>; - <ul> - <li>the ornamental egg, <a href='#Page_113'>113</a>;</li> - <li>trinket-holder, <a href='#Page_114'>114</a>;</li> - <li>an idea for brackets, <a href='#Page_115'>115</a>;</li> - <li>cone and twig bracket, <a href='#Page_116'>116</a>;</li> - <li>pebble vase, <a href='#Page_117'>117</a>;</li> - <li>cone and twig hanging-basket, <a href='#Page_118'>118</a>;</li> - <li>shaving-case, <a href='#Page_123'>123</a>;</li> - <li>puzzles, <a href='#Page_318'>318</a>, <a href='#Page_321'>321</a></li> - </ul> - </li> - <li class='c008'>Circle, how to make a, <a href='#Page_268'>268</a></li> - <li class='c008'>Circus, the magnetic, <a href='#Page_269'>269</a></li> - <li class='c008'>Clapper, the Boston, <a href='#Page_71'>71</a></li> - <li class='c008'>Coin, how to palm a, <a href='#Page_287'>287</a></li> - <li class='c008'>Coin, how to pass a, <a href='#Page_288'>288</a></li> - <li class='c008'>Compass, a home-made, <a href='#Page_265'>265</a></li> - <li class='c008'>Cone and twig bracket, <a href='#Page_116'>116</a></li> - <li class='c008'>Cone and twig hanging-basket, <a href='#Page_118'>118</a></li> - <li class='c008'>Cooking-stove, a camping-out, <a href='#Page_308'>308</a></li> - <li class='c008'>Corn-stalk fiddle, <a href='#Page_64'>64</a></li> - <li class='c008'>Counter puzzle, the, <a href='#Page_38'>38</a></li> - <li class='c008'>Countenance, necessity of a sober, <a href='#Page_311'>311</a></li> - <li class='c008'>Cross puzzle, the, <a href='#Page_320'>320</a></li> - <li class='c008'>Crystallize grass, seed-vessels, etc., how to, <a href='#Page_24'>24</a></li> - <li class='c008'>Crystals, how to color alum, <a href='#Page_25'>25</a></li> - <li class='c008'>Crystal vase, the, <a href='#Page_317'>317</a></li> - <li class='c008'>Curiosity, an arithmetical, <a href='#Page_274'>274</a></li> - <li class='c007'>Dancer, the pith, <a href='#Page_280'>280</a></li> - <li class='c008'>Danger of repetition, <a href='#Page_291'>291</a></li> - <li class='c008'>Darkened room, the, <a href='#Page_152'>152</a></li> - <li class='c008'>Dart, the self-rectifying, <a href='#Page_43'>43</a></li> - <li class='c008'>Days in a month, number of, one way to find, <a href='#Page_274'>274</a></li> - <li class='c008'>Dispatcher, the magic, <a href='#Page_297'>297</a></li> - <li class='c008'>Divided square puzzle, <a href='#Page_14'>14</a></li> - <li class='c008'>Doll, the balancing, <a href='#Page_20'>20</a></li> - <li class='c007'>Easy proof for sums in multiplication, an, <a href='#Page_41'>41</a></li> - <li class='c008'>Egg, the ornamental, <a href='#Page_113'>113</a></li> - <li class='c008'>Egg, the perambulating, <a href='#Page_295'>295</a></li> - <li class='c008'>Egg, the tumbling, <a href='#Page_82'>82</a></li> - <li class='c008'>Egg, to produce raised figures on, <a href='#Page_273'>273</a></li> - <li class='c008'>Electrical experiments, <a href='#Page_275'>275</a></li> - <li class='c008'>Electrophorus, the, <a href='#Page_276'>276</a></li> - <li class='c008'>Electrophorus, a simple, <a href='#Page_277'>277</a></li> - <li class='c008'>Electrophorus ebonite, <a href='#Page_279'>279</a></li> - <li class='c008'>Experiment with electricity, <a href='#Page_275'>275</a></li> - <li class='c008'>Experiment with flower-seeds, <a href='#Page_141'>141</a></li> - <li class='c008'>Experiment with tooth-picks, <a href='#Page_17'>17</a></li> - <li class='c008'>Experiment with two pieces of glass, <a href='#Page_15'>15</a></li> - <li class='c007'>Face, the grimacing, <a href='#Page_15'>15</a></li> - <li class='c008'>Fan, from Nagasaki, a, <a href='#Page_323'>323</a></li> - <li class='c008'>Feat, Chinese rope, <a href='#Page_312'>312</a></li> - <li class='c008'>Fiddle, corn-stalk, <a href='#Page_64'>64</a></li> - <li class='c008'>Fire, animated, <a href='#Page_26'>26</a></li> - <li class='c008'>Fire, a new way to kindle a, <a href='#Page_263'>263</a></li> - <li class='c008'>Flower-seeds, experiment with, <a href='#Page_141'>141</a></li> - <li class='c008'>Flying whirligig, the, <a href='#Page_10'>10</a></li> - <li class='c008'>Fountain, a simple, <a href='#Page_322'>322</a></li> - <li class='c008'>Foxing, <a href='#Page_179'>179</a></li> - <li class='c008'>Frame for impressions of plants, <a href='#Page_87'>87</a></li> - <li class='c008'>Frame for a plaque, <a href='#Page_185'>185</a></li> - <li class='c008'>Freight train, a, <a href='#Page_51'>51</a></li> - <li class='c008'>Friction, light produced by, under water, <a href='#Page_138'>138</a></li> - <li class='c007'>Game, an optical, <a href='#Page_37'>37</a></li> - <li class='c008'>Garden, a winter, <a href='#Page_54'>54</a></li> - <li class='c008'>Garden, a mineral, <a href='#Page_316'>316</a></li> - <li class='c008'>Glass, experiment with two pieces of, <a href='#Page_15'>15</a></li> - <li class='c008'>Glass, how to blow, <a href='#Page_27'>27</a></li> - <li class='c008'>Good ball, a, <a href='#Page_16'>16</a></li> - <li class='c008'>Grimacing face, the, <a href='#Page_15'>15</a></li> - <li class='c008'>Grasses, how to crystallize, <a href='#Page_24'>24</a></li> - <li class='c007'>Half-dollar, how to melt and re-coin, <a href='#Page_301'>301</a></li> - <li class='c008'>Halos, the three, <a href='#Page_82'>82</a></li> - <li class='c008'>Hammered brass, or repoussé, <a href='#Page_175'>175</a></li> - <li class='c008'>Handkerchief, burning center from, <a href='#Page_304'>304</a></li> - <li class='c008'>Hanging-basket, a, <a href='#Page_118'>118</a></li> - <li class='c008'>Harp, æolian, <a href='#Page_68'>68</a></li> - <li class='c008'>Hat, the inexhaustible, <a href='#Page_291'>291</a></li> - <li class='c008'>Hat trick, another, <a href='#Page_294'>294</a></li> - <li class='c008'>Home-made compass, a, <a href='#Page_265'>265</a></li> - <li class='c008'>Hour of the day, how to tell the, by the left hand, <a href='#Page_128'>128</a></li> - <li class='c008'>How to blow glass, <a href='#Page_27'>27</a></li> - <li class='c008'>How to break a string, <a href='#Page_63'>63</a></li> - <li class='c008'>How to crystallize grasses, seed-vessels, etc., <a href='#Page_24'>24</a></li> - <li class='c008'>How to cut the tops from glass bottles, <a href='#Page_18'>18</a></li> - <li class='c008'>How to make a book, <a href='#Page_11'>11</a></li> - <li class='c008'>How to make a blow-pipe, <a href='#Page_27'>27</a></li> - <li class='c008'>How to make a circle, <a href='#Page_268'>268</a></li> - <li class='c008'>How to melt and re-coin a half-dollar, <a href='#Page_301'>301</a></li> - <li class='c008'>How to melt stones, <a href='#Page_31'>31</a></li> - <li class='c008'>How to palm a coin, <a href='#Page_287'>287</a></li> - <li class='c008'>How to pass a coin, <a href='#Page_288'>288</a></li> - <li class='c008'>How to pull a string through a button-hole, <a href='#Page_324'>324</a></li> - <li class='c008'>How to rob Peter and pay Paul, <a href='#Page_289'>289</a></li> - <li class='c008'>How to skeletonize leaves, <a href='#Page_141'>141</a></li> - <li class='c008'>How to take impressions of plants, <a href='#Page_86'>86</a></li> - <li class='c008'>How to take portraits, <a href='#Page_60'>60</a></li> - <li class='c008'>How to tell the hour of the day by the left hand, <a href='#Page_128'>128</a></li> - <li class='c007'>Idea for brackets, an, <a href='#Page_115'>115</a></li> - <li class='c008'>Imp, the bottle, <a href='#Page_107'>107</a></li> - <li class='c008'>Impressions of plants, how to take, <a href='#Page_86'>86</a></li> - <li class='c008'>Impressions of plants, frame for, <a href='#Page_87'>87</a></li> - <li class='c008'>Inertia, illustration of, <a href='#Page_284'>284</a></li> - <li class='c008'>Inexhaustible hat, the, <a href='#Page_291'>291</a></li> - <li class='c008'>Infallible barometer, an, <a href='#Page_19'>19</a></li> - <li class='c007'>Japanese paper bird, <a href='#Page_78'>78</a></li> - <li class='c008'>Jew’s-harp, the spirit, <a href='#Page_261'>261</a></li> - <li class='c007'>Leather work, <a href='#Page_123'>123</a>-<a href='#Page_128'>128</a>; - <ul> - <li>in Russia, <a href='#Page_124'>124</a>;</li> - <li>“Cuir Bouilli,” <a href='#Page_125'>125</a>;</li> - <li>a panel of leather work, <a href='#Page_126'>126</a>-<a href='#Page_128'>128</a></li> - </ul> - </li> - <li class='c008'>Leaves, how to skeletonize, <a href='#Page_141'>141</a></li> - <li class='c008'>Left hand, to tell the hour of the day by, <a href='#Page_128'>128</a></li> - <li class='c008'>Leyden jar, a, <a href='#Page_279'>279</a></li> - <li class='c008'>Light produced by friction under water, <a href='#Page_138'>138</a></li> - <li class='c008'>Locomotive, the toy, <a href='#Page_48'>48</a></li> - <li class='c008'>Lot of paper windmills, a, <a href='#Page_52'>52</a></li> - <li class='c007'>Magical cards, the three, <a href='#Page_33'>33</a></li> - <li class='c008'>Magic dispatcher, the, <a href='#Page_297'>297</a></li> - <li class='c008'>Magic rope, the, <a href='#Page_307'>307</a></li> - <li class='c008'>Magic telescope, <a href='#Page_22'>22</a></li> - <li class='c008'>Magnetic circus, the, <a href='#Page_269'>269</a></li> - <li class='c008'>Melt and re-coin a half-dollar, how to, <a href='#Page_301'>301</a></li> - <li class='c008'>Melt stones, how to, <a href='#Page_31'>31</a></li> - <li class='c008'>Method of coloring alum crystals, <a href='#Page_25'>25</a></li> - <li class='c008'>Microscope, a boy’s solar, <a href='#Page_216'>216</a></li> - <li class='c008'>Mineral garden, a, <a href='#Page_316'>316</a></li> - <li class='c008'>Miniature yacht and how to rig her, <a href='#Page_331'>331</a></li> - <li class='c008'>Month, one way to find the number of days in a, <a href='#Page_274'>274</a></li> - <li class='c008'>More elaborate panorama, a, <a href='#Page_165'>165</a></li> - <li class='c008'>Multiplication, an easy proof for sums in, <a href='#Page_41'>41</a></li> - <li class='c008'>Musical chickens, the, <a href='#Page_235'>235</a></li> - <li class='c007'>Nagasaki, a fan from, <a href='#Page_323'>323</a></li> - <li class='c008'>Necessity of a sober countenance, <a href='#Page_311'>311</a></li> - <li class='c008'>New way to kindle the fire, a, <a href='#Page_263'>263</a></li> - <li class='c008'>Number thought of by a person, to tell the, <a href='#Page_37'>37</a></li> - <li class='c008'>Numbers, two or more, to tell, <a href='#Page_40'>40</a></li> - <li class='c007'>Obedient bottle, the, <a href='#Page_281'>281</a></li> - <li class='c008'>Objects, some, for solar microscope, <a href='#Page_225'>225</a></li> - <li class='c008'>Octagon puzzle, the, <a href='#Page_318'>318</a></li> - <li class='c008'>One way to find the number of days in a month, <a href='#Page_274'>274</a></li> - <li class='c008'>Optical game, an, <a href='#Page_37'>37</a></li> - <li class='c008'>Ornamental egg, the, <a href='#Page_113'>113</a></li> - <li class='c008'>Ornament for boys to make, <a href='#Page_26'>26</a></li> - <li class='c007'>Palm a coin, how to, <a href='#Page_287'>287</a></li> - <li class='c008'>Panel of leather work, a, <a href='#Page_126'>126</a></li> - <li class='c008'>Panorama, the toy, <a href='#Page_160'>160</a>-<a href='#Page_172'>172</a>; - <ul> - <li>panorama of former generation, <a href='#Page_161'>161</a>-<a href='#Page_162'>162</a>;</li> - <li>simplest form of toy panorama, <a href='#Page_163'>163</a>-<a href='#Page_165'>165</a>;</li> - <li>a more elaborate panorama, <a href='#Page_165'>165</a>-<a href='#Page_172'>172</a>.</li> - </ul> - </li> - <li class='c008'>Paper bird, the Japanese, <a href='#Page_78'>78</a>-<a href='#Page_81'>81</a>; - <ul> - <li>paper boats, <a href='#Page_83'>83</a>-<a href='#Page_86'>86</a>;</li> - <li>paper boxes, <a href='#Page_119'>119</a>-<a href='#Page_122'>122</a>;</li> - <li>a lot of paper windmills, <a href='#Page_52'>52</a>-<a href='#Page_54'>54</a>;</li> - <li>a fan from Nagasaki, <a href='#Page_323'>323</a></li> - </ul> - </li> - <li class='c008'>Papier-maché, <a href='#Page_73'>73</a>; - <ul> - <li>materials for, <a href='#Page_74'>74</a>;</li> - <li>process of working, <a href='#Page_74'>74</a>-<a href='#Page_75'>75</a>;</li> - <li>card-receiver, <a href='#Page_75'>75</a>;</li> - <li>umbrella-holder, <a href='#Page_76'>76</a>;</li> - <li>vase, <i>ib.</i>;</li> - <li>papier-maché flowers, <a href='#Page_77'>77</a>;</li> - <li>papier-maché boats, <a href='#Page_90'>90</a>-<a href='#Page_92'>92</a></li> - </ul> - </li> - <li class='c008'>Pass a coin, how to, <a href='#Page_288'>288</a></li> - <li class='c008'>Pebble vase, the, <a href='#Page_117'>117</a></li> - <li class='c008'>Peg puzzle, Captain S’s, <a href='#Page_238'>238</a></li> - <li class='c008'>Perambulating egg, the, <a href='#Page_295'>295</a></li> - <li class='c008'>Photographic printing, <a href='#Page_154'>154</a></li> - <li class='c008'>Pin, the balancing, <a href='#Page_44'>44</a></li> - <li class='c008'>Pith dancer, the, <a href='#Page_280'>280</a></li> - <li class='c008'>Plaque, frame for, <a href='#Page_185'>185</a></li> - <li class='c008'>Plants, how to take impressions of, <a href='#Page_86'>86</a></li> - <li class='c008'>Plants, frames for impressions of, <a href='#Page_87'>87</a></li> - <li class='c008'>Portraits, how to take, <a href='#Page_60'>60</a></li> - <li class='c008'>Presents, Christmas, <a href='#Page_113'>113</a>, <a href='#Page_318'>318</a></li> - <li class='c008'>Proof, an easy, for sums in multiplication, <a href='#Page_41'>41</a></li> - <li class='c008'>Puppet, the windmill, <a href='#Page_7'>7</a></li> - <li class='c008'>Puzzle, the boot, <a href='#Page_57'>57</a></li> - <li class='c008'>Puzzle, the counter, <a href='#Page_38'>38</a></li> - <li class='c008'>Puzzle, the cross, <a href='#Page_320'>320</a></li> - <li class='c008'>Puzzle, the octagon, <a href='#Page_318'>318</a></li> - <li class='c008'>Puzzle, peg, Captain S’s, <a href='#Page_238'>238</a></li> - <li class='c008'>Puzzle, the square, <a href='#Page_321'>321</a></li> - <li class='c008'>Puzzle, the divided square, <a href='#Page_14'>14</a></li> - <li class='c007'>Raised figures on an egg, to produce, <a href='#Page_273'>273</a></li> - <li class='c008'>Re-coin a half dollar, how to, <a href='#Page_301'>301</a></li> - <li class='c008'>Regatta windmill, <a href='#Page_215'>215</a></li> - <li class='c008'>Repetition, danger of, <a href='#Page_291'>291</a></li> - <li class='c008'>Repoussé work for boys, <a href='#Page_172'>172</a>-<a href='#Page_184'>184</a>; - <ul> - <li>Nubian bracelets, <a href='#Page_172'>172</a>;</li> - <li>hammer for repoussé work, <a href='#Page_175'>175</a>;</li> - <li>other tools for repoussé work, <a href='#Page_176'>176</a>;</li> - <li>marking the design, <i>ib.</i>;</li> - <li>plaque in hammered brass, <a href='#Page_177'>177</a>;</li> - <li>composition for deep work, <a href='#Page_178'>178</a>;</li> - <li>card receiver, <a href='#Page_179'>179</a>;</li> - <li>foxing, <i>ib.</i>;</li> - <li>annealing, <a href='#Page_180'>180</a>;</li> - <li>a salver in repoussé, <a href='#Page_181'>181</a>;</li> - <li>a silver bangle for a bracelet, <a href='#Page_182'>182</a>;</li> - <li>a bangle bracelet, <a href='#Page_184'>184</a></li> - </ul> - </li> - <li class='c008'>Resin bubbles, <a href='#Page_32'>32</a></li> - <li class='c008'>Ring toss, <a href='#Page_255'>255</a></li> - <li class='c008'>Ring trick, the Turkish, <a href='#Page_299'>299</a></li> - <li class='c008'>Rob Peter and pay Paul, how to, <a href='#Page_289'>289</a></li> - <li class='c008'>Room, the darkened, <a href='#Page_152'>152</a></li> - <li class='c008'>Rope, the magic, <a href='#Page_307'>307</a></li> - <li class='c008'>Rope feat, the Chinese, <a href='#Page_312'>312</a></li> - <li class='c007'>Salver in repoussé, <a href='#Page_181'>181</a></li> - <li class='c008'>Schooner yacht, a, <a href='#Page_345'>345</a></li> - <li class='c008'>Screw-propeller windmill, the, <a href='#Page_210'>210</a></li> - <li class='c008'>Sea-mosses, <a href='#Page_226'>226</a>-<a href='#Page_230'>230</a>; - <ul> - <li>where found, <i>ib.</i>;</li> - <li>how, <a href='#Page_227'>227</a>;</li> - <li>how to arrange on paper, <a href='#Page_227'>227</a>-<a href='#Page_229'>229</a>;</li> - <li>more elaborate arrangements, <a href='#Page_229'>229</a>-<a href='#Page_230'>230</a></li> - </ul> - </li> - <li class='c008'>Self-rectifying dart, the, <a href='#Page_43'>43</a></li> - <li class='c008'>Set of cars, a, <a href='#Page_47'>47</a></li> - <li class='c008'>Shaving-case, a, <a href='#Page_123'>123</a></li> - <li class='c008'>Side-wheeler windmill, the, <a href='#Page_211'>211</a></li> - <li class='c008'>Simple form of camera, a, <a href='#Page_149'>149</a></li> - <li class='c008'>Simple electrophorus, a, <a href='#Page_277'>277</a></li> - <li class='c008'>Simple fountain, a, <a href='#Page_322'>322</a></li> - <li class='c008'>Siphon, a, <a href='#Page_28'>28</a></li> - <li class='c008'>Skeletonize leaves, how to, <a href='#Page_141'>141</a></li> - <li class='c008'>Sketching camera, the, <a href='#Page_150'>150</a></li> - <li class='c008'>Slate games for children, <a href='#Page_243'>243</a></li> - <li class='c008'>Sloop yacht, <a href='#Page_336'>336</a></li> - <li class='c008'>Snake, the, <a href='#Page_13'>13</a></li> - <li class='c008'>Soap bubbles, <a href='#Page_31'>31</a></li> - <li class='c008'>Sober countenance, necessity of, <a href='#Page_311'>311</a></li> - <li class='c008'>Solar microscope, a boy’s, <a href='#Page_216'>216</a></li> - <li class='c008'>Solitaire, <a href='#Page_249'>249</a></li> - <li class='c008'>Some electrical experiments, <a href='#Page_275'>275</a></li> - <li class='c008'>Spirit jew’s-harp, the, <a href='#Page_261'>261</a></li> - <li class='c008'>Square puzzle, the divided, <a href='#Page_14'>14</a></li> - <li class='c008'>Square puzzle, the, <a href='#Page_321'>321</a></li> - <li class='c008'>Steam-boat, the toy, <a href='#Page_93'>93</a></li> - <li class='c008'>Stencils, <a href='#Page_130'>130</a>-<a href='#Page_137'>137</a>; - <ul> - <li>method of making, <a href='#Page_133'>133</a>;</li> - <li>collection of stencils in book-form, <a href='#Page_135'>135</a>;</li> - <li>color decoration with stencils, <a href='#Page_136'>136</a>-<a href='#Page_137'>137</a></li> - </ul> - </li> - <li class='c008'>Stones, to melt, <a href='#Page_31'>31</a></li> - <li class='c008'>String, how to break a, <a href='#Page_63'>63</a></li> - <li class='c008'>String, how to put a string through a button-hole, <a href='#Page_314'>314</a></li> - <li class='c008'>String, how to unite a parted, <a href='#Page_314'>314</a></li> - <li class='c008'>Sums in multiplication, an easy proof for, <a href='#Page_41'>41</a></li> - <li class='c007'>Telescope, the magic, <a href='#Page_22'>22</a></li> - <li class='c008'>Telescope, a, which a boy can make, <a href='#Page_110'>110</a></li> - <li class='c008'>Tit-tat-to, <a href='#Page_243'>243</a></li> - <li class='c008'>Thirty-one, <a href='#Page_246'>246</a></li> - <li class='c008'>Three halos, the, <a href='#Page_82'>82</a></li> - <li class='c008'>Tooth-picks, an amusing experiment with, <a href='#Page_17'>17</a></li> - <li class='c008'>Toy panorama, the, <a href='#Page_160'>160</a></li> - <li class='c008'>Toy steam-boat, the, <a href='#Page_93'>93</a></li> - <li class='c008'>Train, a freight, <a href='#Page_51'>51</a></li> - <li class='c008'>Trick, an arithmetical, <a href='#Page_47'>47</a></li> - <li class='c008'>Trick, Turkish ring, <a href='#Page_299'>299</a></li> - <li class='c008'>Trick, another hat, <a href='#Page_294'>294</a></li> - <li class='c008'>Trinket-holder, <a href='#Page_114'>114</a></li> - <li class='c008'>Tumbling egg, the, <a href='#Page_82'>82</a></li> - <li class='c008'>Turks and Russians, <a href='#Page_245'>245</a></li> - <li class='c008'>Twig and cone bracket, <a href='#Page_116'>116</a></li> - <li class='c008'>Two pieces of glass, experiment with, <a href='#Page_15'>15</a></li> - <li class='c007'>Vase, the crystal, <a href='#Page_317'>317</a></li> - <li class='c008'>Vase, the pebble, <a href='#Page_117'>117</a></li> - <li class='c008'>Vase, a papier-maché, <a href='#Page_76'>76</a></li> - <li class='c007'>Windmills, <a href='#Page_204'>204</a>-<a href='#Page_216'>216</a>; - <ul> - <li>the wooden windmill, <a href='#Page_206'>206</a>-<a href='#Page_209'>209</a>;</li> - <li>mode of mounting the windmill, <a href='#Page_210'>210</a>;</li> - <li>the screw-propeller, <a href='#Page_210'>210</a>-<a href='#Page_211'>211</a>;</li> - <li>the side-wheeler, <a href='#Page_212'>212</a>-<a href='#Page_214'>214</a>;</li> - <li>the regatta windmill, <a href='#Page_215'>215</a></li> - </ul> - </li> - <li class='c008'>Winter garden, a, <a href='#Page_54'>54</a></li> - <li class='c008'>Whirligig, the flying, <a href='#Page_10'>10</a></li> - <li class='c007'>Xylophone, the, <a href='#Page_65'>65</a></li> - <li class='c007'>Yacht, the miniature, and how to rig her, <a href='#Page_331'>331</a>-<a href='#Page_352'>352</a>; - <ul> - <li>miniature yacht regattas, <a href='#Page_334'>334</a>;</li> - <li>model of yacht, <a href='#Page_335'>335</a>;</li> - <li>making the hull, <a href='#Page_336'>336</a>-<a href='#Page_337'>337</a>;</li> - <li>how to cast and attach a lead keel, <a href='#Page_337'>337</a>-<a href='#Page_338'>338</a>;</li> - <li>the deck, <a href='#Page_338'>338</a>;</li> - <li>bowsprit and rudder, <a href='#Page_339'>339</a>;</li> - <li>mast and other spars, <a href='#Page_340'>340</a>;</li> - <li>standing rigging, <a href='#Page_341'>341</a>-<a href='#Page_342'>342</a>;</li> - <li>sails, <a href='#Page_343'>343</a>;</li> - <li>running rigging, <a href='#Page_344'>344</a>-<a href='#Page_345'>345</a>;</li> - <li>a schooner yacht, <a href='#Page_345'>345</a>;</li> - <li>spars and stays for a schooner yacht, <a href='#Page_346'>346</a>-<a href='#Page_349'>349</a>;</li> - <li>belaying, bolt ropes, reef-points, <a href='#Page_350'>350</a>;</li> - <li>painting the miniature yacht, <a href='#Page_350'>350</a>-<a href='#Page_351'>351</a>;</li> - <li>flags, <a href='#Page_352'>352</a></li> - </ul> - </li> -</ul> - -<div class='pbb'> - <hr class='pb c001' /> -</div> -<div class='chapter'> - <span class='pageno' id='Page_7'>7</span> - <h2 class='c003'>HOW?<br /> <br />OR,<br /> <br />SPARE HOURS MADE PROFITABLE.</h2> -</div> - -<div class='nf-center-c1'> -<div class='nf-center c007'> - <div>―――――◀▶―――――</div> - </div> -</div> - -<h3 class='c009'>THE WINDMILL PUPPET.</h3> - -<div class='figcenter id003'> -<img src='images/i_008.png' alt='Fig. 1' class='ig001' /> -</div> - -<p class='c010'>This amusing little puppet is very easily constructed, -and, like several other mechanical toys in this book, furnishes -much entertainment for the little folks. Even the -baby will sit in her high chair, half-hours together, watching -the little man turning his crank, while she claps her -tiny hands and crows at so delightful an exhibition of -untiring energy.</p> - -<div class='figcenter id004'> -<img src='images/i_009.png' alt='Fig. 2' class='ig001' /> -</div> - -<p class='c005'>Cut from cardboard a disc like Fig. 2, which shall -measure about six inches across; then by means of a -ruler draw the lines <i>a b c d</i>; half-way between these -points make four others, corresponding to <i>e f g h</i>; and -lastly, between all these, still another set of lines. Make -the circle, <i>m</i>, one-and-a-half inches in diameter, and with -a pair of sharp scissors cut through all these lines, to the -edge of the smaller ring. Bend one edge of each of these -triangular pieces slightly upward, as indicated by the -shading, and the opposite edge downward; also bend a -piece of wire a foot long, so as to form the crank indicated -in the illustration.</p> - -<p class='c005'><span class='pageno' id='Page_8'>8</span>Next make a frame-work for the figure to rest upon: -this should consist of a three-cornered piece of wood, six -inches long for the bottom, a stick six or seven inches -long for the upright, and lastly, the support for the upper -part of the wire, with a small hole in one end for the latter -to pass through. Fasten these pieces together with small -brad-nails, and secure the upright to the bottom piece by -a screw or nail passing up from below. The wire, having -the crank already bent in the proper place, may now be -passed up through the hole, and the other end sunk down -into another, bored a short distance into the bottom -<span class='pageno' id='Page_9'>9</span>board, directly below the upper one. Then the wire may -be fastened to the windmill, by passing it through a little -one side, then back again through on the other side of -the center; twisting the end once or twice about the main -stem beneath the windmill; it now turns with the windmill, -and it is needless to say that the friction in the holes -should be as slight as possible.</p> - -<p class='c005'>The figure is to be cut from a piece of cardboard and -is made in five pieces. -The lower half, which -comprises the box, legs, -and body up to the -dotted line, is in one -piece; the head and -body to the lower edge -of the belt, consists of -two pieces, cut precisely -alike, and lapping -on either side of -the lower part of the -body over the dotted -line, to give strength -to the image. A pin -passed through the belt, and bent down on the other side, -will hold it in place, and allow sufficient play to the figure. -There are two arms, cut from the same pattern, and pivoted -at the shoulders with another pin. The hands are -finally brought together, with the crank between them, -and lightly secured on either side with two or three -stitches.</p> - -<p class='c005'><span class='pageno' id='Page_10'>10</span>To impart life to this creation, it is placed over a furnace -register through which the hot air is briskly rising. -If the machine works easily, the current of air above a -stove may suffice.</p> - -<div class='nf-center-c1'> -<div class='nf-center c007'> - <div>―――――◀▶―――――</div> - </div> -</div> - -<h3 class='c009'>THE FLYING WHIRLIGIG.</h3> - -<div class='figcenter id005'> -<img src='images/i_010.png' alt='' class='ig001' /> -</div> - -<p class='c010'>This amusing toy consists of an empty spool with two -pins driven into its head, as seen in the figure. With a -pair of pliers break off -the heads of the pins before -driving them in position, -then take a piece -of soft wood and make a -spindle, like that represented -in the figure at <i>A</i>, -and drive another headless -pin into the small -end. Lastly, cut from a -piece of cardboard a figure -like the one marked -<i>B</i>, making three holes, -<i>a a a</i>, with the point of -a darning-needle, corresponding -to the two pins -in the spool and the one in the spindle.</p> - -<p class='c005'>Bend the edges marked <i>x</i> and <i>y</i> in opposite directions.</p> - -<p class='c005'>Now place the spool on the spindle and wind a piece of -twine around the spool; then place the piece of pasteboard -upon the top, letting the pins pass up through the -row of holes in its center.</p> - -<p class='c005'><span class='pageno' id='Page_11'>11</span>Holding the machine upright in the left hand, with a -quick movement of the right, jerk the string from the -spool, and the cardboard will fly through the air with a -very graceful motion.</p> - -<p class='c005'>If stripes of color are added to the ends, as seen in the -cut, a much prettier effect is produced while the whirligig -is in operation. These stripes can be painted in red, -white, and blue water colors, or may be formed by pasting -on narrow strips of bright-colored paper.</p> - -<p class='c005'>If the first trial does not succeed, wind the string in the -other direction, or put on the “card flyer,” with the other -side next the spool. The same causes which make it soar -away in the one case will hold it yet more firmly to the -spool in the other.</p> - -<div class='nf-center-c1'> -<div class='nf-center c007'> - <div>―――――◀▶―――――</div> - </div> -</div> - -<h3 class='c009'>HOW TO MAKE A BOOK.</h3> - -<p class='c010'>Do any of my boy readers know how to make a book? -Not the fine volumes turned out by the thousand in our -great publishing houses, but the little individual books -made by boys and girls, and needing for their construction -only an old used-up ledger, a small tin pan of paste, -and scraps cut from newspapers or books. These bits -may consist simply of poems, or they may be “a little of -all sorts.”</p> - -<p class='c005'>I recently saw a very nice book of this kind made by a -boy of twelve, which was composed entirely of humorous -pictures and jokes, culled from several illustrated and -daily papers, one or two almanacs, and various other -chance publications, which he had collected during the -<span class='pageno' id='Page_12'>12</span>year. Whenever he found any bright or witty thing, he -would carefully preserve the clipping by putting it in a -large paper box he kept in a convenient place for that -purpose.</p> - -<p class='c005'>He reserved the pasting for rainy days and winter evenings, -and as he took much pains with the arrangement -and neat appearance of his book, this operation was -necessarily slow, and formed a pleasant occupation for -many hours which would otherwise have been wasted.</p> - -<p class='c005'>In making such a book, do not try to complete it in a -week or even a month, but let it, like my boy friend’s, -furnish amusement for a year.</p> - -<p class='c005'>Get your father and mother interested, and ask them to -save any scraps they may see, and think appropriate for -the purpose.</p> - -<p class='c005'>A handsomely bound scrap-book, specially designed for -this use, would certainly be the most desirable thing to -have; but if such a book cannot be obtained, an old ledger -does very nicely in its place, and if, after it is completed, -you cover it carefully with a piece of smooth brown paper -and print its title neatly on the back, it will look very -well on any table where you may wish to keep it.</p> - -<p class='c005'>If the latter is used, cut from it every other two leaves, -reserving the third, through the book. Next be careful -to trim all your clippings neatly, leaving no extra paper -beyond the edges. Fit the different slips nicely on the -pages, filling the little spaces left from the longer articles -with any little jokes or bits of poetry you may have. -Frequently a whole piece of newspaper poetry is hardly -worth preserving, but some one of its stanzas may be very -<span class='pageno' id='Page_13'>13</span>pretty and just the thing to fill up a place you may have -left.</p> - -<p class='c005'>It is well to collect all these little things you can find, -for they always come in nicely when pasting, and your -book looks much better when finished if the original surface -is entirely covered.</p> - -<div class='nf-center-c1'> -<div class='nf-center c007'> - <div>―――――◀▶―――――</div> - </div> -</div> - -<h3 class='c009'>THE SNAKE.</h3> - -<div class='figcenter id006'> -<img src='images/i_013_a.png' alt='A' class='ig001' /> -</div> - -<p class='c010'>Cut from a piece of Bristol board, or -stiff paper, a circle measuring four inches -in diameter; then with a pencil mark it -like Fig. <i>A</i>. With your paints and pencil -make its -head as nearly -like a snake’s -as possible; -and mark the -body with -stripes or -checks, as your -fancy may -dictate. Cut -through the deep black line, put a pin -through the dot on the tail, and drive it -into a slender stick of wood, which must -be held or caught over the stove or register. -The rising current of heated air -causes the snake to revolve and apparently writhe, in a -very natural manner. This little toy, so simple in its construction, -<span class='pageno' id='Page_14'>14</span>affords an endless amount of entertainment to -the little folks of the family, and is well worth the trouble -and time you may spend in making it.</p> - -<div class='figcenter id007'> -<img src='images/i_013_b.png' alt='' class='ig001' /> -</div> - -<p class='c005'>The hot air from a lamp or gas jet will also impart -activity to this mimic reptile.</p> - -<div class='nf-center-c1'> -<div class='nf-center c007'> - <div>―――――◀▶―――――</div> - </div> -</div> - -<h3 class='c009'>THE DIVIDED SQUARE PUZZLE.</h3> - -<div class='figcenter id008'> -<img src='images/i_014.png' alt='' class='ig001' /> -</div> - -<p class='c010'>Take a square of -paper or cardboard, -and cut it into four -pieces, as shown in -the engraving. Now -try to put them back -in the form of a -square. This seemingly -simple puzzle, -has kept our young -people busy a whole -evening, and was -only accomplished -at last by marking -each piece before it -was cut apart.</p> - -<div class='nf-center-c1'> -<div class='nf-center c007'> - <div><span class='pageno' id='Page_15'>15</span>―――――◀▶―――――</div> - </div> -</div> - -<h3 class='c009'>EXPERIMENT WITH TWO PIECES OF GLASS.</h3> - -<p class='c010'>Procure two pieces of glass about six inches square, -join any two of their sides, and separate the opposite sides -with a piece of wax, so that their surfaces may be at a -slight angle; immerse this apparatus about an inch in a -basin of water, and the water will rise between the plates -and form a beautiful geometrical figure called a hyperbola.</p> - -<div class='nf-center-c1'> -<div class='nf-center c007'> - <div>―――――◀▶―――――</div> - </div> -</div> - -<h3 class='c009'>THE GRIMACING FACE.</h3> - -<div class='figcenter id007'> -<img src='images/i_015_a.png' alt='A' class='ig001' /> -</div> - -<div class='figcenter id009'> -<img src='images/i_015_b.png' alt='B' class='ig001' /> -</div> - -<div class='figcenter id010'> -<img src='images/i_015_c.png' alt='C' class='ig001' /> -</div> - -<p class='c010'>Take a card one-and-one-half inches wide, and fold -around it a piece of unruled note paper, -so that the card can easily slide up and -down; then paste this case on the under -side. Now cut three holes in the paper -for the eyes and mouth, -as seen in <i>A</i>; place the -strip of card within this -and mark the points for -the eyes and root of -tongue; then slipping it -out once more, the eyes -can be carefully finished, -and the tongue cut to fit -in the mouth, and to extend -some distance down -on the chin, see Fig. <i>B</i>. -Then by putting the two pieces together, -pulling the tongue in its place through -the opening, very amusing expressions -<span class='pageno' id='Page_16'>16</span>can be produced, by simply moving the pasteboard up -and down in the paper. Fig. <i>C</i> represents the two parts -put together.</p> - -<div class='nf-center-c1'> -<div class='nf-center c007'> - <div>―――――◀▶―――――</div> - </div> -</div> - -<h3 class='c009'>A GOOD BALL.</h3> - -<p class='c010'>Take a round, well shaped orange; cut it evenly into -quarters, numbering them at one end to aid in putting -the parts together again. Next cut out of kid four pieces -exactly like the four pieces of orange peel; then, with -strong linen thread, sew over and over three seams, thus -joining the four pieces, but leaving one seam open. In -putting together be careful to place 1 next to 2, and so -on, just as they were in the orange. Ravel out an old yarn -stocking, or cut into narrow strips an old cashmere one, and -after making a little round ball of any soft woolen material, -commence winding it evenly with the raveled yarn, -trying occasionally if it is near the size of the kid covering. -When nearly large enough wind it in such a way that -it shall just fit the cavity, and then carefully sew up the -remaining side.</p> - -<p class='c005'>Great care should be exercised in forming the inner -ball, and in cutting the kid. The wrists of old kid gloves -make capital coverings. An old rubber overshoe cut in -very fine strips and wound carefully, forms a nice center, -but it is better to use the soft wool yarn next the cover, -as it is more pliable and makes a better shaped ball.</p> - -<p class='c005'>Prepare this ball during your leisure moments in the -long winter evenings; and it will then be ready for the -first game, when the bright spring sunshine reminds you -of summer sports once more.</p> - -<div class='nf-center-c1'> -<div class='nf-center c007'> - <div><span class='pageno' id='Page_17'>17</span>―――――◀▶―――――</div> - </div> -</div> - -<h3 class='c009'>AMUSING EXPERIMENT WITH TOOTH-PICKS.</h3> - -<div class='figcenter id011'> -<img src='images/i_017.png' alt='' class='ig001' /> -</div> - -<p class='c010'>Take five tooth-picks, weave them together, as seen in -the illustration, which perhaps is easiest done by holding -the three diverging ones between the thumb and forefinger -of the left hand at the point <i>a</i>, and insert the other -two successively, first <i>b</i>, then <i>c</i>. Now lay the figure upon -any flat surface, letting the end c extend a short distance -beyond the edge. If you touch a lighted match to <i>c</i>, in a -moment each stick will leap into the air as if suddenly -endowed with life and animation, quite unusual in such -inert objects.</p> - -<div class='nf-center-c1'> -<div class='nf-center c007'> - <div><span class='pageno' id='Page_18'>18</span>―――――◀▶―――――</div> - </div> -</div> - -<h3 class='c009'>HOW TO CUT TOPS FROM GLASS BOTTLES.</h3> - -<p class='c010'>A glass bottle when freed from its top can be utilized in -many ways, and most boys will be glad to know how to -get rid of this troublesome portion without smashing the -whole thing into fragments.</p> - -<p class='c005'>A red-hot poker with a pointed end is the instrument -used. First make a mark with a file to begin the cut; -then apply the hot iron, and a crack will start, which will -follow the iron wherever it is carried. This is, on the -whole, simple, and better than the use of strings wet with -turpentine, etc.</p> - -<div class='nf-center-c1'> -<div class='nf-center c007'> - <div>―――――◀▶―――――</div> - </div> -</div> - -<h3 class='c009'>A BOY’S BAROMETER.</h3> - -<p class='c010'>Take a common vial, or small bottle, cut off the rim -by using the hot poker as directed above. Let the vial -now be nearly filled with common rain water, and applying -the finger to its mouth, turn it quickly upside down: -on removing the finger it will be found that only a few -drops will escape. Without a cork or stopper of any -kind, the water will be retained within the bottle by the -pressure of the external air, the weight of the air without -the vial being so much greater than the small quantity -within it. Now let a bit of tape be tied round the middle -of the bottle, to which the two ends of a string may be -attached, so as to form a loop to hang on a nail; let it -be thus suspended in a perpendicular manner, with the -mouth downward: and this is the barometer.</p> - -<p class='c005'>When the weather is fair, or inclined to be so, the -<span class='pageno' id='Page_19'>19</span>water will be level at its lower surface, or perhaps concave, -like an individual butter plate turned upside down; -but when disposed to be stormy, a drop will appear at the -mouth, which will enlarge till it falls, and then another -drop, so long as the humidity of the atmosphere continues.</p> - -<div class='nf-center-c1'> -<div class='nf-center c007'> - <div>―――――◀▶―――――</div> - </div> -</div> - -<h3 class='c009'>AN INFALLIBLE BAROMETER.</h3> - -<p class='c010'>With a few cents any boy can buy the chemicals required -for this barometer, and obtain an instrument much -more reliable than many of the cheaper grades for sale in -the stores. Put two drams of pure nitrate of potash, and -half a dram of chloride of ammonium reduced to a powder, -into two ounces of pure alcohol, and place this mixture in -a clear glass bottle, covering the top with a piece of rubber -or thin kid pierced with small holes.</p> - -<p class='c005'>If the weather is to be fine, the solid matters remain at -the bottom of the bottle, and the alcohol is as transparent -as usual. If rain is to fall in a short time, some of the -solid particles rise and fall in the alcohol, which becomes -somewhat thick and troubled. When a storm, tempest, -or even a squall is about to come on, all the solid matter -rises from the bottom of the bottle and forms a crust on -the surface of the alcohol which appears to be in a state -of fermentation. These appearances take place twenty-four -hours before the tempest ensues, and the point of the -horizon from which it is to blow is indicated by the particles -gathering most on the side of the tube opposite to -that part whence the wind is to come. The longer the -diameter of the bottle the better for this kind of barometer.</p> - -<div class='nf-center-c1'> -<div class='nf-center c007'> - <div><span class='pageno' id='Page_20'>20</span>―――――◀▶―――――</div> - </div> -</div> - -<h3 class='c009'>THE BALANCING DOLL.</h3> - -<div class='figcenter id012'> -<img src='images/i_020.png' alt='' class='ig001' /> -</div> - -<p class='c010'>From a piece of soft wood whittle out a head and body -like that in the illustration, making slits on either side -for the insertion of the -wings. These oar-shaped -appendages are -generally made from a -shingle, and are affixed -to the body by pressing -them firmly into -the slits. The whole -thing can be painted to -suit the fancy; water -colors spread on rather -thickly answer quite as -well for small objects of -this class, if protected -by a good coating of -varnish, made by dissolving -a few cents’ worth of white shellac in a small -quantity of alcohol. It is important that the oars are of -the same weight and placed at equal angles with the body -for this plaything to be successful.</p> - -<div class='nf-center-c1'> -<div class='nf-center c007'> - <div>―――――◀▶―――――</div> - </div> -</div> - -<h3 class='c009'>THE BOOMERANG.</h3> - -<p class='c010'>The boomerang is a weapon which has long been known -as peculiar to the Australian savages, who are wonderfully -skilled in its use.</p> - -<div class='figcenter id013'> -<span class='pageno' id='Page_21'>21</span> -<img src='images/i_021_a.png' alt='' class='ig001' /> -</div> - -<div class='figcenter id014'> -<img src='images/i_021_b.png' alt='' class='ig001' /> -</div> - -<p class='c005'>It consists of an irregular shaped piece of hard wood, -so constructed that by its -aid, the unsuspecting game -can be killed at an angle -widely diverging from the -line of direction in which -it was thrown. Instances -have been cited in which -the boomerang, in the -hands of these untutored -savages, has accomplished -wonderful feats. One of the -favorite ways of throwing -consists in sending the weapon in such a manner that it -shall skim along just above the ground for about a hundred -feet, then, rising in the air, -double back upon its course, -and hit a mark only a few -feet in front of the thrower. -Of course we do not expect -to equal the savages in its -use, when recent investigations -show that it has taken -the experience of generations -upon generations of -men and hundreds of years, -to bring it to its present -degree of excellence; but -every boy may derive much -fun from practicing with the little cardboard boomerang -<span class='pageno' id='Page_22'>22</span>cut of stiff pasteboard in either of the forms given in the -preceding page. To throw this, place it upon a book, one -end extending beyond the edge; then, with a ruler or -small stick, strike it forcibly upon the edge, and it will -fly through the air and back again, in an amusing, lively -manner, quite unlike any other missile in a boy’s collection. -It may be sent on its way by simply snapping it -with the forefinger of the right hand while it is held on -the book in your left. If you should try making one of -wood to use out-of-doors, try it in the middle of a large -open lot, for there is no telling what mischief it might do -if it only had the chance.</p> - -<div class='nf-center-c1'> -<div class='nf-center c007'> - <div>―――――◀▶―――――</div> - </div> -</div> - -<h3 class='c009'>THE MAGIC TELESCOPE.</h3> - -<div class='figcenter id015'> -<img src='images/i_022.png' alt='' class='ig001' /> -</div> - -<p class='c010'>The following, although requiring considerable skill in -joining, can readily be made by any boy of fifteen, if he -is at all skillful in the use of carpenter’s tools, and has a -fair endowment of those two excellent qualities, patience -<span class='pageno' id='Page_23'>23</span>and perseverance, so absolutely indispensable to success -in almost any undertaking.</p> - -<p class='c005'>This telescope consists of a series of square wooden -tubes, with an inside diameter of about five inches, so -carefully joined together that no ray of light can find its -way in through the crevices. The oblique lines are -pieces of looking-glass, with their faces turned toward -each other. Now, by placing the eye at <i>E</i>, of course it -would seem that anything at <i>H</i> could be seen directly -through the tubes <i>A B</i>, while if a book or other opaque -object be interposed, as shown in Fig. 2, it would seem -equally a matter of course that the view would be obstructed; -this, however, is not the case, as the mirrors -reflect the object -through the tube and -it appears as plainly -as when the book is -removed.</p> - -<p class='c005'>To those unfamiliar with its construction this magic -telescope, by which you apparently see through a solid -substance, is an unfailing source of wonder.</p> - -<div class='figcenter id016'> -<img src='images/i_023.png' alt='' class='ig001' /> -</div> - -<p class='c005'>The object at <i>H</i> should be quite brilliantly lighted, as -some of the rays are absorbed in the passage of the reflection -through the tube; especial care should also be taken -to place the mirrors at a slant, exactly midway between -the horizontal and the upright, or, to speak more scientifically, -at an angle of 45 degrees to the line of the tubes.</p> - -<p class='c005'>The tubes <i>A</i> and <i>B</i> should not be so far apart at the -place where the book is inserted as to permit the backs of -the mirrors to be easily seen.</p> - -<div class='nf-center-c1'> -<div class='nf-center c007'> - <div><span class='pageno' id='Page_24'>24</span>―――――◀▶―――――</div> - </div> -</div> - -<h3 class='c009'>TO CRYSTALLIZE GRASSES, SEED-VESSELS, <span class='sc'>Etc.</span></h3> - -<p class='c010'>Take a large-sized piece of alum, and pour over it a pint -of boiling water, letting it stand until the water has taken -up or dissolved all the alum it will. If at the end of a -few hours any alum remains undissolved, you may be -sure the water contains all the alum it can hold in a liquid -state, and the solution is called a “saturated solution of -alum.”</p> - -<p class='c005'>During the summer, while the grasses are in their most -perfect state, select such as you think will look well crystallized, -and put them into a vase or wide-mouthed bottle -to dry, being careful to spread them well apart, so that -they may retain their perfect shape in drying. If the -season of grasses should pass before you have a chance to -collect them, the season of weeds is always at hand. Any -boy, in his wanderings over marsh or mountain, through -woods or our quiet village street, during even the coldest -winter months, could not fail to see some beautiful sprays -of seed-pods crowning many of our most common weeds, -which if crystallized, would make a very pretty and acceptable -present to mother for the corner bracket, or the -shelf which seemed just a little bare before. Having secured -your grasses or weeds, both together if you like, -and having your saturated solution of alum at hand, lay -as many tops of the grasses in a flat dish as will fill it -without crowding, then pour the liquid over them, being -careful that the parts you wish crystallized are under the -surface. Let them lie in this position until well coated -with the alum. When finished remove them and put in -<span class='pageno' id='Page_25'>25</span>others. Continue in this manner until all are treated. If -only a few crystals are desired they may be obtained by -dipping the heads one at a time in the solution and -slightly shaking them after each immersion. When all -have been dipped, commence with the first and repeat the -process. Do this until the crystals formed are as large -as you wish them to be.</p> - -<div class='nf-center-c1'> -<div class='nf-center c007'> - <div>―――――◀▶―――――</div> - </div> -</div> - -<h3 class='c009'>METHOD OF COLORING ALUM CRYSTALS.</h3> - -<p class='c010'>In making these crystals the coloring should be added -to the solution of alum in proportion to the shade which -it is desired to produce. Coke, with a piece of lead attached -to it in order to make it sink in the solution, is a -good substance for a nucleus, if a cluster of crystals are -to be formed. Any form, if wound around with knitting -cotton, can be used, or the grasses above described can be -dipped in these colored solutions, and very pretty results -obtained.</p> - -<p class='c005'>Yellow: muriate of iron. Blue: solution of indigo in -sulphuric acid. Pale blue: equal parts of alum and blue -vitriol. Crimson: infusion of madder and cochineal. -Black: Japan ink thickened with gum. Green: equal -parts of alum and blue vitriol, with a few drops of sulphate -of iron. Milk white: a crystal of alum held over a -glass containing ammonia will become a milky white color -upon its surface.</p> - -<p class='c011'><span class='small'>[<span class='sc'>Note.</span>—To make an infusion of a substance you simply pour boiling water -over it. The madder and cochineal are in the dry form, and only a little -water should be used, as too much will make the color less brilliant.]</span></p> - -<div class='nf-center-c1'> -<div class='nf-center c007'> - <div><span class='pageno' id='Page_26'>26</span>―――――◀▶―――――</div> - </div> -</div> - -<h3 class='c009'>ANIMATED FIRE.</h3> - -<p class='c010'>When small pieces of camphor are placed in a basin of -pure water, a very peculiar motion commences; some of -the pieces turn as if on an axis, others go steadily round -the vessel, some seem to be pursuing others, and thus -they continue forming a very curious and pleasing appearance; -but if a single drop of sulphuric acid be put into the -water, the motion of the camphor instantly stops. If a -piece of camphor be lighted, and then carefully placed -on the water, it burns with a bright flame, moving about -with great rapidity, as if in search of something, but is -instantly stopped by a drop of sulphuric acid.</p> - -<div class='nf-center-c1'> -<div class='nf-center c007'> - <div>―――――◀▶―――――</div> - </div> -</div> - -<h3 class='c009'>A PRETTY ORNAMENT FOR A BOY TO MAKE.</h3> - -<p class='c010'>Dissolve in seven different tumblers containing warm -water, half ounces of sulphates of iron, copper, zinc, soda, -alumina, magnesia, and potash. Pour them all, when -completely dissolved, into a large flat dish, and stir the -whole with a glass rod or bit of broken glass for a while. -Place the dish in a warm place where it will be free from -dust and will not be shaken. After due evaporation has -taken place, the whole will begin to shoot out into crystals. -These will be of various colors and forms, some little -ones being gathered together in small groups, and other -larger ones scattered throughout the whole fluid. By a -little careful study you will soon be able to distinguish -each crystal separately, from its peculiar form and color, -<span class='pageno' id='Page_27'>27</span>thus learning an interesting lesson in chemistry, while -making a beautiful ornament for your room. Be sure and -preserve it carefully from the dust.</p> - -<div class='nf-center-c1'> -<div class='nf-center c007'> - <div>―――――◀▶―――――</div> - </div> -</div> - -<h3 class='c009'>HOW TO MAKE A BLOWPIPE.</h3> - -<p class='c010'>Procure two common clay pipes; break off the stem of -one about three inches from the little end. Take a cork -that exactly fits into the bowl of the other pipe, cut a hole -through it large enough to insert the mouth-piece already -broken off, and draw this through the opening till its -larger end is even with the surface of the cork. Insert -the cork in the bowl, and fill the end of the stem which -touches the flame with a tiny ball of clay or chalk. -Through this clay make a hole with a needle, and a blowpipe -is the result, which answers very well for any experiment -a boy may be likely to try.</p> - -<div class='nf-center-c1'> -<div class='nf-center c007'> - <div>―――――◀▶―――――</div> - </div> -</div> - -<h3 class='c009'>HOW TO BLOW GLASS.</h3> - -<p class='c010'>Although it is impossible to give any detailed account -of glass blowing which would be practicable for small -boys, yet a child can amuse himself for hours, by simply -melting bits of glass and joining them together; or by -melting small glass tubes and drawing them out to mere -threads; or again, blowing them up into tiny balloons -until their surface is as thin as a soap bubble and almost -as fragile. These little tubes are smaller than the end of -<span class='pageno' id='Page_28'>28</span>a pipe-stem, about four inches long, and made of very -thin glass. A dozen can be procured for ten or twelve -cents at any place where chemical supplies are to be -found. A short tallow candle, held in a cheap tin candlestick, -answers for the flame; and the tobacco-pipe, converted -into the blowpipe just described, can be used in -any of the experiments here given. Take a piece of a -broken window pane, hold it in the left hand very near -the candle flame, then holding the blowpipe so that the -shorter end nearly touches the flame, blow steadily -through the pipe-stem a current of air into the flame, -which sends it upon the glass and soon reduces the part -in contact with it to a red-hot melting mass; this can be -worked into various shapes by forming it with the aid of -pincers; or it can easily be joined to pieces of different -colors, by holding the two together and turning the full -force of the blaze upon them.</p> - -<p class='c005'>The little tubes may be heated in the same manner, and -one end be closed air tight, by pinching it tightly while -still hot; then, after heating the portion near the end to -a red heat, lay the blowpipe aside, and, taking the tube -away from the flame, blow into the open end with the -mouth. If this is done quickly, before the glass has had -time to cool, a pretty bubble or balloon is the result.</p> - -<div class='nf-center-c1'> -<div class='nf-center c007'> - <div>―――――◀▶―――――</div> - </div> -</div> - -<h3 class='c009'>A SIPHON.</h3> - -<p class='c010'>A simple glass siphon can be made by taking one of the -above tubes and heating it at a point about one-third of -its length from the end, till the surface appears a rosy -<span class='pageno' id='Page_31'>31</span>red; then carefully bending it over the round part of a -clothes-pin, till the two ends form parallel lines.</p> - -<div class='figcenter id017'> -<img src='images/i_029.png' alt='' class='ig001' /> -</div> - -<p class='c005'>A simple experiment with the siphon affords considerable -amusement to the little folks, and is well worth trying. -Take two tumblers, place them side by side, and fill -one with water. Now fill the siphon with water and -place the longer end in the empty tumbler, and the -shorter one well down in the water of the other. Immediately -the laborer will begin to work, pumping water -into the empty vessel, and will not stop until he has reduced -the water in the full tumbler to a level with the -end of the tube.</p> - -<div class='nf-center-c1'> -<div class='nf-center c007'> - <div>―――――◀▶―――――</div> - </div> -</div> - -<h3 class='c009'>TO MELT STONES.</h3> - -<p class='c010'>Many kinds of stones containing more or less metallic -ores, can be readily melted by means of the blowpipe. -When the specimens are small they can be placed upon a -piece of mica, and then presented to the flame; or a clay -receptacle can be made for the purpose, by simply hollowing -out a small cavity in one side of a lump of clay. -Large ones can be held in the hand or with the pincers -as in the case of the glass melting.</p> - -<div class='nf-center-c1'> -<div class='nf-center c007'> - <div>―――――◀▶―――――</div> - </div> -</div> - -<h3 class='c009'>A SOAP BUBBLE.</h3> - -<p class='c010'>Within the past few years soap-bubble parties have -been quite the style among our young people, and not a -few of the older members of society have joined in the -frolic with as much zest as their younger competitors. -<span class='pageno' id='Page_32'>32</span>Usually at such gatherings, after the guests have all arrived, -the hostess, having previously secured two or three -boxes of bonbons, or other equally inexpensive trifles for -prizes, presents each of her guests with an ordinary clay -pipe, and leading the way to the room in which the bowls -of soap-suds are already prepared, shows her prizes, and -challenges all to the contest. If fine, large iridescent bubbles -are desired, it is well to add a small quantity of glycerine -to the water used. It is said that if the mixture of -glycerine and water is allowed to stand some hours before -it is used the effect is much better. Hot water and soap -can be added just before the party enter, and only two -bowls of the soap mixture are necessary for quite a large -party. These should be placed upon small side tables or -stands at opposite ends of the room. Two or three reliable -persons should be chosen for judges to decide the -contest. The parents or some older members of the family, -at whose house the party is held, usually perform this -duty. I should have added, when speaking of the soap -mixture, that the common yellow soap intended for laundry -use, is much better for this purpose than the finer -toilet varieties most commonly used by amateur soap-bubble -blowers.</p> - -<div class='nf-center-c1'> -<div class='nf-center c007'> - <div>―――――◀▶―――――</div> - </div> -</div> - -<h3 class='c009'>RESIN BUBBLES.</h3> - -<p class='c010'>If the end of a tobacco-pipe be dipped in melted resin, -at a temperature a little above that of boiling water, taken -out, and held nearly in a vertical position and blown -through, bubbles will be formed of all possible sizes, from -that of a hen’s egg, down to sizes which can hardly be -<span class='pageno' id='Page_33'>33</span>discerned by the naked eye, and from their silvery luster, -and reflection of the different rays of light, they have a -pleasing appearance. Some that have been formed these -eight months, are as perfect as when first made. They -generally assume the form of a string of beads, many of -them perfectly regular, and connected by a very fine fiber, -but the production is never twice alike. If expanded over -a gas jet by means of a small rubber tube, they would -probably float around the upper part of the room.</p> - -<div class='nf-center-c1'> -<div class='nf-center c007'> - <div>―――――◀▶―――――</div> - </div> -</div> - -<h3 class='c009'>THE THREE MAGICAL CARDS.</h3> - -<div class='figcenter id018'> -<img src='images/i_033_a.png' alt='' class='ig001' /> -</div> - -<p class='c010'>Take three cards of the same size, and thick enough to -prevent the black surface from showing through; ink or -paint over the whole of -one side of <i>c</i>, having the -other side perfectly white, -and the others, <i>a</i> and <i>b</i>, in -the parts shown in Fig. 1; -they are now ready for use.</p> - -<div class='figcenter id016'> -<img src='images/i_033_b.png' alt='Fig. 2' class='ig001' /> -</div> - -<p class='c005'>Fig. 2 shows the first arrangement -of them, <i>a</i> and -<i>b</i> lapping over each other so that when <i>c</i> is placed in the -<span class='pageno' id='Page_34'>34</span>position shown by dotted lines the whole face presents a -perfectly white surface. Show this to your audience; -then, still holding them in sight, inform them in a neat -little speech, that by aid of some magic power you possess, -you can readily change these same cards to black, or back -again, at will. Now holding them with their backs away -from you, in such a manner that the card <i>c</i> cannot be seen -by the other boys, turn them upside down and spread out -what were the lower parts of <i>a</i> and <i>b</i>. You have them -now in the position indicated -by Fig. 3, and after carefully -turning <i>c</i> you will find them -presenting a uniformly black -surface. Should any bit of -white show at the lower corner, -cover it with your -thumb. When they are arranged -to your satisfaction, hold them up in front of you, -and while saying over some cabalistic words, such as, for -instance, “Presto, agramento, calafesto—change!” blow -upon their faces and turn them around to your audience, -which will probably be greatly surprised at this undeniable -evidence of your magic skill.</p> - -<div class='figcenter id016'> -<img src='images/i_034.png' alt='Fig. 3' class='ig001' /> -</div> - -<p class='c005'>Instead of white, the ordinary playing cards may be -used, blacking the back of one to represent <i>c</i>. These are -much more showy than the plain white ones, and the trick -is not so easily discovered if slight bits of black are seen, -as those having black spots are generally taken for the -purpose.</p> - -<div class='figcenter id019'> -<img src='images/i_035.png' alt='' class='ig001' /> -</div> - -<p class='c005'>One day a little fellow who had been repeatedly mystified -<span class='pageno' id='Page_37'>37</span>by this trick, saw the cards which his brother had -prepared lying on the table. He took them up, examined -them carefully for a moment, then, with his little face all -aglow at the revelation, he exclaimed, “Ha! I’ve found -out how you do it now, you just blow charcoal on the -other part.” How he got rid of the part already black, -he did not explain, nor did we think to ask him, but he -had at last solved the puzzle of their turning black, and -that was all he cared to do at the time.</p> - -<div class='nf-center-c1'> -<div class='nf-center c007'> - <div>―――――◀▶―――――</div> - </div> -</div> - -<h3 class='c009'>AN OPTICAL GAME.</h3> - -<p class='c010'>Hold a ring between thumb and forefinger at some distance -from the boy addressed, and giving him a crooked -stick, ask him to close one eye and try to catch the ring -on the stick. This game looks so very simple, that any -boy is certain he can do it at one thrust, and is only made -aware of its difficulties after several unsuccessful attempts.</p> - -<div class='nf-center-c1'> -<div class='nf-center c007'> - <div>―――――◀▶―――――</div> - </div> -</div> - -<h3 class='c009'>TO TELL THE NUMBER THOUGHT OF BY A PERSON.</h3> - -<p class='c010'>Desire the person who has thought of a number to triple -it, and to take the exact half of that; triple that half if -the number was even, or if odd multiply the larger half -by 3; and ask him how many times that answer contains -nine: for the answer will contain the double of that number -of nines, and one more if it be odd. Thus if the number -thought of is 5, its triple will be 15, which cannot be -<span class='pageno' id='Page_38'>38</span>divided by 2 without a remainder. The greater half of -15 is 8. If we multiply this by 3 we have 24, which contains -9 twice. So we shall have 2 + 2 + 1 = 5, the number -first thought of.</p> - -<div class='nf-center-c1'> -<div class='nf-center c007'> - <div>―――――◀▶―――――</div> - </div> -</div> - -<h3 class='c009'>THE COUNTER PUZZLE.</h3> - -<p class='c010'>In an old book published over half a century ago, I -came across this puzzle; and finding it gave an evening’s -entertainment to our young folks, I introduce it here for -the benefit of those boys who take especial delight in -games of an arithmetical nature.</p> - -<div class='figcenter id020'> -<img src='images/i_038-9.png' alt='Figs. 1, 2, 3, 4, 5' class='ig001' /> -</div> - -<p class='c005'>Out of thin cardboard—old business cards answer this -purpose nicely—make thirty-two blank counters, the size -of a dime. Then upon a piece of note-paper mark off a -figure just three inches square, and divide it by lines into -nine compartments, each containing one square inch. -The puzzle is, to arrange the counters in the external cells -of the square four different times, and each time to have -nine in a row, yet to have the sum of the counters different, -and varying from twenty to thirty-two. If you will -inspect the following figures you will see how this is possible: -the first represents the original disposition of the -<span class='pageno' id='Page_39'>39</span>counters in the cells of the square; the second, that of the -same counters when four are taken away; the third, the -manner in which they must be disposed -when these four are brought back with -four others; and the fourth with the addition -of four more. There are always -nine in each external row, and yet in the -first case the whole number is twenty-four, -in the second it is twenty, in the -third twenty-eight, and in the fourth -thirty-two. The numbers are substituted -in the place of the counters in the above -figures for convenience, but Fig. 5 represents -the disposition of the counters, as -indicated in Fig. 2.</p> - -<div class='nf-center-c1'> -<div class='nf-center c007'> - <div>―――――◀▶―――――</div> - </div> -</div> - -<h3 class='c009'>ANOTHER ARITHMETICAL TRICK.</h3> - -<p class='c010'>By knowing the last figure of the product of any two -numbers, to tell the other figures. If the number seventy-three -be multiplied by each of the numbers in the following -arithmetical progression, 3, 6, 9, 12, 15, 18, 21, 24, -27, the products will terminate with the nine digits, in -this order, 9, 8, 7, 6, 5, 4, 3, 2, 1; the numbers themselves -being as follows: 219, 438, 657, 876, 1095, 1314, 1533, 1752, -and 1971. Let, therefore, a little bag be provided, consisting -of two partitions, into one of which put several tickets, -marked with the number 73, and into the other put as -many tickets, 3, 6, 9, etc., up to 27. Then open that part -<span class='pageno' id='Page_40'>40</span>of the bag containing the number 73, and ask a person to -take out one ticket only; after which, dexterously change -the opening, and desire another person to take a ticket -from the other part. Let them now multiply their two -numbers together, and tell you the last figure of the product, -by which you will readily determine from the foregoing -series what the remaining figures must be. Suppose, -for example, the numbers taken out of the bag were -73 and 12, then as the product of these two numbers, -which is 876, has 6 for its last figure, you will readily -know it is the fourth of the series and the other two figures -must be 8 and 7.</p> - -<div class='nf-center-c1'> -<div class='nf-center c007'> - <div>―――――◀▶―――――</div> - </div> -</div> - -<h3 class='c009'>TO TELL TWO OR MORE NUMBERS WHICH A PERSON HAS THOUGHT OF.</h3> - -<p class='c010'>These numbers must not exceed 9. Let him think -of two or three numbers, double the first and add 1 to the -product, multiply the whole by 5, and add to that product -the second number. If there be a third, make him -double the first sum and add 1 to it; then desire him to -multiple the new sum by 5, and to add to it the third -number. If there should be a fourth number, you must -proceed in the same manner, desiring him to double the -preceding sum, to add 1 to it, to multiply by 5, and -then to add the fourth number, and so on. Then ask the -number arising from the addition of the last number -thought of, and if there were two numbers subtract 5 -from it: if three, 55; if four, 555, and so on, for the remainder -<span class='pageno' id='Page_41'>41</span>will be composed of figures, of which the first on -the left will be the first number thought of, the next the -second, and so of the rest.</p> - -<p class='c005'>Suppose the numbers thought of to be 3, 4, 6; by adding -1 to 6, the double of the first, we have 7, which being -multiplied by 5 gives 35; if 4, the second number thought -of, be then added, we shall have 39, which doubled gives -78, and if we add 1, and multiply 79 by 5, the result will -be 395. Lastly, if we add 6, the third number thought -of, the sum will be 401, and if 55 be deducted from it we -shall have for the remainder 346, the figures of which 3, -4, and 6, indicate in order the three numbers thought of.</p> - -<div class='nf-center-c1'> -<div class='nf-center c007'> - <div>―――――◀▶―――――</div> - </div> -</div> - -<h3 class='c009'>AN EASY PROOF FOR SUMS IN MULTIPLICATION.</h3> - -<p class='c010'>As boys are always interested in short cuts in arithmetical -processes, it may be well to insert for the benefit -of those who are studying multiplication, a method of -proving their examples which I learned a short time ago -from an old banker of New York. This rule is simply to -add the digits of both multiplicand and multiplier, divide -both answers by 9, and multiply the remainders; divide -this product by 9 and the remainder will be, if the example -is correct, the same as that obtained by adding the -digits of the product and dividing that answer by 9. For -instance, suppose after multiplying 4359 by 2786 we have -12144174 for the answer; now instead of performing this -operation over a second time to make sure our answer is -correct, we simply add the digits in 4359 and divide the -<span class='pageno' id='Page_42'>42</span>sum 21 by 9, we find we have 3 left. As it is the only remainder -we have to deal with, we need not keep the other -figures. By adding the digits in the multiplier we obtain -23, which divided by 9 gives 2 and 5 remainder. Now, -multiplying the first remainder by the second we have 15: -this product divided by 9 gives 1 and 6 remainder. If the -product 12144174 is correct, the sum of its digits divided -by 9 will leave 6 for a remainder. Performing the operation, -we find the sum of its digits is 24, divided by 9 -equals 2 and 6 remainder. As both the remainders correspond, -the answer was correct. After a little practice -you will find you can prove your examples very quickly -by this method, and where a number of sums are given -without the answers it will be of invaluable assistance, -besides saving you a great amount of labor.</p> - -<div class='nf-center-c1'> -<div class='nf-center c007'> - <div>―――――◀▶―――――</div> - </div> -</div> - -<h3 class='c009'>THE SELF-RECTIFYING DART.</h3> - -<div class='figcenter id021'> -<img src='images/i_043_a.png' alt='' class='ig001' /> -</div> - -<p class='c010'>The dart, and its larger brother the javelin, were among -the earliest weapons used in warfare, and were very skilfully -thrown, not only by the Roman soldiers, but by the -Goths and other savage tribes who lived in the regions -north of them.</p> - -<p class='c005'>These javelins were large affairs, measuring some six or -seven feet in length; the handle, a tough piece of wood, -was generally four and one-half feet in length, and an -inch in diameter, while the rest of the length was taken -up by the barbed triangular-shaped head.</p> - -<p class='c005'>Ever since those days children of all nations and climes -<span class='pageno' id='Page_43'>43</span>have made toy implements, resembling those in general -appearance, but varying much in size and materials used.</p> - -<div class='figcenter id022'> -<img src='images/i_043_b.png' alt='Fig. 1' class='ig001' /> -</div> - -<div class='figcenter id023'> -<img src='images/i_044_a.png' alt='Fig. 2' class='ig001' /> -</div> - -<p class='c005'>The little dart described below is perhaps -the tiniest and least formidable of them all; -but even this should not be carelessly tossed -about the room in which others are playing; -when, however, thrown in the open air, and -away from others who might be hurt, there -is considerable amusement derived from the -airy bit of flying wood, which always comes -down with such unerring certainty upon its -spear-like head. To make this dart, take half -a sheet of note-paper, double it diagonally -across, so that its top edge may fall evenly -upon that of one side (see Fig. 1), and cut off -the surplus piece of paper which remains uncovered -at the bottom of the page. Open -your square, and fold it again in the other diagonal line -<i>c</i>, <i>d</i> (the first is represented on Fig. 2, as <i>a</i>, <i>b</i>). Now, -opening again, fold upon the line -<i>e</i>, <i>f</i>, then, after opening, upon <i>g</i>, -<i>h</i>. Crease all the folds as you -make them. Now, having prepared -your handle, which consists -of a piece of wood about 8 -inches long and the size of a lead -pencil, cut across one end at right angles, with slits nearly -or quite an inch in depth; take your paper and open it -flat once more. Fold the diagonals so that the four -points, <i>a</i>, <i>b</i>, <i>c</i>, <i>d</i>, shall all meet together above <i>x</i>, and the -<span class='pageno' id='Page_44'>44</span>lines <i>ax</i>, <i>bx</i>, <i>cx</i>, and <i>dx</i> shall meet at the central line of -the figure, and the four shorter lines, <i>ex</i>, <i>fx</i>, etc., form the -outside edges of the figure. Insert a -tiny wedge or knife-blade at the bottom -of the slits, and press the paper -down in the opening, bringing the -folded edges through each of the four -slits; remove the wedge, and the paper -will be firmly held in its place. Insert -a needle or headless pin in the other -end of the wood, and the dart is ready for use.</p> - -<div class='nf-center-c1'> -<div class='nf-center c007'> - <div>―――――◀▶―――――</div> - </div> -</div> - -<h3 class='c009'>THE BALANCING PIN.</h3> - -<p class='c010'>This amusing feat I first saw performed in our little district -school-house, many years ago.</p> - -<div class='figcenter id024'> -<img src='images/i_044_b.png' alt='' class='ig001' /> -</div> - -<p class='c005'>One morning, while the -teacher was busy with his -class at the blackboard, -one of the boys drew an -old clay pipe-stem from -his pocket, and producing -a small green gooseberry -and a pin from some -other part of his clothing, -gave us boys to understand -that he was about -to perform some wonderful -trick with them. We -were of course all attention, and as the teacher’s back remained -<span class='pageno' id='Page_45'>45</span>turned toward us, he proceeded to astonish us with -his remarkable feat. He first stuck the pin through the -gooseberry, and then let it fall, point downward, into one -end of the pipe-stem; then, placing the other end to his -mouth, and holding his head thrown well over backward, -he blew into the opening, and the gooseberry and pin arose -quite clear of the tube, and began dancing and balancing -above it in a very funny way. How long it would have continued -its gyrations I cannot tell, probably until his breath -gave out, but just then a little boy in the front row made -some exclamation, and straightway the teacher’s head -came around, the pipe-stem, pin, and gooseberry went on -a voyage of discovery out of the school-house window, and -the boy got a thrashing for his pains. But the feat was -often performed by us all after that, and some years later, -when a second generation of boys were having over again -the tricks and sports their older brothers had outgrown, -I saw the same principle applied under more favorable -conditions. Instead of the straight pipe-stem, which -necessitated throwing the head over backward, to insure -its perpendicular position, a tube bent at a right angle -near one end was used, and the balancing of the pin could -be much more easily watched by the performer. Instead -of the gooseberry, a currant, pea, or any light, round -fruit can be substituted, and a small glass tube may take -the place of the pipe-stem.</p> - -<div class='nf-center-c1'> -<div class='nf-center c007'> - <div><span class='pageno' id='Page_46'>46</span>―――――◀▶―――――</div> - </div> -</div> - -<h3 class='c009'>A BOX-SLED FOR BABY.</h3> - -<p class='c010'>Procure a deep, smooth soap-box, and decide how high -you wish the back and front to be; then take a piece of -brown paper, the exact size of the sides of the box, and -mark on it a curve, which shall unite the high back with -the low front. After this has assumed a perfectly satisfactory -form, cut it out and tack it on one side of the -box. Mark the outline carefully on both side-pieces, and -saw the boards as indicated by the line; cut the front -straight across, and rasp and sand-paper the edges till -they are very smooth and well rounded. Next paint the -box inside and out, excepting the bottom, which is to be -fastened to the sled, with a thick coat of burnt umber, -and give it a good drying. Then with light-blue paint, -make a narrow band, one-fourth of an inch wide, entirely -around each side, the back, and the front, about half an -inch from the edge. Stencil a pretty design on the back, -and the name of the little owner on each side; let this -thoroughly dry, and finish with two coats of varnish. A -little seat can be fitted in the back part if desired, but a -pillow answers the purpose much better.</p> - -<div class='nf-center-c1'> -<div class='nf-center c007'> - <div>―――――◀▶―――――</div> - </div> -</div> - -<h3 class='c009'>A SET OF CARS.</h3> - -<p class='c010'>Procure a stick of wood of any length, and an inch and -a half square at the ends. Saw it into pieces six inches -<span class='pageno' id='Page_47'>47</span>in length, being careful to cut it evenly, that the blocks -may be rectangular in form. Round off the tops slightly -at the edges and paint them brown, then give the sides -and ends a good coating of yellow.</p> - -<div class='figcenter id025'> -<img src='images/i_047.png' alt='' class='ig001' /> -</div> - -<p class='c005'>If you have no oil paints, it would be a good investment -to get a few tubes, as they are not expensive, and are of -invaluable assistance in adding beauty and naturalness -to many things a boy can make. For the cars, a tube of -chrome yellow, one of Indian-red, and one of black would -be needed, but as those are not over seven or eight cents -apiece the whole cost would be small. The windows can -perhaps be most conveniently put on by “stencilling.” -To do this, cut a piece of stout paper or thin cardboard -the exact size of the side of the car, and mark the windows -on it in their proper places (see Fig. 2). Then cut -out the windows thus drawn with the point of a sharp -penknife. Catch the card firmly upon the surface by -<span class='pageno' id='Page_48'>48</span>driving two or three fine pins through it into the wood. -Finally, with your brush moderately filled with the black -paint, cover all the yellow surface exposed through the -openings; then remove the card very carefully and one -side of your car will be complete. After painting the -whole set, another long time will be needed for drying. -During the meantime obtain a few screw-eyes and hooks, -and, when perfectly dry, screw a hook into the left and an -eye into the right end of each car, join them into a train, -and you will find you have a strong set of cars with which -your little brother can play to his satisfaction, without a -fear of breaking. The locomotive is more difficult to -make, but with a little care any boy of ten can be quite -certain of success.</p> - -<div class='nf-center-c1'> -<div class='nf-center c007'> - <div>―――――◀▶―――――</div> - </div> -</div> - -<h3 class='c009'>THE TOY LOCOMOTIVE.</h3> - -<div class='figcenter id026'> -<img src='images/i_048.png' alt='Fig. 1' class='ig001' /> -</div> - -<p class='c010'>The thin ends of a common soap-box afford very good -material for the base of this locomotive, while the end of -<span class='pageno' id='Page_49'>49</span>a curtain-roller makes a capital boiler. The cab can be cut -from a cigar-box, and a button-mold will do for the boiler-head. -First cut from the thicker wood a base in shape -like Fig. 1, and seven inches long by one and a half wide; -with a jackknife bevel it on either side of the pointed end -to correspond to the shape of the pilot, as shown in the -cut. Saw the roller even at either end just four inches in -length. Next cut from a solid block of wood a smoke-stack -three inches high and an inch in diameter across -the top. The cab is cut from the cigar-box wood, and -consists of a front like <i>a</i>, two side-pieces -like <i>b</i>, and a top like that seen in Fig. 1; -round off the edges of the top to give it -a slightly convex surface like the tops of -the cars. Now, with brads, fasten these -three parts together. Then with a long, -slender brass screw fasten the button-mold -and smoke-stack on front of the boiler. -The screw should have as large a head as it is possible to -find, and should be long enough to extend half an inch -or more into the round section of wood or boiler. Cover -<span class='pageno' id='Page_50'>50</span>the whole, excepting the cab, with two thick coats of -black paint, being careful that the first is perfectly -dry before the second is put on. After the blackened -surface is thoroughly dry and hard, put the red stripes -on the pilot, as seen in the cut: and for the brass bands -around the boiler use chrome yellow. The cab is painted -Indian-red, and after this is perfectly dry, the windows -are painted on with black, as in the cars.</p> - -<div class='figcenter id025'> -<img src='images/i_049_a.png' alt='1' class='ig001' /> -</div> - -<div class='figcenter id010'> -<img src='images/i_049_b.png' alt='' class='ig001' /> -</div> - -<div class='figcenter id022'> -<img src='images/i_050.png' alt='' class='ig001' /> -</div> - -<p class='c005'>The little ornamental lines on the cab are made with the -yellow paint. A large round-headed brass screw driven -through a low flat spool (such as is used for button-hole -twist), into the top of the boiler in front of the cab, makes -a good steam-chest and whistle, and adds the finishing -touch to this indestructible little toy. If you anticipate -making this train of cars for a Christmas present, begin it -in time, as paint dries much more slowly in winter than -in summer, and it is absolutely necessary that each coat -be perfectly dry before the next is applied. Varnishing -<span class='pageno' id='Page_51'>51</span>greatly improves the durability and appearance of the -painted surface. Shellac dissolved in alcohol makes the -best varnish for this kind of work. It should be made -moderately thick, and if intended for light-colored work, -white shellac should be used, as the dark leaves a slight -stain upon the surface. I forgot to add in its proper -place that a brass button, caught in on top by a stiff wire, -is made to represent a bell. The wire should be first bent -into the shape seen in the illustration; the button then -hung in position, and the wire finally driven into the holes -made to receive it.</p> - -<p class='c005'>The tender consists of a piece of wood the same width -but only half the length of one of the cars, and one inch -high. This is painted black with a narrow band of yellow -running around the sides near the top, and is fastened -to the locomotive and car by means of the screw-eye -and hook.</p> - -<div class='nf-center-c1'> -<div class='nf-center c007'> - <div>―――――◀▶―――――</div> - </div> -</div> - -<h3 class='c009'>A FREIGHT TRAIN.</h3> - -<p class='c010'>The locomotive for this train can be made like the one -already described, and the cars are cut from a rectangular -stick, in the same manner as the passenger cars. These -should receive a thick coat of Indian-red paint, and if this -does not cover well, that is, if any of the wood shows -through, another coat should be given. After the paint -<span class='pageno' id='Page_52'>52</span>is perfectly dry, put on one edge of the side, near the top, -a number in white, and two or three letters in the same -color, to represent the sides of the freight cars on different -lines. If desired, the cars can be painted different -colors, and the side decorations copied from the car you -mean to represent. Give the whole a good varnishing -with the shellac dissolved in alcohol, and allow plenty of -time to elapse before the toy is used, for it to become -perfectly dry and hard.</p> - -<div class='nf-center-c1'> -<div class='nf-center c007'> - <div>―――――◀▶―――――</div> - </div> -</div> - -<h3 class='c009'>A LOT OF PAPER WINDMILLS.</h3> - -<div class='figcenter id027'> -<img src='images/i_052.png' alt='' class='ig001' /> -</div> - -<p class='c010'>Take a thin stick of wood a foot and a half or two feet -long, and nail to it four cross-pieces, graduated in length -and six or seven inches apart. The shorter, at the top, -should measure about six inches. Cut out of stiff, colored -paper (the greater the variety the prettier the effect) fifteen -pieces, each three inches square, and slit each piece -as indicated by the diagonal lines in the figure. Out of -pretty tissue-paper cut three round pieces for each mill, -<span class='pageno' id='Page_53'>53</span>about the size of a silver dollar, and with a dull knife -scrape their edges, that they may slightly curl like the -petals of a rose; crinkle them at the center if intended -for a rose, or from the edge toward the center if for -asters or marigolds, and thrust a large, strong pin through -the middle of each disk, drawing the flower well down -over the head; then, bending the opposite corners of each -square of paper so that they shall all rest over the central -dot marked on each (Fig. 1), force the pin with the flower -on its head, down through the five thicknesses of paper, -driving it well into the wood of the frame. In doing this -care should be taken to avoid creasing the curved edges -of the windmills. They are placed upon the frame-work -as indicated in the cut.</p> - -<div class='figcenter id028'> -<img src='images/i_053.png' alt='' class='ig001' /> -</div> - -<p class='c005'><span class='pageno' id='Page_54'>54</span>Very pretty windmills are often made of only two -shades, common note-paper being used for the wheels, -and a bright, rosy pink tissue-paper for the flowers. Indeed, -those made of common brown wrapping-paper -without any flowers at all give more satisfaction in a light -wind than the more elaborate ones described above.</p> - -<div class='nf-center-c1'> -<div class='nf-center c007'> - <div>―――――◀▶―――――</div> - </div> -</div> - -<h3 class='c009'>A WINTER GARDEN.</h3> - -<p class='c010'>Most boys love flowers; and many families, especially -in the country, would keep more through the winter than -they do, if they had the space and time to devote to them, -necessary for their preservation. A number of pots, sufficiently -large to hold good-sized plants, take up considerable -room; and no little time is required each day, to -keep the pots clean and the plants well watered. Now, -boys, I have a suggestion to make, which I intend for -your ears alone. Why can’t you make a winter garden, -and, if necessary, take care of it through the season? It -will amply repay you for your labor, and do much toward -brightening the home life through the long dreary months, -when everything without is covered with ice and snow.</p> - -<p class='c005'>First procure a soap-box, the best and tightest you can -find: if any cracks are too wide to be easily closed with -putty, nail laths over them on the inside, line their edges, -and, in fact, stop every seam and crevice with good thick -<span class='pageno' id='Page_55'>55</span>layers of putty. Next paint over the entire inside with -any colored pigment you may have, as it does not show -when the box is filled with earth, but simply aids in -making it water-tight.</p> - -<p class='c005'>Now take four strong pieces of wood, about two and a -half feet long; smooth them well and sand-paper; be sure -both ends are cut off evenly, and that each leg is the same -length as the other three, and, finally, nail them firmly to -the four corners of the box, letting the tops come in line -with its upper edge, and give the whole thing two good coats -of Indian-red. A very pretty stand is made by substituting -the straight trunks of young forest trees with their -bark left on in place of the smooth, painted legs; bore -holes in the bottom of the legs and insert casters, and finish -by giving the entire outer surface a thick coating of -varnish. Then get a good wheelbarrow-load of fine leaf-mold, -about half that quantity of sand, and some common -garden soil. Stir these well together, and fill the box -half full with the mixture, first covering the bottom with -pebbles, to secure drainage. Before this, however, bore a -hole with a good-sized gimlet in the bottom of the box, and -fit a soft pine peg to close it from the under side. When -the plants are watered this peg can be removed, and a dish -placed beneath the opening to catch the surplus water.</p> - -<p class='c005'>You are now ready for the plants. I find almost any -garden plants thrive well in this box, so any favorites you -<span class='pageno' id='Page_56'>56</span>may have will soon make themselves at home in these new -quarters. It is well to put vines around the edge, as they -fall over, and their glossy green leaves and stems form an -agreeable contrast to the dark-red background of the box -itself. In my present winter garden I have German and -Cenilworth ivy, partridge-berry, and the common inch-plant -for vines. In the center is a large salvia, taken up so carefully -that the great ball of dirt was not shaken from its roots. -On one side is a calla lily, and on the other a feverfew of -the large double variety. At the ends are fuchsias and -heliotrope, and scattered over the other available spots are -verbenas and petunias, sweet peas and lobelia; one or two -fish-geraniums of bright colors also found a place, and a -little wood-violet nestled in one corner has bloomed since -early spring. A beautiful large purple pansy, too, has -been blooming all winter in another corner of the box.</p> - -<p class='c005'>Over this garden are two hanging-pots, one filled with -pink oxalis, and the other with a Chinese pink; both -have contributed their full share of blossoms during the -entire season, and neither seems to tire of well-doing. I -must now tell you how to care for these beautiful pets, -for they must receive some attention, which, however, is -very small when compared with that required by their -sisters in pots. First, always water them with warm -water (almost as hot as you can bear your hand in), pour -this around the roots in sufficient quantities to thoroughly -<span class='pageno' id='Page_57'>57</span>moisten the soil. A good rule to be observed in watering -your plants is to pour on the water until it begins to run -out of the hole in the bottom of the box. With such -thorough wetting down they will not need water oftener -than twice a week, except when the sun is very hot, and -the moisture evaporates quickly. A little carbonate of -ammonia added to the water greatly improves their -growth, and half-a-dozen grains of permanganate of -potash added once a fortnight to the warm bath turns -their foliage a rich dark green. With a whisk broom, -sprinkle them once or twice a week with water which is -also warm, but not as hot as that used on their roots; this -operation takes but little time, scarcely five minutes, and -as the stand is on casters it can be easily moved to the -middle of the room, and each side can then receive its full -share of the washing. It is safe to predict that if any boy -would make the stand, and supply it with rich soil, his -mother or some one of his sisters would only be too -happy to plant and care for the flowers it might hold.</p> - -<div class='nf-center-c1'> -<div class='nf-center c007'> - <div>―――――◀▶―――――</div> - </div> -</div> - -<h3 class='c009'>THE BOOT PUZZLE.</h3> - -<p class='c010'>First take a piece of paper, double it, and cut from it a -pair of boots, the fold in the paper coming at the top of -the boots, and consequently joining them together. Then -<span class='pageno' id='Page_58'>58</span>take another piece, fold it and cut it in the form of Fig. -2, <i>a</i> being the folded end. Fold still another piece and -cut it like Fig. 3, <i>b</i> representing the folding side. Now -open the smaller piece, as in Fig. 4, and push the point <i>a</i> -through the opening in its center (Fig. 5). Then put one -boot through the loop of the long arm, <i>c</i>, between <i>a</i> and -<span class='pageno' id='Page_59'>59</span>the smaller piece, which has been pushed forward as far -as it will go (Fig. 6). Now pull the smaller piece down -over <i>a</i>, and open the largest piece, and the boots are fastened -on to the larger paper in such a way that it is rather -hard for the uninitiated to extricate them.</p> - -<div class='figcenter id025'> -<img src='images/i_058.png' alt='Figs. 1, 2, 3, 4, 5, 6' class='ig001' /> -</div> - -<p class='c005'>After they are fastened in place, with your finger-nail -smooth out the creases made at <i>a</i>, Fig. 5, as their appearance -might furnish a clue toward solving the mystery. -It is best when cutting Fig. 2 to avoid the creasing if -possible.</p> - -<div class='figcenter id019'> -<img src='images/i_059.png' alt='Fig. 7' class='ig001' /> -</div> - -<p class='c005'>When you pass them to your friends to take off, explain -that they are not to bend the boots. It is an excellent -plan to make the last-named articles of cardboard, -while the other parts are simply of note-paper.</p> - -<div class='nf-center-c1'> -<div class='nf-center c007'> - <div><span class='pageno' id='Page_60'>60</span>―――――◀▶―――――</div> - </div> -</div> - -<h3 class='c009'>HOW TO TAKE PORTRAITS.</h3> - -<div class='figcenter id029'> -<img src='images/i_061.png' alt='' class='ig001' /> -</div> - -<p class='c010'>The person whose portrait is to be taken must sit so -that his shadow is thrown upon a sheet of cardboard or -thick white paper placed against the wall. To obtain a -sharp outline there should be a fixed distance between -the lamp, wall, and sitter, which can easily be found by -experiment. The sitter must keep perfectly still while -the outline of the shadow is quickly traced upon the -paper. A tumbler or roll of paper may be placed between -the head of the sitter and the wall, to aid in holding -the head quiet. The tracing is then cut out with a -pair of scissors or a sharp penknife, and placed upon a -dark cloth or paper. This is a very pleasing amusement for -a cold winter’s evening, and the results are often profile -likenesses not only very striking but often wonderfully -accurate.</p> - -<div class='nf-center-c1'> -<div class='nf-center c007'> - <div>―――――◀▶―――――</div> - </div> -</div> - -<h3 class='c009'>HOW TO BREAK A STRING.</h3> - -<div class='figcenter id030'> -<img src='images/i_063_a.png' alt='' class='ig001' /> -</div> - -<p class='c010'>No boy feels himself perfectly at home if he has not -one pocket at least full of strings, and a good sharp -jackknife at his command. Although the jackknife often -gets lost, the string is usually at hand, and most boys will -probably be glad to learn how a good strong cord can be -broken without injury to the hands. Take the cord and -<span class='pageno' id='Page_63'>63</span>pass it around the left hand, as shown in Fig. A, so as -to form a cross or double loop over the palm. One end -is then wound round the fingers, and the other seized -in the right hand. Then, by closing both hands, and -giving a very sharp, quick pull, the string will be broken -at the cross in the left hand.</p> - -<div class='figcenter id003'> -<img src='images/i_063_b.png' alt='' class='ig001' /> -</div> - -<p class='c005'><span class='pageno' id='Page_64'>64</span>For those boys living in the country who have a musical -turn, but have never seen this little instrument, I -write the following description of</p> - -<div class='nf-center-c1'> -<div class='nf-center c007'> - <div>―――――◀▶―――――</div> - </div> -</div> - -<h3 class='c009'>A CORN-STALK FIDDLE.</h3> - -<div class='figcenter id005'> -<img src='images/i_064.png' alt='' class='ig001' /> -</div> - -<p class='c010'>Find a good straight corn-stalk, and with your jackknife -cut four slits from joint to joint, as seen in the -upper figure. Then from a bit of wood cut a bridge, as -shown just below. With the point of the knife lift the -three strings and insert the bridge. Then carefully raise -the bridge to its upright position, spread the strings until -they rest in the grooves cut in the bridge for that purpose, -and put a similar bridge at the other end. Make -the bow in the same manner, of a smaller section of a -stalk, and the instrument is complete. I have never heard -a very decided tune played on this fiddle, but perhaps -some of my readers may be able to get music from this -simple little instrument.</p> - -<div class='figcenter id031'> -<span class='pageno' id='Page_65'>65</span> -<img src='images/i_065.png' alt='' class='ig001' /> -</div> - -<div class='nf-center-c1'> -<div class='nf-center c007'> - <div>―――――◀▶―――――</div> - </div> -</div> - -<h3 class='c009'>THE XYLOPHONE.</h3> - -<p class='c010'>The xylophone is an instrument of great antiquity, having -been used in a slightly different form by both Greeks -and Hebrews. It is now sometimes used in connection -with other instruments in our larger orchestras, in which -case, however, the bars are usually made of metal. Its -construction is very simple, and any boy having a good -ear for music can readily make one.</p> - -<p class='c005'>The instrument is composed of strips of wood of various -sizes, and thick enough to allow the passage of a stout -piece of twine or fish-line, as seen in the illustration. The -largest strips give the lowest notes. The first note of the -scale may be a strip of any convenient size, and the succeeding -strips are tuned by carefully cutting away from -<span class='pageno' id='Page_66'>66</span>the under side until the desired tone is produced. They -are strung upon cords, in the manner shown in Fig. 2, a -knot being made on each side to keep the strip in place; -and finally, across the upper part of a box, in order to -give sufficient resonance of sound. In putting these strips -together, it is necessary to have the holes through which -they are strung at a slight angle, or in the direction of -the slant which the strings take when fastened to the -frame.</p> - -<div class='figcenter id025'> -<img src='images/i_066.png' alt='Figs. 2, 3' class='ig001' /> -</div> - -<p class='c005'>The arrangement seen in Fig. 3 is perhaps best adapted -to the usual form of a box, and affords a greater range of -<span class='pageno' id='Page_67'>67</span>notes. It would be well to letter the upper part of the -bars with the name of the note they are intended to produce, -and the wood should be thoroughly seasoned from -which these bars are made.</p> - -<p class='c005'>It is well to have the lowest note not the first of the -scale but a fifth below, and the highest three or four notes -above the octave. This will give sufficient compass for -any air you may care to play.</p> - -<p class='c005'>A good ear for music is of the greatest importance to -insure success in constructing an instrument of this -description, and it would simply be a waste of time and -patience for any boy not so blessed, to venture upon the -undertaking.</p> - -<p class='c005'>Little wooden mallets are sometimes used to play upon -this xylophone, but the little drumsticks belonging to the -common toy drum are better for the purpose.</p> - -<div class='figcenter id032'> -<span class='pageno' id='Page_68'>68</span> -<img src='images/i_067.png' alt='' class='ig001' /> -</div> - -<p class='c005'>Among the tribes of southern Africa an instrument of -this class holds the chief place in their festivals, and is -played upon with considerable skill by many of their -native musicians. This piano, called by them “marimba,” -consists of two bars of wood placed side by side; in -the most southern portions quite straight, but farther -north, bent round so as to resemble half the tire of a carriage-wheel; -across these are placed about fifteen wooden -keys, each of which is two or three inches broad, and -fifteen or eighteen inches long, and their thickness, as in -the case of the xylophone, is regulated according to the -deepness of the note required. Each of the keys has a -calabash beneath it; from the upper part of each a portion -is cut off to enable them to embrace the bars, and -form hollow sounding-boards to the keys, which also are -of different sizes, according to the note required; and -little drumsticks, like those spoken of above, elicit the -music. Rapidity of execution seems much admired -among them, and the music is pleasant to the ear.</p> - -<p class='c005'>In Angola, the Portuguese use the marimba in their -dances.</p> - -<div class='nf-center-c1'> -<div class='nf-center c007'> - <div>―――――◀▶―――――</div> - </div> -</div> - -<h3 class='c009'>THE ÆOLIAN HARP.</h3> - -<p class='c010'>This simple little musical instrument derives its name -from Æolus, god of the winds, who is said to have lived -<span class='pageno' id='Page_69'>69</span>at Stromboli, then called Strongyle, while he reigned over -the Æolian islands, just north of Sicily. His island was -entirely surrounded by a wall of brass, and by perfectly -smooth precipitous rocks. Here he dwelt in continual -joy and festivity with his wife and children; the latter, -six sons and as many daughters, are said to be a poetic -type of the twelve months of the year. And here he kept -the winds, tied up in bags, in perfect subjection, only letting -them out when called upon to do so by Neptune, god -of the sea. As the winds served Æolus on his little isle, so -we force them to serve us in our far-away western homes, -by operating upon our instrument and making music to -soothe and calm us when we are too tired or indolent to -make it for ourselves. The simplest form this instrument -can have is a single string of strong waxed silk, stretched -between two bits of wood, inserted under the lower window-sash, -sufficient space being allowed between the window-sill -and the sash for the vibration of the string.</p> - -<div class='figcenter id020'> -<img src='images/i_069.png' alt='' class='ig001' /> -</div> - -<p class='c005'>The other and more satisfactory harp is made like that -<span class='pageno' id='Page_70'>70</span>in the engraving, and is not so difficult an undertaking, -that any boy who can handle carpenter’s tools need fear -to try it. Take two long strips of thin, soft pine wood, -four and five inches wide respectively, and a little shorter -than the sash is wide, to allow for the length of the pegs -at one end; then from common seven-eighths of an inch -board make two other pieces in shape like <i>b</i>, six -inches wide, six high, on the narrower, and seven on the -back or longer side. With a small gimlet make in both -ends a row of eight or nine holes, at equal distances from -each other, and half an inch from the edge of the slanting -top, for the strings to pass through; then with a -larger gimlet bore in one end only, the second row of -holes, <i>h i</i>, to hold the pegs upon which the ends of the -strings are to be wound. Nail the parts together as in -the cut, making the lower edges of the pieces meet at the -bottom; then from the outside of <i>d e</i> draw through as -many pieces of violin string (the smallest or E string) as -you have holes in your wood. Hold these by knots on -the outside, and having brought them across the box -pass them through the corresponding holes in the other -end, and twist them around the pegs below, in the same -manner that the strings are fastened in the violin itself. -Unlike the violin, however, these should not be drawn too -tight, simply stretched evenly across, and must all be -tuned in unison. That is, having drawn one as tight as -<span class='pageno' id='Page_71'>71</span>you think best, draw the others, one at a time, till they -give forth the same musical note when snapped with the -finger. Now put another thin piece of board across the -top which shall just cover it like the lid of a desk. This -was purposely left out in the illustration, that the arrangement -of the strings might be more fully seen, but is -necessary in the complete instrument. If catgut cannot -be readily obtained, strong pieces of sadlers’ silk, well -waxed, may be used in its place, although the tones resulting -are not as musical, or the strains as soft and lulling -in character, as those produced by the former.</p> - -<p class='c005'>After the instrument is properly tuned, place it upon -the ledge of an open window, and let the sash down upon -it, when, if there is any breeze stirring, it will pour forth -strains of sweet, drowsy music, beautifully described by -the poet Thomson, as supplying the most suitable harmonies -for the <i>Castle of Indolence</i>.</p> - -<div class='nf-center-c1'> -<div class='nf-center c007'> - <div>―――――◀▶―――――</div> - </div> -</div> - -<h3 class='c009'>THE BOSTON CLAPPER.</h3> - -<p class='c010'>Take a piece of soft wood, five or six inches long, and -whittle out of one end a hollow box, open at the top and -outer end, like that represented in the illustration. Cut -a groove around the inside, near the top, for the cover to -slide in. Make this cover of a very thin piece of tough -<span class='pageno' id='Page_72'>72</span>wood, and one-third as long as the opening, pushing -it, when completed, well up against the inner end of -the box; see <i>b</i>, in the figure, for size and position of -cover.</p> - -<p class='c005'>The handle, <i>f</i>, is simply for convenience in holding the -instrument. Pass a piece of strong string or fish-line -twice around the box at the point <i>d</i>, and after drawing it -as tightly as possible, tie it firmly on the under side.</p> - -<div class='figcenter id033'> -<img src='images/i_072.png' alt='' class='ig001' /> -</div> - -<p class='c005'>Out of hard, tough wood make a thin, slender tongue, -<i>c</i>, and place this between the two strings at <i>e</i>. Now twist -this tongue over and over, each time drawing out the -longer end, to allow of the other sliding by the edge -of the cover. At each revolution of <i>c</i> the string is -twisted tighter around the box, and if the end of <i>c</i> is -touched, the other end strikes with more force upon -the cover <i>b</i>.</p> - -<p class='c005'>When sufficiently tight, grasp the handle with your -left hand, and having the point well over the cover, -commence with the third finger of your right hand and -<span class='pageno' id='Page_73'>73</span>strike down on the end <i>c</i> with the fingers in their order, -giving quick and repeated blows, like the successive taps -of a drum. The music produced, if not strictly melodious, -is quite enchanting to the average American school-boy.</p> - -<div class='nf-center-c1'> -<div class='nf-center c007'> - <div>―――――◀▶―――――</div> - </div> -</div> - -<h3 class='c009'>PAPIER-MACHÉ.</h3> - -<p class='c010'>I have now come to one of the most fascinating and at -the same time useful employments a boy can have; one -which not only affords amusement for the time being, but, -if properly executed, furnishes home with much which is -useful or ornamental, at scarcely any expense beyond the -mere time and labor consumed in the work.</p> - -<p class='c005'>How many of my readers know how to make things of -papier-maché? None who are old enough to read these -directions are too young to make really useful objects or -pretty playthings of this inexpensive medium; indeed, -many of the children of India, Persia, and many other -Asiatic countries support themselves, and in some instances -whole families, by making ornaments of papier-maché.</p> - -<p class='c005'>In Germany this art is carried to a great extent, and a -large proportion of the German toys so common in our -stores, as well as the jointed bodies of the expensive -French and German dolls, are made of this material.</p> - -<p class='c005'>Papier-maché means “softened paper,” and is simply -<span class='pageno' id='Page_74'>74</span>any old soft paper converted into pulp by water; the -poorer the paper the better. Cheap newspapers, such as -tear with a mere touch, thin handbills and posters, are all -particularly suited for this purpose.</p> - -<p class='c005'>For a first trial it would be well to take some simple object, -and a cup would perhaps make as good a beginning -as any. First have some good flour-paste made, by pouring -into boiling water enough flour, which has previously -been moistened with cold water, to make a substance -rather thicker than boiled starch; this should be stirred -only enough to unite the flour with the water, and to -prevent burning. Add to this one or two old newspapers -and a dish of water, a broad brush for the paste, and any -prettily shaped tea-cup conveniently at hand, and you -have all the materials required. A bag filled with sand -or stuffed hard with cotton is a great help in molding, -although not indispensable to the operation. Take the -cup, which should be well smeared over with sweet-oil or -lard, and cutting out a piece of paper sufficiently large, -wet it, and press it down on the cup, using the fingers, or -the sand bag, if you have it, for the purpose; then with -the brush spread the paste over the paper, and lay on -this another piece; press this down as before and continue -the process until twenty or thirty paper coverings -have been used. After the first two or three layers, it is -not necessary to use pieces which entirely cover the surface; -<span class='pageno' id='Page_75'>75</span>any sized scraps will do if they are so placed that -the same thickness is preserved throughout. The outer -surface should be as smooth and even as possible. When -this is completed, let it dry for a day or two in any moderately -warm place, as it is not well to dry it too quickly. -When it seems sufficiently hard, remove the mold, and -you will have a pasteboard cup with an uneven edge -which must be trimmed with a sharp knife and smoothed -with sand-paper.</p> - -<p class='c005'>It might be well to trim off the top before removing the -mold, as you would be more certain of getting it even by -so doing. After this the cup can be painted in any manner -desired.</p> - -<p class='c005'>A plaque can readily be molded upon the inside of a -plate or saucer, and a pretty work-basket can be made -upon a shallow bowl. Toy boats are made in the same manner -as the cup, upon wooden molds cut out for the purpose.</p> - -<p class='c005'><span class='sc'>Card Receivers.</span>—These are generally flat dishes or -shallow cups, made to hold visiting-cards, or the varied -collections from Christmas, Easter, and New-year’s. -They may be molded on plates, saucers, or small bowls, -or receiving their concave shape from a plaque or saucer, -they can be cut into any fantastic form your fancy may -dictate. A large, well-shaped grape-leaf, or the catalpa, -would furnish pretty designs to those who have no confidence -in their own skill in that direction.</p> - -<p class='c005'><span class='pageno' id='Page_76'>76</span><span class='sc'>Umbrella Holders.</span>—Take any cylinder with a smooth -surface, about two feet in length, and six to ten inches in -diameter, for the mold; make upon it a coating of papier-maché -about half an inch in thickness. It is made -much stronger by rolling it during the pasting. The bottom -may be of the same material, or a wooden disk made -to perfectly fit into the cylinder. The whole surface -should be thoroughly sand-papered and given two or -three good coats of paint. A simple band of gold paint -around top and bottom forms a pretty finish, but a large -bunch of peonies or poppies, freely painted upon one -side, greatly improves its appearance.</p> - -<p class='c005'>By reducing a quantity of paper and paste into a pulp, -and allowing that to become a little dried—still moist, -but not liquid—a number of objects can be molded, such -as animals, boats, marbles, etc., by simply forming them -with the hands and allowing them to dry.</p> - -<p class='c005'>Paper pulp is sometimes mixed with common blue -clay and glue, instead of flour-paste, used as a <i>binding</i> -material.</p> - -<p class='c005'>A beautiful vase can easily be made of papier-maché by -forming a frame-work of pasteboard, and joining it together -with a few stitches or with narrow strips of strong -paper pasted across the edges. Make this frame-work as -near the form and size of your vase as it is possible for -you to get; then with your thin paper line it inside and -<span class='pageno' id='Page_77'>77</span>out, until it seems as thick as you desire. Trim and sand-paper -off the upper edge, and cover with one or two extra -layers to insure a rounded edge common in earthenware -vases. Stand it on a smooth, even table or board to make -it flat on the bottom, and let it have plenty of time to -dry. Next make from the paper pulp and fine clay preparation -spoken of above a rose, poppy, or other flower, -with its leaves and buds, resembling as nearly as possible -those on the bisque vases so fashionable just now. This -may seem at first a very difficult undertaking, but by -molding one petal at a time, and placing each in position -with glue as it is finished, the work is comparatively simple. -Do not undertake a difficult flower at first. If in -summer, you may take any from the garden, and after enlarging -every part in the same proportions, make it your -model. When the flowers, stems, and leaves are all in -place, let them become thoroughly dry, then after painting -the body of your vase with shades of blue, red, or olive, so -applied that they give a clouded effect to the whole, color -your flowers as nearly as you can like the natural ones of -the same species, and the stems and leaves the proper -shades of brown or green. Let this paint thoroughly dry, -and then varnish with the white shellac dissolved in alcohol -spoken of elsewhere in this book, if a very light surface -is to be covered, or with the dark shellac or common -varnish if the surface is intended to be dark. The floral -<span class='pageno' id='Page_78'>78</span>decorations are not absolutely necessary, and a very -pretty vase is made by simply painting the smooth surface -with any graceful or pretty design, and varnishing it -subsequently to give it the desired polish.</p> - -<div class='nf-center-c1'> -<div class='nf-center c007'> - <div>―――――◀▶―――――</div> - </div> -</div> - -<h3 class='c009'>THE JAPANESE PAPER BIRD.</h3> - -<div class='figcenter id031'> -<img src='images/i_078.png' alt='' class='ig001' /> -</div> - -<p class='c010'>In the skillful management of paper, the Japanese -are acknowledged to take the lead, as their balloons and -kites, lanterns and fire-screens, now so commonly seen in -this country, will testify.</p> - -<p class='c005'>Many of the grotesque and hideous monsters, which -<span class='pageno' id='Page_79'>79</span>nevertheless are artistic in form and decorative in effect, -are made of paper pulp, with the necessary materials -added to give it the proper degree of hardness; and in -articles made of folded or crinkled paper they have no -equals, while in some instances they apparently infuse -life itself into their airy creations. By simply folding a -square piece of paper in the manner here described, they -produce a bird-like figure, which will move its wings in -quite a natural and amusing manner.</p> - -<div class='figcenter id034'> -<img src='images/i_079_a.png' alt='1' class='ig001' /> -</div> - -<div class='figcenter id022'> -<img src='images/i_079_b.png' alt='2' class='ig001' /> -</div> - -<div class='figcenter id034'> -<img src='images/i_080_a.png' alt='3' class='ig001' /> -</div> - -<div class='figcenter id034'> -<img src='images/i_080_b.png' alt='4' class='ig001' /> -</div> - -<div class='figcenter id035'> -<img src='images/i_080_c.png' alt='5' class='ig001' /> -</div> - -<div class='figcenter id010'> -<img src='images/i_080_d.png' alt='6' class='ig001' /> -</div> - -<div class='figcenter id036'> -<img src='images/i_081_a.png' alt='7' class='ig001' /> -</div> - -<div class='figcenter id036'> -<img src='images/i_081_b.png' alt='8' class='ig001' /> -</div> - -<div class='figcenter id037'> -<img src='images/i_081_c.png' alt='9' class='ig001' /> -</div> - -<div class='figcenter id030'> -<img src='images/i_081_d.png' alt='10' class='ig001' /> -</div> - -<p class='c005'>A leaf of paper—letter-paper is good for the purpose—is -cut into an exact square; fold this cornerwise, and then -through the middle each way, as indicated in Fig. 1. This -done, turn over each corner in succession, so that the edge -of the square will be along one of the cornerwise folds, as -in Fig. 2, and fold sharply the portion from <i>a</i> to <i>b</i>. Do -this eight times, twice with each corner, first turning it -one way and then the other, till it has the folds shown in -<span class='pageno' id='Page_80'>80</span>Fig. 3. Turn inward two of these portions, indicated by -the shading, as in Fig. 4; this will draw together the other -two sides; fold it closely across the middle, <i>a b</i>, as in Fig. -5; then repeat the same in the other direction, folding on -the line <i>c d</i>. This is done to mark the folds, which may -be made more completely by pressing them with the finger-nail. -Now it will be easy to bring the corners of the -square up together, making a figure like No. 5 or like -No. 6, when looking down on the meeting of the points at -<i>a</i>. Then bring the points 1 and 2 together, also 3 and 4, -<span class='pageno' id='Page_81'>81</span>and your figure will be like No. 7. Take the two outside -points at <i>a</i> and turn them down, folding at -the dotted line, and you have Fig. 8. Now -turn down the other two points, 3 and 4, one -forward, the other backward, making Fig. 9, -with two broad points inside and two narrow -ones outside. Turn and fold these narrow -points to the right and left, and turn down -the end of one point to form the head, and you have the -bird, Fig. 10. Take it by the head and tail, as shown in -the final view, and move them to and from each other. -After a little careful working, when the folds become flexible -in the proper places, you will make the bird flap its -wings. It can be done after a few trials, if not on the -first, and is sure to afford amusement to all.</p> - -<div class='nf-center-c1'> -<div class='nf-center c007'> - <div><span class='pageno' id='Page_82'>82</span>―――――◀▶―――――</div> - </div> -</div> - -<h3 class='c009'>THE TUMBLING EGG.</h3> - -<p class='c010'>Fill a quill with quicksilver, seal it at both ends with -good hard wax; then have an egg boiled, take a tiny -piece of shell off the small end, and thrust in the quill -with the quicksilver; lay it on the floor, and it will not -cease tumbling so long as any heat remains in it; or if -you put quicksilver into a small bladder, and then blow -it up, upon warming the bladder it will skip about as -long as heat remains in it.</p> - -<div class='nf-center-c1'> -<div class='nf-center c007'> - <div>―――――◀▶―――――</div> - </div> -</div> - -<h3 class='c009'>THE THREE HALOS.</h3> - -<p class='c010'>Take a saturated solution of alum, and, having spread -a few drops of it over a plate of glass, it will rapidly crystallize. -When this plate is held between the observer and -the sun or a lamp-flame, with the eye very close to the -smooth side of the glass plate, there will be seen three -beautiful halos of light at different distances from the -luminous body. The smallest, which is the innermost circle, -is the whitest, the second is larger and more colored, -with its blue rays extending outward, and the third is -very large and highly colored.</p> - -<div class='nf-center-c1'> -<div class='nf-center c007'> - <div><span class='pageno' id='Page_83'>83</span>―――――◀▶―――――</div> - </div> -</div> - -<h3 class='c009'>PAPER BOATS.</h3> - -<div class='figcenter id034'> -<img src='images/i_083_a.png' alt='Fig. 1' class='ig001' /> -</div> - -<div class='figcenter id014'> -<img src='images/i_083_b.png' alt='Fig. 2' class='ig001' /> -</div> - -<div class='figcenter id031'> -<img src='images/i_083_c.png' alt='Fig. 3' class='ig001' /> -</div> - -<div class='figcenter id011'> -<img src='images/i_084_a.png' alt='Fig. 4' class='ig001' /> -</div> - -<div class='figcenter id024'> -<img src='images/i_084_b.png' alt='Fig. 5' class='ig001' /> -</div> - -<div class='figcenter id038'> -<img src='images/i_084_c.png' alt='Fig. 6' class='ig001' /> -</div> - -<div class='figcenter id039'> -<img src='images/i_085_a.png' alt='Fig. 7' class='ig001' /> -</div> - -<div class='figcenter id040'> -<img src='images/i_085_b.png' alt='Fig. 8' class='ig001' /> -</div> - -<div class='figcenter id041'> -<img src='images/i_086.png' alt='Fig. 9' class='ig001' /> -</div> - -<p class='c010'>Take a piece of paper measuring about four by three -inches; fold it across the middle, as shown by dotted line -in Fig. 1; then turn down the corners of the folded side (<i>a b</i>, -Fig. 2). You now have Fig. 3; turn up the edge <i>c d</i> toward -<span class='pageno' id='Page_84'>84</span>you, and fold it; turn up the other edge away from you, -and fold it against the other side, which gives you Fig. 4. -Bend over the points <i>c d</i> in either direction, also the other -two corresponding points, so that the outline of the triangle -is continuous. You can cut off these little corners if you -<span class='pageno' id='Page_85'>85</span>like; but the boat is somewhat stronger, however, by letting -them remain, and after a little experience, you will -find no difficulty in disposing of them. This little hat-shaped -form you now open (Fig. 5) and press together, -with the points <i>e f</i> meeting each other, which gives you -Fig. 6. Bend the point <i>f</i> up toward you till it meets the -point <i>g</i>, folding on the dotted line. Turn the point <i>e</i> -up likewise on the other side. Now you have another -hat, but smaller, and with a triple crown. Treat this as -before (Figs. 5 and 6). Your last shape will have two -points meeting at the bottom and three at the top. Pull -<span class='pageno' id='Page_86'>86</span>the two outside points at the top apart sideways (Fig. 7), -and continue this till you have drawn it out to a flat -shape, as in Fig. 8. Press this closely together, then open -it slightly, and the boat is complete—like Fig. 9.</p> - -<p class='c011'><span class='small'>[<span class='sc'>Note.</span>—To avoid taking up unnecessary space, the first two figures are -drawn smaller than their actual proportion to the rest.]</span></p> - -<div class='nf-center-c1'> -<div class='nf-center c007'> - <div>―――――◀▶―――――</div> - </div> -</div> - -<h3 class='c009'>HOW TO TAKE IMPRESSIONS OF PLANTS.</h3> - -<p class='c010'>Take fine paper and oil it well with lard or sweet oil; -let it stand a few moments to soak through, then remove -the superfluous oil with a piece of paper, and hang it in -the air to dry. When the oil is well dried in, take a -lighted candle and move the paper slowly over it in a -horizontal direction so as to touch the flame, till it is perfectly -black. When you wish to take impressions of -plants, lay your plant carefully on the oiled paper, and a -piece of clean paper over it, and rub it with your finger -equally in all parts for about half a minute; then take -<span class='pageno' id='Page_87'>87</span>up your plant, being careful not to disturb the order of -the leaves, and place it on the paper on which you wish -to have the impression; cover it with a piece of blotting-paper -and rub it with your finger for a short time, and -you will have an impression equal to a fine engraving. -The same piece of black paper will serve to take off a -great number of impressions, so that when you have once -gone through the process of blacking it, you may make -several impressions in a very short time.</p> - -<p class='c005'>It is well for beginners to try with single leaves before -attempting whole plants. After you have gained some -experience you will find little difficulty in making a beautiful -bouquet of leaves, which will be a very acceptable -Christmas or birthday gift for mother or an older sister -or friend.</p> - -<div class='nf-center-c1'> -<div class='nf-center c007'> - <div>―――――◀▶―――――</div> - </div> -</div> - -<h3 class='c009'>A NICE FRAME FOR THE ABOVE.</h3> - -<p class='c010'>Procure a strip of board, half an inch thick and three -inches wide; take the dimensions of your drawing or -impression picture, and subtracting half an inch from -both length and width, make the remainder the inner dimensions -of your frame. For instance, suppose your picture -was twelve inches wide and fourteen inches long, the -inner dimensions of your frame would be eleven and one-half -by thirteen and one-half inches. The two upright -<span class='pageno' id='Page_88'>88</span>strips would be cut just thirteen and one-half inches long, -but the top and bottom would be eleven and one-half -inches plus six inches, the width of the two sides, which is -seventeen and one-half inches. So the two sides would -be thirteen and one-half inches and the top and bottom -seventeen and one-half inches each. Great care must be -taken to cut the pieces so that their ends will be at exact -right angles to their sides. If you are not expert in such -work, it would be well to get a carpenter to cut the pieces -for you. In selecting your stock for this frame, procure a -board with a rough, unplaned surface, if possible, as the -result is much better than with a perfectly smooth satin -finish. Next take a lath and cut from it two strips three -inches longer than the side-pieces, in this instance sixteen -and one-half inches, and two other strips one-half inch -longer than the inner dimensions of top and bottom, being -twelve inches for the frame we are making. With -good hot glue join the parts of the frame, and tie it with -a cord to keep its form till the glue is dry; then lay the -laths upon the back of the frame, one-fourth of an inch -from the inner edge, and with small brads nail them in -place. At this stage it is well to have your glass fitted, -as it saves marring the frame when finished. After it is -fitted—any glazier will do that for you—lay the glass -carefully away till needed. Find some prettily shaped -larch twigs with their little cones attached, or if they are -<span class='pageno' id='Page_89'>89</span>not to be had, pine twigs will do, and with the hot glue -and two or three slender brads, place them in graceful -bunches over the points of joining. With a bottle of gold -paint and a soft brush you can very soon change this -rough, unpretending affair into a very artistic frame, one -of which, if every step of the process of construction has -been carefully taken, you may justly be proud. The -glass is next put in place, then the picture carefully laid -upon that, face downward, and a piece of cardboard—an -old paper-box cover will do—cut the exact size of the -glass, laid upon both; these are caught in place by brad-nails -driven into the edges of the laths, and extending -over the edges of the cardboard. When the picture is -firmly fixed in its place, paste a piece of strong brown -paper over the whole back of the picture and frame, covering -the laths as well. This will exclude all dust and -dampness and make the whole thing neater in appearance. -Last of all, put in two screw-eyes a little above the middle -line of the frame and attach a wire or cord for hanging it -in its place upon the wall.</p> - -<p class='c011'><span class='small'>[<span class='sc'>Note.</span>—Before pasting on the brown paper, dampen it well to avoid its -wrinkling.]</span></p> - -<div class='nf-center-c1'> -<div class='nf-center c007'> - <div><span class='pageno' id='Page_90'>90</span>―――――◀▶―――――</div> - </div> -</div> - -<h3 class='c009'>PAPIER-MACHÉ BOATS.</h3> - -<p class='c010'>In a preceding article, I alluded to boats as being good -subjects for papier-maché, and remembering how much -pleasure every boy takes in constructing a boat, I will -give a few more explicit directions for the benefit of those -of my readers who have ponds and brooks within easy -access of their homes.</p> - -<p class='c005'>Having cut from soft wood a good model for the hull, -smear it well over with sweet-oil or lard, and rub it well -into the wood; then cut your paper into strips an inch or -so wide, and paste them longitudinally around the model -from stem to stern, in very much the same manner that -the boards are put on a real boat, but not so evenly, as -the arrangement will not show when the boat is completed. -Continue this process until the coating of paper -is as thick as very heavy pasteboard, and let it remain -until perfectly dry; then with a sharp knife cut off the -edge evenly at the top, and sand-paper the whole surface -till it is smooth and hard.</p> - -<p class='c005'>Cover both inside and out with two good coats of oil -paint, making sure that every point is protected by this -medium from the invasion of the water, which would soon -ruin it if allowed to reach the paper surface.</p> - -<p class='c005'>Now cut two supports or braces out of 7/8-inch board, -which will just fit into the body of the boat, across it from -side to side. These are to give proper strength and, at the -<span class='pageno' id='Page_91'>91</span>same time, form supports for the masts; while into a post -at the stern two small iron sockets can be driven from -the outside through the paper, for holding the rudder in -place. The others are placed, one fore and the other aft, -in the position the masts are finally to occupy.</p> - -<p class='c005'>As these boats are necessarily very light, some ballast -or a keel is indispensable for their sailing well. If a -ballast is used, it must be fastened in place by wires on -the inside; but as a keel is most satisfactory in the end, -I should strongly advise its use. As it is molded from -lead, you will be obliged to construct your own mold, -which can be done by digging out a piece of wood in the -proper shape, or, what is easier, by nailing on a flat piece -of board two narrow strips at a suitable distance from -each other, and closing the form by nailing other and -shorter strips across the ends of the first. A little trough, -as you will see, will be the result, and if after passing into -this your melted lead you place two sharp nails with their -heads imbedded in the mass, at the same distance from -each other, and in the same relative positions as your -wooden supports, your keel will, when hard, require only -a few blows with the hammer to fix it in place. Care -must be taken to place the nails so that they will enter -the supports after passing through the paper bottom; as -the keel would not otherwise hold in place. Next cut -from the cigar-box wood a deck for your craft; this is -<span class='pageno' id='Page_92'>92</span>easiest done by simply laying the model upon the wood -bottom upward, and marking around the edge with a -sharp-pointed lead-pencil. This deck must necessarily -fit in your boat if your lines are followed in the cutting. -Mark upon the deck the positions of the supports, and -bore holes through it and into them, for the accommodation -of the masts, which should be two in number for a -schooner, or three for a full-rigged ship; fasten a bowsprit -in its place, and arrange your sails and stays to suit -the style of your boat.</p> - -<p class='c005'>After the keel, deck, and bowsprit are in place, it would -be well to give her another good coat of paint, and when -that is perfectly dry, to varnish her thoroughly with the -shellac spoken of before in this book.</p> - -<p class='c005'>This boat is a great improvement on the ordinary dug-out -hulls most boys are in the habit of making; for aside -from taking less time in making, and sailing more rapidly, -it has the advantage of being duplicated; that is, of having -a dozen if you wish, made just like it on the same -model, while it would be almost impossible to make two -alike by the old, laborious method. In forming your -model be careful to make it largest at the top, so that it -can be removed without trouble from its papier-maché -covering.</p> - -<div class='nf-center-c1'> -<div class='nf-center c007'> - <div><span class='pageno' id='Page_93'>93</span>―――――◀▶―――――</div> - </div> -</div> - -<h3 class='c009'>THE TOY STEAM-BOAT.</h3> - -<div class='figcenter id033'> -<img src='images/i_093.png' alt='' class='ig001' /> -</div> - -<p class='c010'>Among the many mechanical toys a boy of ordinary -ability can make, the steam-boat is perhaps one of the -most satisfactory of them all.</p> - -<p class='c005'>As a scroll-saw takes an important part in its making, -some knowledge of one, or friendship with the owner of -it, is desirable, if not absolutely necessary, for complete -success.</p> - -<div class='figcenter id025'> -<img src='images/i_095.png' alt='Figs. 1, 2, 3, 4, 5' class='ig001' /> -</div> - -<p class='c005'>This toy is composed principally of five pieces of board, -of different degrees of thickness, which are first cut out -as follows:</p> - -<p class='c005'>The first piece, or hull, is eighteen inches long by three -and one-half inches wide, with a shape like that indicated -by Fig. 1, and made of wood seven-eighths of an inch thick.</p> - -<p class='c005'>To insure making both sides of these pieces alike, it -would be well to first draw, on thick brown paper, a straight -line from the bow to the middle point of the stern, and -<span class='pageno' id='Page_94'>94</span>carefully mark out one-half the piece on the right side of -this line; then, folding the paper on the line, cut through -the outline, and the pattern is ready for use on your -wood. Do this with all the parts, and you will find less -difficulty in putting them together.</p> - -<p class='c005'>The second piece is made of a half-inch board, and is -nineteen inches long, by five and one-half inches wide -opposite the slits for the wheels.</p> - -<p class='c005'>The dotted line <i>d e</i> across this is just nine and one-half -inches from the bow, and is placed there to show where -the slits <i>a a</i> are to begin. These slits are for the wheels, -and are four and one-quarter inches long, five-eighths of -an inch wide, and three-eighths of an inch from the edge. -The sides opposite these slits must be straight, or parallel -to a line drawn from bow to middle of stern. The hole in -the middle is three inches long by two inches wide, with -an extension two inches long by one wide on the forward -end. The middle of the main hole forms a line with the -middle point of the paddle-wheel slits. Remember and -mark out one-half of this on paper, double, and cut both -sides at once; do 3, 4, and 5 the same way.</p> - -<p class='c005'>The third piece is made of seven-eighths-inch wood, fourteen -inches long, and corresponds in shape to the second -board from the dotted line <i>b c</i>, Fig. 2, to just aft of the slits -for the paddle-wheels. Here the edge forms a line parallel -to that of the second board, but one inch from it all the -<span class='pageno' id='Page_97'>97</span>distance around, as indicated by the dotted lines on Fig. -2. Its shape is given in Fig. 3, and the point <i>d</i> is intended -to fall over <i>e</i> in Fig. 1. The rear, <i>f</i>, in the second board, -indicated in Fig. 2, extends an inch beyond, and forms -the base for the flag-staff to stand upon, and a hole is made -at <i>g</i> for another flag-staff to rest in (<i>see</i> engraving). The -slits and central hole are the same size as in second board, -and correspond to them in shape and position. (The position -which three occupies in connection with two is indicated -on Fig. 2 by the dotted lines.)</p> - -<p class='c005'>Fourth piece: Cut it like Fig. 4 in shape, and out of a -board one inch in thickness. Its position is indicated by -the inner set of dotted lines on Fig. 3. This piece is ten -inches long and two and three-quarter inches wide, with -a central hole the same size and shape as in the other -pieces. At three-quarters of an inch forward from the -slits for paddle-wheels, cut in three-quarters of an inch -and finish in a semicircular shape at each end.</p> - -<p class='c005'>The fifth piece is made of half-inch wood, in shape like -Fig. 5, and fifteen inches long by two and three-quarter -inches wide, with the middle opening corresponding in -length to the other three, but only three-quarters of an -inch wide. Its position is indicated on Fig. 3 by the -outer set of dotted lines. When referring to these pieces -hereafter, I will call them Numbers 1, 2, etc., as indicated -by the figures.</p> - -<p class='c005'><span class='pageno' id='Page_98'>98</span>The smoke-stack next claims our attention: this is six -inches long, and seven-eighths of an inch in diameter -across the top; its position is indicated at <i>g</i> on Fig. 5.</p> - -<p class='c005'>The pilot-house is cylindrical, and cut to correspond in -form to that in the illustration. It is one and one-half -inches in diameter and two inches high from base line to -tip of point on the top.</p> - -<p class='c005'>The walking-beam is rather less than one-quarter of an -inch thick, and is two and three-quarter inches long by -one and one-quarter inches wide. It should be cut in the -shape represented in Fig. 6, and a small hole bored in -either end.</p> - -<div class='figcenter id030'> -<img src='images/i_098.png' alt='Fig. 6' class='ig001' /> -</div> - -<p class='c005'>The supports for the walking-beam are two in number, -made of quarter-inch wood, cut in the shape of <i>d</i>, <i>e</i>, <i>f</i>, -Fig. 6; the base line, <i>d f</i>, is one and -one-half inches, and the height of the -support just two inches.</p> - -<p class='c005'>The wheels are made from three-eighths-of-an-inch -wood and are circular -in form, with a diameter of -three and three-quarter inches.</p> - -<p class='c005'>At this stage of the work it would -be well to bore in each of these two -holes to allow the passage of a good-sized -wire; one hole through the -center, and the other a quarter of an inch one side of it. -<span class='pageno' id='Page_99'>99</span>This is so arranged that the wire can be brought through -the center of one wheel and allowed to project a few -inches. Then bend the projecting end twice, in -such a manner that it may enter the second hole -in the wheel when that is pushed back upon it. -This arrangement is seen at <i>B</i>, Fig. 3, in which -the dotted lines show the final position of the -wheel.</p> - -<p class='c005'>The pieces for the paddle-boxes, four in number, -are semicircular, with a base line or diameter -of four and one-quarter inches. The form is seen in -Fig. 8, which also is intended to assist in the decoration.</p> - -<div class='figcenter id037'> -<img src='images/i_099.png' alt='Fig. 7' class='ig001' /> -</div> - -<p class='c005'>Fig. 7 represents a front view of the walking-beam and -its supports; the line <i>a b</i> is a short piece of strong wire, -which passes through the hole made in the center of the -walking-beam, and rests in two holes made in the sides of -the supports near the top, and extending nearly, but not -quite through to the outer side. This is plainly seen in -the figure, the black line indicating the length of these -holes. <i>C</i> in the same figure is a small piece cut from a -quarter-inch wood and intended to hold the supports in -place, and to keep them a sufficient distance apart to allow -free motion of the walking-beam.</p> - -<p class='c005'>The forward and aft flag-staffs are of large wire, and the -two masts are of tough wood nearly as large round as a -lead-pencil.</p> - -<p class='c005'><span class='pageno' id='Page_100'>100</span>Having all the parts now cut out in the proper form and -size, take each piece and bore holes for the screws which -hold them together. The position of these is indicated in -each figure by the heads of the screws placed at precisely -the best points; these screws should be of different -lengths, as those passing through No. 4 require a length -of one and one-half to one and three-quarter inches, while -those for No. 2 need not be more than an inch in length. -In No. 3 make four small holes, indicated by <i>a</i> in Fig. 3, -for slender screws which are to hold the outer paddle-box -pieces in place. In Fig. 3, the lines <i>b c</i>, <i>b c</i>, indicate -grooves, cut down in the sides five-eighths of an inch -deep, and reaching across in a straight line from the middle -of one slit to the middle of the other; these should be -large enough to admit an easy play of the wire which is -to form the axle of the wheels. Holes should also be made -at <i>a</i> and <i>b</i>, in Fig. 5, for the wire forming the flag-staffs -to pass up through, and for the screws at <i>c</i> and <i>g</i>, which -are to hold the pilot-house and smoke-stack in place.</p> - -<p class='c005'>Having smoothed off all these pieces and sand-papered -those parts needing it, we now proceed to the painting, -as it is much more convenient to paint each piece separately, -and then put them together, than to leave it till the -last, as is generally the custom.</p> - -<p class='c005'>No. 1 simply needs a thick coat of white paint.</p> - -<p class='c005'>No. 2 is also painted white. It seems unnecessary to -<span class='pageno' id='Page_101'>101</span>add that those parts not seen when the steam-boat is put -together, need no paint.</p> - -<p class='c005'>No. 3 is first painted white, then the windows are stenciled -on in the same manner as given in the directions for -making toy cars, in another part of this book. These -should be black, while the name should be either dark -red or brown.</p> - -<p class='c005'>No. 4 is also white, with windows stenciled on in black, -as in No. 3, while No. 5 is painted a buff color, both on -the top and under-side.</p> - -<p class='c005'>The smoke-stack is black, while the base is a deep yellow; -and the pilot-house is white, with windows stenciled -around its sides, while its pagoda-shaped top is a bright, -light green.</p> - -<div class='figcenter id042'> -<img src='images/i_101.png' alt='Fig. 8' class='ig001' /> -</div> - -<p class='c005'>In Fig. 8, the two outside pieces of the paddle-box are -given; and the manner in which they are to be painted is -indicated; these four pieces need be painted only on one -side, with a thick coat of white; two of these may now -be laid aside, but the other two, after drying, should be -decorated with radiating lines of red extending from the -<span class='pageno' id='Page_102'>102</span>central semicircle, to the dark-red line running around the -top at a short distance from the edge. These radiating -lines should be alternated with light blue ones near the -circumference; and the small semicircle at the bottom is -a rich dark blue, with a star cut from gilt paper pasted -on to give it the desired brilliant effect.</p> - -<p class='c005'>The walking-beam, Fig. 6, should next be treated; this -is first covered with a bright green, and when dry marked -with black, as indicated in the cut. The supports are -first painted buff, the same color as the top, and afterward -striped with black, as seen in Fig. 6.</p> - -<p class='c005'>The wheels must not be forgotten, for although showing -but slightly, they would give the whole boat an unfinished -appearance if left unpainted. These may be dark, -or Indian red, with lines of black radiating from the -center to the edge.</p> - -<p class='c005'>After all the parts are perfectly dry, fasten No. 2 and -No. 1 in position, then having a sufficient length of wire, -about the size of a large knitting-needle, fasten it in the -first wheel, as indicated at <i>B</i>, Fig. 3. Then bend it into a -crank, as shown by dotted lines in the middle opening of -Fig. 3. This crank should be one and one-half inches -wide and three-quarters of an inch deep; make the points, -where it bends, as near right angles as possible; then pass -the end through the other wheel, and with pliers bend it -in place; next fasten the end of the wire, as in the first -<span class='pageno' id='Page_103'>103</span>wheel, taking especial care meanwhile that the wheels are -fixed the proper distance apart, and that the center of the -crank comes in the middle of the opening.</p> - -<p class='c005'>It is a matter of some difficulty to adjust these wheels, -as they should not be crowded against either side of the -slit, but turn easily when the boat is drawn over the floor.</p> - -<p class='c005'>After the crank is bent in shape, wind around it the end -of a piece of smaller wire about six inches long, as shown -in Fig. 3. This wire is to connect the crank to the walking-beam, -but it is not to be fastened to the latter until -the boat is put together.</p> - -<p class='c005'>The outside of the paddle-boxes should next be attached -to No. 3 by the small screws already spoken of, which -are to pass up from the under-side through the holes <i>a a</i>, -<i>a a</i>, Fig. 3, into their lower edge. The extremities of -these boxes should form a line with the ends of the slits, -and the outside of these and the edge of No. 3, which contains -the name, should form a continuous flat surface.</p> - -<p class='c005'>The other two sides of these paddle-boxes are to be secured -against the sides of No. 4, their bottom line forming -a continuation of the bottom of the piece, and their -position determined by placing the part on top of No. 3, -as indicated in Fig. 3, and making their ends form a -straight line with those of the outside pieces and the -slits; this is also indicated by the dotted lines on the -outside of Fig. 4.</p> - -<p class='c005'><span class='pageno' id='Page_104'>104</span>Having fastened No. 3 in its position over No. 2 (see -Fig. 2, dotted lines), place the wheels in their slits and -let the wires rest in the <i>bottom</i> of the grooves; they will -then extend a fraction of an inch below the bottom of the -boat. This arrangement is intentional, as the toy is intended -to be drawn over a floor or carpet, and it is the -friction these wheels encounter that moves the walking-beam, -and thus gives it the natural appearance of a boat -moving through the water. After these wires are pushed -to the bottom of the grooves, insert wedges of wood -above, deep enough to nearly touch them; make these of -tough hard wood, so that there shall be no danger of the -wheels riding up out of their proper places.</p> - -<p class='c005'>Place No. 4 in position, first drawing the wire attached -to the crank through the opening, and screw it firmly -down upon No. 3. There is now no danger of the axle of -the wheels getting out of order, if the wedges were firmly -fixed, and deep enough to keep the wire in place.</p> - -<p class='c005'>The smoke-stack should now be fastened with a strong -and very long screw from the under-side of No. 5, at <i>g</i>. -It should be very firmly attached in its place, as little -children frequently use this as a handle to take the boat -from the floor. Fasten on the pilot-house in the same -manner at <i>c</i>, on Fig. 5. Having the walking-beam and its -supports perfectly dry—and it would have been well to -have given both a good coating of shellac dissolved in -<span class='pageno' id='Page_105'>105</span>alcohol—take a wire or piece of knitting-needle nine-sixteenths -of an inch long, and having fixed one end in the -hole made near the top of the support to hold it, pass it -through the central hole in the walking-beam, and insert -the other end in the second support, then screw the piece -marked <i>c</i>, in Fig. 7, in its place, which will of course hold -the walking-beam firmly fixed. Now glue the supports -inside the slit of No. 5, and in such a position that when -the walking-beam is extended in a horizontal direction, -the hole in the end toward the stern shall be exactly -above the line of the axle of the wheels—that is, a line -running across the boat from the center of one wheel to -that of the other. These supports should also be caught -underneath with nails, that there may be no danger of -their falling through into the opening in the center.</p> - -<p class='c005'>Having fixed these in place, fasten the loose end of the -wire connected with the crank through the small hole in -the end of the walking-beam, so that when the crank is in -a horizontal position, the walking-beam will also be in the -same position. Attach a piece of wire four or five inches -long to the other end of the walking-beam, and let the -loose end fall through the opening in the top.</p> - -<p class='c005'>Now cover the open spaces at the top of the paddle-boxes -with pieces of tin just wide enough to reach their -edges, and catch it in place with tacks. Paint them with -the light buff used for the deck.</p> - -<p class='c005'><span class='pageno' id='Page_106'>106</span>Fasten the two wire flag-staffs to bow and stern, and -pass a wooden one seven inches long through <i>a</i>, Fig. 5, -down into a hole in No. 2, as shown in Fig. 2, at <i>g</i>. -With fine wire attach a topmast five inches in length to -this, allowing them to lap about an inch.</p> - -<p class='c005'>Sink a mast four inches in length into a hole bored -through 5 and well into 4, so that its top will be about -three inches above the deck, and fasten the stays in their -positions, as seen in the cut. On a piece of blue cambric -paint white stars, cut it in the shape of a flag, and attach -it to the forward pole. A small “one cent flag” will do -for the stern, while the name of the boat painted in red -or vermilion upon a white ground, should float from the -tall staff in front of the pilot-house.</p> - -<p class='c005'>Before the flags are placed, the whole surface of the -boat should be washed, if she has become soiled while being -put together, and after the flag-staffs and stays are -painted and have dried, the whole should be covered with -the shellac dissolved in alcohol. Be sure and use white -shellac, as the other would stain the white to a light brown -and spoil the whole effect.</p> - -<p class='c005'>A hole is bored horizontally through the bow three-quarters -of an inch from the extreme end, of sufficient -size to admit a piece of large fish-line, the ends of which -after it is inserted can be tied together to give a better -hold for the hand.</p> - -<p class='c005'><span class='pageno' id='Page_107'>107</span>This boat is modeled after the ordinary bay and river -excursion boats common to the northern and middle Atlantic -sea-coast, but if any boy residing in the West should -care to make one resembling those he is accustomed to see, -he will find little difficulty in modifying these directions -to suit his own particular taste in naval architecture.</p> - -<div class='nf-center-c1'> -<div class='nf-center c007'> - <div>―――――◀▶―――――</div> - </div> -</div> - -<h3 class='c009'>THE BOTTLE IMP.</h3> - -<div class='figcenter id034'> -<img src='images/i_107.png' alt='' class='ig001' /> -</div> - -<p class='c010'>Take one or more small bottles, such as are generally -used by homeopathic physicians for their pellets; cover -them with a bit of closely-woven white cloth, and fasten -it with a string around the middle. With oil paint make -a grotesque face upon the upper part, and draw stripes or -figures to represent a clown’s dress upon the lower and -loose portion of the covering of each. Varnish this with -the shellac, dissolved in alcohol, and when perfectly dry -<span class='pageno' id='Page_108'>108</span>they are ready for use. Have a large-mouthed, perfectly -clear glass jar nearly filled with water; then, after filling -the little bottles about one-third full of the liquid, place -the finger over the opening and immerse them, one at a -time, bottom upward, into the jar. Be sure and keep the -finger over the tiny mouth till they are well under the -surface of the water. Should they sink in the jar, you -have too much water in them.</p> - -<p class='c005'>The quantity of water they contain should be such that -they will barely float, that is, the bottom of the little inverted -vials should just touch the surface. This adjusting -of the equilibrium is a matter of some delicacy; a -single drop will make a difference: but by half-filling the -bottle, placing the finger over the mouth, and removing it -an instant to allow a drop or two to escape, the proper -degree of buoyancy may be attained. Three or four of -these bottles, in masquerade, should be introduced into the -jar, and if they are, as they doubtless will be, of slightly -differing degrees of buoyancy, the amusing effect will be -enhanced. Now stretch a piece of thin rubber, such as -toy balloons are made of, across the mouth of the jar, and -tie it down, as seen in the illustration.</p> - -<p class='c005'>To make the imps dance, one has only to press upon -the rubber top, as the air, in the top of the jar, is thus -forced downward, the water is driven up into the small -bottles, compressing the tiny quantity of air they contain, -<span class='pageno' id='Page_109'>109</span>and they, in consequence, fall lower in the jar; but when -the pressure is removed, the air in them expands, and -they instantly rise to their normal position again.</p> - -<div class='figcenter id043'> -<img src='images/i_109.png' alt='' class='ig001' /> -</div> - -<p class='c005'>Quite a pleasant evening’s entertainment can be derived -from this simple toy. You may first adjust your imps -and make sure they are in good working order; then prepare -a slight introductory speech, in which you can pretend -to mesmerize the little images, not letting it be -known they are bottles, and by some wonderful power -you are supposed to possess, can make them obey your -<span class='pageno' id='Page_110'>110</span>slightest wish. This will be very simple, as they will naturally -descend when you press upon the top. This pressure -should be exerted in such a manner that it is not -noticed by the others in the room. You might stand -with your left hand resting upon the top of the jar as if -by accident, but in such a manner that you can easily -press down upon the rubber with one or more fingers, and -while telling of the wonderful things these little fellows -can do, you can make graceful gestures with your right -hand, and motion with it what you require them to do; -it will thus seem that they are obeying the motions of -that hand, and will serve to mystify more than ever those -of your audience who are unacquainted with the secret.</p> - -<div class='nf-center-c1'> -<div class='nf-center c007'> - <div>―――――◀▶―――――</div> - </div> -</div> - -<h3 class='c009'>TELESCOPE WHICH A BOY CAN MAKE.</h3> - -<p class='c010'>First, obtain two lenses; the larger having a long and -the smaller a short focus.</p> - -<p class='c005'>A powerful telescope, having a large field of vision, requires -a lens at least two inches in diameter, with a focus -of from two to three feet for the larger glass; and another -lens of from one-half to one inch in diameter, and with -a focus of one inch, for the smaller end. Having your -lenses, the next important step is to make your tubes; -this is done by bending a piece of pasteboard a foot long by -<span class='pageno' id='Page_111'>111</span>seven inches wide in the shape of a tube, whose diameter -shall be about one-sixteenth of an inch larger than that of -your lens. Glue the edges firmly together, and tie a piece -of tape around to insure their keeping in place. Make -two tubes of this size and one rather smaller, that its -ends may fit in the other two. Lap these ends together, -and paste or glue them in place (<i>see</i> cut). Joining these -sections together is simply to insure a proper length of -tube. If a piece of pasteboard can be found large enough -to make a tube three feet long, it will look much neater -than the one described above. Take a narrow strip of -pasteboard and glue it around the inside of the tube, half -an inch from one end; put the large lens in its place, and -press it against the edge of this band. Now take another -strip, three-eighths of an inch wide, and paste around the -inside between the lens and the end of the tube. By this -means the glass is kept in place, it being held by the -edges of the pasteboard on either side.</p> - -<div class='figcenter id031'> -<img src='images/i_111.png' alt='' class='ig001' /> -</div> - -<p class='c005'>Another and smaller tube, five or six inches in length, -and of a size just sufficient to slide easily in the other end -of the long tube should now be made. Around the inside -of one end paste a band of pasteboard, as in the larger -section, but much nearer the edge. When this is dry, -<span class='pageno' id='Page_112'>112</span>paste still another strip inside this one, making a wide -edge for the lens to rest against. As this tube is of much -greater diameter than the glass, inclose the latter between -two disks of cardboard of the same size as the opening in -the tube, and each having a round hole cut in its center -for the eye to look through. Cover the inner side with -paste, and press it against the edges of the strips. Finally, -cover the whole thing with some dark-colored paper, pasting -it carefully over the surface, and your telescope is -completed.</p> - -<p class='c005'>This instrument will present everything in an inverted -position, but if the lenses are carefully adjusted, objects -at a long distance can be very plainly seen, and a boy can -derive a great amount of solid comfort, not only while -constructing, but from its subsequent use.</p> - -<p class='c005'>To find the focal distance of a lens, if for any reason -the optician does not give it, hold it in the sun, and observe -at what distance from itself it makes the smallest -point of light. That, if measured, will be its focal distance. -The long tube should be from two to three inches -shorter than the focal distance of the larger lens.</p> - -<div class='nf-center-c1'> -<div class='nf-center c007'> - <div><span class='pageno' id='Page_113'>113</span>―――――◀▶―――――</div> - </div> -</div> - -<h3 class='c009'>CHRISTMAS PRESENTS.</h3> - -<p class='c010'>“What shall we make for Christmas?” is the cry that -arises from the children all over this land and abroad, -wherever the Christmas season is known and observed; -and many a boy would be glad to contribute his share of -labor toward making the others of his household happy, -if he only could think of something to make. In the following -pages, I purpose to give a few directions for some -simple things, which boys of ordinary ability can easily -execute.</p> - -<h4 class='c012'>THE ORNAMENTAL EGG.</h4> - -<p class='c010'>Procure a large, perfectly white, hen’s egg, and after -making a hole slightly larger than a pea in either end, -blow the contents into a bowl placed to receive it. Paint -some little thing on both sides of the shell—a bunch of -forget-me-nots or pansies are very good subjects—or, if -well acquainted with the brush, a small landscape, inclosed -in an oval, is still prettier. After the painting is perfectly -dry, varnish it with a brush filled with “retouching varnish,” -and, with a long hair-pin, draw a piece of blue or -pink ribbon through the holes, and get some lady friend, -who can keep the secret, to tie the ends in a pretty bow. -A yard of ribbon about an inch wide is required to complete -this pretty ornament.</p> - -<div> - <span class='pageno' id='Page_114'>114</span> -</div> -<h4 class='c012'>TRINKET-HOLDER.</h4> - -<p class='c010'>During your summer journeyings, collect any fine large -shells you may see; the large well-formed quahaug-shells -(the common hard-shell clam), or those of the beautiful -sea clam, with their wonderful opalescent linings. Scrape -off all the outside you can possibly remove; then sketch -on the inside some pleasing marine view, or, if that is beyond -your powers, take any simple subject you are confident -of doing well, remembering that a very unpretending -thing, well painted, is much more pleasing, and indeed -ornamental, than the most ornate subject imaginable, if -poorly executed or badly drawn.</p> - -<p class='c005'>In painting on egg or sea shell, or, in fact, on any hard -substance of a similar nature, use the paint as dry as is -consistent with its flowing freely, and allow plenty of -time for it to dry. After the painting seems firm and -hard, give it a good coat of varnish, taking care to avoid -touching all the unpainted surface of the shell. This -little trinket-holder is easily made, costs nothing if one -has a supply of paints at command, and makes one of the -most acceptable presents you can offer to either an older -sister or brother, as it is intended to stand on the dressing-table, -and hold rings, collar-studs, or sleeve-buttons, -when taken off for the night.</p> - -<div> - <span class='pageno' id='Page_115'>115</span> -</div> -<h4 class='c012'>AN IDEA FOR BRACKETS.</h4> - -<p class='c010'>In making a corner bracket, which, on the whole, is the -most satisfactory to make, let one side be as large as the -other, with the thickness of the wood in addition, and let -the front of the shelf form the arc of a circle. If no curtain -or fringe is to be tacked on the shelf to cover the uprights, -some simple ornamentation on these is desirable. -If a scroll-saw is conveniently at hand, this is easily accomplished. -A design should first be drawn upon paper -the exact shape and size of the bracket desired. This -should then be transferred to the wood and the surplus -portions carefully cut away. After the pattern is sawed -out, the edges should be rubbed down with sand-paper, -or if left very rough, a rasp would reduce this unevenness -more readily; the sand-paper should be used in -that case, to give the final finish. After the surface is as -smooth as it is possible to make it, oil the whole, and -when dry put the three parts together with brads and -glue. Then oil the entire surface again, and when dry -varnish if you like.</p> - -<h4 class='c012'>ANOTHER BRACKET.</h4> - -<p class='c010'>If no scroll-saw is to be had, a pretty pair of uprights -are made by gouging a narrow stripe around the entire -form, at equal distances from the edge, and painting with -gold paint a small stenciled form on the middle of each, -<span class='pageno' id='Page_116'>116</span>also filling the stripe with the same material. For the -stencil use a simple one of your own design, made according -to directions given in another place in this book. -Should you and an older sister desire to unite in making -the present, she making the curtain, and you the woodwork, -no fancy design would be required. A simple -bracket, with well-proportioned supports nicely curving -in front, and well sand-papered, oiled, and varnished, -would be all required, as the curtain would hide the entire -form.</p> - -<h4 class='c012'>THE CONE AND TWIG BRACKET.</h4> - -<p class='c010'>One of the prettiest home-made brackets the writer ever -saw was in an old-fashioned country house, in a thinly -settled region of Massachusetts. The maker, a quiet, -gentlemanly boy of fifteen, was a cripple, and being -obliged to remain much of his time within-doors, had -utilized these spare moments, and surrounded himself -with many beautiful things, made from materials which -nature with so lavish a hand bestows upon us all. This -poor crippled boy loved the fields and meadows, lakes -and woods, with an intensity of feeling utterly inconceivable -to his more robust brothers and sisters; but his -gentle, kindly manner won their hearts, and the brightest -and best the farm afforded, whether fruit or flowers, minerals -or young animals, found its way into “Ned’s sanctum,” -<span class='pageno' id='Page_117'>117</span>as his little room was called. Even the young -calves and colts, were brought around to his window, that -he might admire their rather doubtful beauty, and nearly -every brood of newly-hatched chickens spent several -hours of their early life in a basket on the table at his -side. One day, the children brought home some beautiful -spruce and larch cones, and the little sufferer began, with -the true artist’s sentiment, to revolve in his mind how he -could put them in a form, which should always be in -sight from his place by the window. At last he thought -of the bracket, and immediately set to work drawing designs -for the foundation. When these were quite satisfactory, -he asked his brother to saw the different pieces -from old cigar-box wood, and nail them together. The -bracket was very simple in outline, but the arrangement -of the cones, half nut-shells, and tiny twigs, was extremely -artistic and pretty. They covered the two supports and -the under-side of the shelf, forming little pendants, like -stalactites in some hidden cave. These were glued firmly -in place and afterward carefully varnished.</p> - -<h4 class='c012'>THE PEBBLE VASE.</h4> - -<p class='c010'>On this bracket was a little vase, made by the same deft -fingers. A broken wine-glass held the water, and the -vase was formed around this, of that inexhaustible material, -papier-maché, studded all over with bits of colored -<span class='pageno' id='Page_118'>118</span>glass and bright pebbles gathered from the sea-shore. -From earliest spring till the frost claimed the last lingering -blossom, this vase was filled with the fairest flowers -of the seasons, and, with the unique little bracket, seemed -like a bit of the delightful out-door world transferred to -the pleasant corner of the sunny little room.</p> - -<h4 class='c012'>THE CONE AND TWIG HANGING-BASKET.</h4> - -<p class='c010'>The fall after his experiment with the bracket, Ned -made a hanging-basket with the same materials, using a -wooden bowl for the foundation. This was also a success, -but not as uncommon as the bracket. The cocoanut-shell, -cut evenly around near one end, forms a good material to -build upon. In either this or the bowl, be sure to bore -three holes near the top, at equal distances from each -other, to attach the chains or strings to the basket. This -must be done before the cones are glued in place. If a -fourth hole is made near the bottom, and filled with a -round-headed peg which can be removed at will, but -which forms a part of the design, and receives its share -of the final varnishing, the plants growing in the basket -will present a much more flourishing condition, as the -surplus water can be readily drawn off from their roots.</p> - -<div class='nf-center-c1'> -<div class='nf-center c007'> - <div><span class='pageno' id='Page_119'>119</span>―――――◀▶―――――</div> - </div> -</div> - -<h3 class='c009'>PAPER BOXES.</h3> - -<p class='c010'>Many years ago, when our mothers were little girls and -ready-made playthings were not as common as at the -present day, during the long winter evenings they were -obliged to invent their own amusements, and it was not -uncommon in a large family where there were several -girls and boys, for them to take turns in providing games -for certain evenings in the week. Even the little ones contributed -their share to the general amusement, and it was -from one of these little girls, now grown to be an old gray-haired -lady, that I first learned to make these simple -boxes.</p> - -<div class='figcenter id044'> -<img src='images/i_119.png' alt='Fig. 1' class='ig001' /> -</div> - -<div class='figcenter id045'> -<img src='images/i_120_a.png' alt='Fig. 2' class='ig001' /> -</div> - -<div class='figcenter id045'> -<img src='images/i_120_b.png' alt='Fig. 3' class='ig001' /> -</div> - -<div class='figcenter id046'> -<img src='images/i_121_a.png' alt='Fig. 4' class='ig001' /> -</div> - -<div class='figcenter id024'> -<img src='images/i_121_b.png' alt='Fig. 5' class='ig001' /> -</div> - -<div class='figcenter id024'> -<img src='images/i_122_a.png' alt='Fig. 6' class='ig001' /> -</div> - -<div class='figcenter id047'> -<img src='images/i_122_b.png' alt='Fig. 7' class='ig001' /> -</div> - -<p class='c005'>Take a square of ordinary note-paper, fold it as in -Fig. 1, and crease it across; now open it and bring the -two corners to the central point of the crease, and making -<span class='pageno' id='Page_120'>120</span>them just touch each other at that point, and crease -the folds, as in Fig. 2. Next fold between these folds -and between the last made, and the corners, as in Fig. 3, -always remembering to crease the folds when made. Now -<span class='pageno' id='Page_121'>121</span>turn the paper and crease it seven times across the other -way, and you will find your paper is folded in little -<span class='pageno' id='Page_122'>122</span>squares. Then take your scissors and cut the little half -squares left out in Fig. 4. Then with your penknife or -the sharp points of the scissors cut the little slits 1 and -2; next, cut 3 and 4, 5 and 6 to the first creases; last, 7 -and 8, 9 and 10 to the dots, but no further. Now fold -the joint marked 9, 10, so that it will go through the slit -2, and when you have passed it through, straighten it out -and press the paper in the shape of Fig. 6. Now pass the -last point through the remaining slit and -your box is complete. Occasionally, we -used to make “nests” of these boxes, by -commencing with very tiny ones, and -gradually increasing the size, making one -over another until our paper gave out, or -we became tired of the amusement.</p> - -<div class='nf-center-c1'> -<div class='nf-center c007'> - <div><span class='pageno' id='Page_123'>123</span>―――――◀▶―――――</div> - </div> -</div> - -<h3 class='c009'>A SHAVING-CASE.</h3> - -<p class='c010'>Although generally considered girls’ work, many little -boys delight in working upon perforated paper, and they -can put this pleasure to good account in making a shaving-case -for papa. Procure a piece of silver or gold gilt -perforated cardboard, of the coarsest variety, and cut it -into two similar pieces, five by seven inches in size. -With double zephyr, work an initial or some simple design -on one of the pieces only, as the other will form the -back of the case. Then get half-a-dozen sheets of different -colored tissue-paper, and cut them up into pieces the -exact size of the case. When all are fitted, place them -between the two covers, and ask some lady in the family -to sew them together at the top; fasten a ribbon of the -same color as the worsted to each top corner for a handle, -and cover the points of juncture with tiny bows. A little -boy in the writer’s family made one of these for a dear -uncle, and it lasted him a year without replenishing, -forming one of the most useful presents he received.</p> - -<div class='nf-center-c1'> -<div class='nf-center c007'> - <div>―――――◀▶―――――</div> - </div> -</div> - -<h3 class='c009'>LEATHER WORK.</h3> - -<p class='c010'>How many of my young readers have seen the beautiful -shoes, boxes, and saddle-cloths, made of leather or -velvet, and appliquéd with thinner leather, in graceful -<span class='pageno' id='Page_124'>124</span>traceries, which are occasionally brought over to this -country from Russia? These are mostly the work of the -women and children of the smaller Russian villages, and -in many instances their only means of support.</p> - -<p class='c005'>In those cold, desolate regions, where summer is very -short, and the long dreary winter extends over a greater -part of their lives, their occupations necessarily must be -such as can be carried on in-doors, and are in many instances -executed in their own homes. Hence the children -seeing the simple processes going on around them, soon -learn to help, and long before they have reached the age -when American boys begin to think of working, they are -earning their own living, and frequently supporting others -of the family by their industry.</p> - -<p class='c005'>Although leather work to a Russian boy is anything -but play, to a bright American it will be a source of considerable -pleasure, and will serve the same purpose of -amusement and instruction, for which most of the things -in this book are intended.</p> - -<p class='c005'>The materials for leather work are very simple, consisting -of the waste scraps from the neighboring book-binders -or shoe-makers; these can be chosen without regard to -shape or size.</p> - -<p class='c005'>To do the kind of work spoken of above, and known as -“Kasan work,” select the thinner kid pieces from your -leather, and with a lead-pencil mark upon the wrong side -<span class='pageno' id='Page_125'>125</span>any design you may fancy. Then with a pair of sharp-pointed -scissors cut out the design, carefully following -the lines, and making the edges smooth and even. -Lastly, wet the back with a little glue or paste, and stick -it upon the cloth. Care should be taken not to move the -pattern after it touches the cloth, as the glue might besmear -the material in the open places of the pattern, and -thus ruin the effect. After this has partially dried, get -your mother or sister to stitch the edges on the machine, -and you will have a nice bit of material, suitable for a -shoe-bag or any other useful object you may like.</p> - -<p class='c005'>Another kind of leather work which is better adapted -for boys, and a much more fascinating process than the -above, is called by the French name “Cuir Bouilli”—pronounced -“queer bwea”—or boiled leather. The -scraps already gathered are suitable for this work, as any -kind of leather can be used, although the softer kinds, -such as sheep or calf skin, work much more easily. Soak -this in hot alum water until it is soft, remembering that -thick, tough leather requires a much longer time, as well -as a hotter and stronger solution to soften, than the thinner -pieces you may have. After this leather has been reduced -to mere pulp, press it into any mold you may have -at hand, taking care that it is pressed into all the cavities. -After it is partially dried, in two or three days, remove -the mold, and you have your object in firm hard leather -<span class='pageno' id='Page_126'>126</span>which can be painted or varnished as you like. Many -toys for your younger brothers and sisters can be made -in this way, and are quite indestructible. Should you -chance to have a good-sized piece of skin, much prettier -things could be made from it, although a good worker in -leather will use his scraps as the boy in his papier-maché -uses his bits of paper, pasting them so nicely that no one -would guess the number of pieces used. The best paste -for this work is made of dextrine, a cheap substance, -easily procured at any apothecary’s.</p> - -<h4 class='c012'>A PANEL OF LEATHER WORK.</h4> - -<p class='c010'>As this is one of the simplest forms into which leather -can be wrought, and one that probably gives the most -satisfaction when completed, perhaps the description of a -dining room panel, made by the writer’s little son, may -afford more real assistance to the reader than any general -rules which could be given for the work.</p> - -<p class='c005'>He had a sheet of calf-skin, nine by fourteen inches, -which he soaked in warm alum water till it was very soft -and pliable. Before this, however, he had prepared his -foundation, which consisted of a thick piece of pasteboard -six by twelve inches. Upon this was nailed or glued a -simple design of a duck hanging by its legs, which he had -drawn upon a thin slab of wood—a cigar-box cover, I -think—and had cut out with a scroll-saw. Before tacking -<span class='pageno' id='Page_127'>127</span>this on, he rounded off the edges of the figure on the -right side with his jackknife, and using an old newspaper -and a little paste, he built out the body of the bird, molding -it with his fingers and an old ivory paper-cutter until -he obtained the desired shape. After this had dried he -covered his soaked leather with the dextrine paste, and -laid it evenly on the form. Beginning at the middle of -the panel, he carefully pressed the wet leather upon the -figure, using the dull edge of the paper-cutter for the -lines and deep places left in the foundation; always -working from the center toward the edge, and taking -particular care that each part was firmly attached to the -wood. After the bird was done to his satisfaction, he -proceeded to stamp over the whole background, using for -this purpose an old office-seal which was at hand. In regard -to the stamp, any ingenious boy can easily make a -good substitute, by taking a piece of hard wood with a -flat end, and cutting it across in parallel lines, re-cross -these lines with other parallel ones, forming a surface of -even diamond-work upon the wood. This, when pressed -upon the wet leather, makes a very agreeable background -for almost any figure you may like. A wet sponge must -be constantly applied to the leather while working, to -prevent its drying too rapidly. After the surface was -well covered with the stamping, the leather was again -rubbed with paste and pressed over the edge of the pasteboard -<span class='pageno' id='Page_128'>128</span>background; tiny triangular pieces were snipped -from the corners to allow of their lying quite flat on the -under-side. Finally, the whole thing was firmly glued -upon a black-walnut slab bought for that purpose. This -panel is the natural color of the leather, but they are frequently -stained black, and for that purpose the “ebony -black stain” is the best material to use; but it is not -necessary that they should be black; any color can be -used, the beautiful bronze powders making very fine -effects.</p> - -<div class='nf-center-c1'> -<div class='nf-center c007'> - <div>―――――◀▶―――――</div> - </div> -</div> - -<h3 class='c009'>TO TELL THE HOUR OF THE DAY BY THE LEFT HAND.</h3> - -<p class='c010'>For the benefit of those boys who make frequent excursions -into the woods, or away from the sight and sound -of town clocks and bells, I write the following, which -I found in an old book published early in the present -century:</p> - -<p class='c005'>Extend the left hand in a horizontal position, so that -the inside shall be turned toward the sky; then take a -bit of straw or wood, and place it at right angles at the -joint, between the thumb and the forefinger. It must be -equal in length to the distance from that joint to the end -of the forefinger, and must be held upright, as represented -<span class='pageno' id='Page_129'>129</span>in the figure at <i>a</i>. Now turn the bottom of the thumb -toward the sun, the hand being extended till the shadow -of the muscle which is below the thumb terminates at the -line of life, marked <i>c</i>. If the wrist or bottom of the hand -be then turned toward the sun, the fingers being kept -equally extended, the shadow of the bit of straw or stick -will indicate the hour.</p> - -<div class='figcenter id038'> -<img src='images/i_129.png' alt='' class='ig001' /> -</div> - -<p class='c005'>When the shadow falls on the tip of the forefinger, it -denotes five in the morning, or seven in the evening; at -the end of the middle finger, it denotes six in the morning -or evening; at the end of the next finger, seven in the -morning, or five in the evening; at the end of the little -finger, eight in the morning, or four in the afternoon. At -the nearest joint of the little finger, nine in the morning, -or three in the afternoon; at the next joint of the little -finger, ten in the morning, or two in the afternoon; at the -root of the little finger, eleven in the morning, or one in -<span class='pageno' id='Page_130'>130</span>the afternoon; in the last place where the shadow falls, -on that line of the hand marked <i>d</i>, which is called the -table line, it will indicate twelve o’clock at noon.</p> - -<div class='nf-center-c1'> -<div class='nf-center c007'> - <div>―――――◀▶―――――</div> - </div> -</div> - -<h3 class='c009'>STENCILS.</h3> - -<p class='c010'>A dozen or more years ago I saw an advertisement from -a Boston firm, of a package, to be had for the small sum -of twenty-five cents, which contained several devices for -entertaining children. As the advertisement seemed attractive, -I sent for the article, and received by return -mail a small box, which certainly contained all one could -reasonably expect for the money. Many of the smaller -things I have forgotten, but the idea of cutting stencils -was so good, and gave the children of our family so much -pleasure, that I insert a few simple designs, and give directions -for cutting, hoping they may amuse the little -ones of other families as agreeably as those of ours.</p> - -<div class='figcenter id033'> -<img src='images/i_131.png' alt='' class='ig001' /> -</div> - -<p class='c005'>These designs, which require considerable care in the -tracing, should be first drawn upon tracing-paper, or some -stiff, thin paper, with a sharp-pointed lead-pencil; then, -this being securely attached to a piece of thin bristol-board, -or a common business-card, carefully cut the design, -leaving the edges smooth and even. Particular -care should be taken to cut all the useless bits of paper -<span class='pageno' id='Page_133'>133</span>from the pattern. After a little practice, children learn -to make designs for themselves, and enjoy it much more -than following those given by others. It is, however, -necessary that they should use those supplied at first, so -as to understand just how the lines are to be cut.</p> - -<div class='figcenter id020'> -<img src='images/i_133.png' alt='' class='ig001' /> -</div> - -<div class='figcenter id031'> -<img src='images/i_134_a.png' alt='' class='ig001' /> -</div> - -<div class='figcenter id018'> -<img src='images/i_134_b.png' alt='' class='ig001' /> -</div> - -<div class='figcenter id018'> -<img src='images/i_135_a.png' alt='' class='ig001' /> -</div> - -<div class='figcenter id018'> -<img src='images/i_135_b.png' alt='' class='ig001' /> -</div> - -<div class='figcenter id018'> -<img src='images/i_136.png' alt='' class='ig001' /> -</div> - -<div class='figcenter id041'> -<img src='images/i_137.png' alt='' class='ig001' /> -</div> - -<p class='c005'>After the design has been carefully cut out, take a -smooth piece of white paper, fold it through the middle; -now fold again, bringing the ends of the first crease together; -fold once more, making the last crease to fall -upon the same line as the other two, and your paper will -be in shape like the letter V, Fig. 1. Be sure that <i>b</i>, in -Fig. 1, forms a perfect point. Now lay the pattern on -your folded paper, letting <i>a</i>, Fig. 2, fall upon <i>b</i>, Fig. 1, -and taking care that the edges of the pattern fall evenly -upon the folds of the paper. Cut the paper out, following -the lines of the design. After the black portions -<span class='pageno' id='Page_134'>134</span>have all been cut away, open your folded form, and -you will have a very pretty stencil, which can be used in -decorating your playthings, or for the various other purposes -stencils are so extensively employed. One little -friend of mine used to paste all his finest specimens on -square pieces of black cloth, and after he had a good-sized -collection, he had the pieces sewed together in the -<span class='pageno' id='Page_135'>135</span>form of a book. On the cover he pasted the word “Stencil” -and his initials, all cut from white paper; and it was -a never-failing source of pleasure to him to show this -little work, declaring proudly as he did so, “I did it all -myself with my own little pair of scissors.” These stencils -could be cut from variously colored papers and then -pasted upon ordinary note; the whole being caught together -<span class='pageno' id='Page_136'>136</span>with a piece of ribbon. A book would be the result, -which, if not prettier, would be less cumbersome -than my little friend’s, and would probably give full as -much satisfaction, besides being much easier to make. If -you will carefully examine the inside decorations of many -of our fine public buildings, you will see that much of the -work is put on with stencils; and by looking still more -carefully, you can learn just how these stencils are made; -and from them gain ideas for your own designs, which will -aid you very materially in any decoration you may try. -It is not expected that a boy has judgment or skill sufficient -to decorate an important room, but if you would like -to try the experiment, you may be able to persuade your -parents to allow you to try your hand at something of -the kind in an unused garret room. But even in this, do -not begin at hap-hazard. Study all the designs you can -<span class='pageno' id='Page_137'>137</span>find, and note the effect of the colors on each other and -upon the color of the wall itself. Choose some simple, -open pattern at first, and do not use more than two colors -in putting it on the wall. The fresco paint, or kalsomine, -comes in a powder, with full directions for using printed -on each package. It is put on with a short, thick brush; -and is patted on through the stencil. For stenciling, the -paint or kalsomine must be mixed much thicker than for -an ordinary wash, and it is best to have your stencil pattern, -after it is perfected to your taste, cut from a piece -of tin, if a tinman is near at hand. After the walls have -received their share of decoration, it would be well to -paint the door to match, using some appropriate oblong -stencil for the panels, and applying it with oil paint. In -such things it is very easy to overload the work, and by -putting on too much spoil the effect; so care and judgment -<span class='pageno' id='Page_138'>138</span>must be exercised to know at just what point to -stop, as well as to avoid daubiness and an uneven character -to your work.</p> - -<div class='nf-center-c1'> -<div class='nf-center c007'> - <div>―――――◀▶―――――</div> - </div> -</div> - -<h3 class='c009'>LIGHT PRODUCED BY FRICTION UNDER WATER.</h3> - -<p class='c010'>If you should rub two squares of cut-loaf sugar together -in a dark room, light would result from the friction; -but the effect is produced in a much greater degree -by two pieces of silex or quartz; and if two pieces of a -fine quality of quartz be forcibly rubbed together, you -may distinguish the time of night by a watch; but what -is more surprising, the same effect is produced equally -strong on rubbing the pieces together under water.</p> - -<p class='c005'>In olden times, before matches were invented, fire for -all purposes was produced by means of friction; a piece -of flint and one of steel being the substances used, and a -tin box of charred linen rags, called tinder, received the -sparks which fell from the steel.</p> - -<p class='c005'>Many years ago, when your great-grandmothers were -children, in many New England communities a cow’s -horn, sawed across the top, and fitted with a wooden stopper, -was used to hold the tinder, but later, the more -stylish and luxurious tinder-box took its place. This -box, made of tin, and somewhat larger and deeper than a -<span class='pageno' id='Page_139'>139</span>good-sized blacking-box of to-day was fitted with an inside -cover, a simple disk of tin with a ring of wire in the -top for a handle, and was filled with a quantity of cotton -or linen rags, which were set on fire with a brand from -the hearth. When this burning cloth had reached a black -color, but before it was reduced to ashes, the inside cover -was let down upon it, and the flames were extinguished. -After this, another outside cover was put on the box to -prevent dampness penetrating, and thus rendering the -tinder worthless. To insure further protection against -the intruding damp, the box, with its companions of flint -and steel, were generally kept in the chimney closet -beside the fire-place.</p> - -<p class='c005'>In those primitive days of our country, it was a very -common thing for a farmer’s wife to run into a neighbor’s -and borrow some one of these necessary articles, and it -was usually the tinder, which she had neglected to prepare -when fire was plenty, that was the thing needed. -Occasionally, when two or three houses were near together -and the inmates on friendly terms with each -other, one set would answer the demands of the neighborhood, -and would be used by all with equal freeness. -Later on, each family made their own matches, by simply -dipping bits of wood into melted sulphur, and allowing -it to dry on the end. These matches were kept in -another tin box, and when the spark had ignited the -<span class='pageno' id='Page_140'>140</span>tinder, the sulphur end was touched to the smoldering -fire, and would immediately burst into flame.</p> - -<p class='c005'>Before these matches were invented, however, when the -housewife wished to make her fire (stoves were of course -unknown), she would seat herself near the fire-place, and, -grasping the uncovered horn or box between her knees, -would hold her steel in her left hand just above it, and -with the flint or quartz in her right, would strike upon -the former, till two or three sparks fell upon the charred -surface; the bit of glowing tinder would then be carefully -taken from the box, wrapped around with a bit of rag, -and blown upon with her breath until the cloth burst into -flames. A candle was quickly lighted from this, to keep -the flame till the fire was well under way.</p> - -<p class='c005'>Every boy has probably felt the inconvenience of being -without matches, when a fire on the beach in summer, or -near the skating-pond in winter, would have been such a -luxury. The next time the emergency occurs, strike a -piece of quartz or hard white stone upon the large blade -of your jackknife, over any bit of dry cotton or thin -paper you may have at hand, as a tinder-box would probably -not form part even of the very miscellaneous collection -of the average school-boy’s pockets.</p> - -<div class='nf-center-c1'> -<div class='nf-center c007'> - <div><span class='pageno' id='Page_141'>141</span>―――――◀▶―――――</div> - </div> -</div> - -<h3 class='c009'>EXPERIMENT WITH FLOWER-SEEDS.</h3> - -<p class='c010'>Split a small twig of the elder-bush lengthwise, and having -scooped out the pith, fill each of the compartments -with seeds of flowers of different colors, but which blossom -about the same time. Surround them with mold, -and then tying together the two bits of wood, plant the -whole in a pot filled with earth, properly prepared. The -stems of the different flowers will thus be so incorporated -as to exhibit to the eye only one stem, throwing out -branches covered with flowers of different colors, analagous -to the seed which produced them. If the plants -are somewhat alike in the texture of their stems, and germinate -at about the same period, there will be less danger -of the strong choking the weak.</p> - -<div class='nf-center-c1'> -<div class='nf-center c007'> - <div>―――――◀▶―――――</div> - </div> -</div> - -<h3 class='c009'>HOW TO SKELETONIZE LEAVES.</h3> - -<p class='c010'>Among the many desirable subjects for photographic -printing, none are more satisfactory or so delicate as a -graceful arrangement of skeletonized leaves. It may be -very simple, and composed of only three or four leaflets; -or it may be so elaborate as to embrace specimens -from trees and weeds, wild flowers and garden shrubs; -while the beautiful seed-pods and grasses, readily found -<span class='pageno' id='Page_142'>142</span>in our fields or along our brooklets, answer for the blossoms -in this dainty, fairy-like bouquet.</p> - -<p class='c005'>The methods employed in freeing leaves from their -pulpy element, or cellular tissue, as it is more properly -called, are very unlike, as practiced by different individuals; -but the following, given the author by a lady friend -who has a large and extremely beautiful collection of remarkably -fine specimens, is very simple, and can be practiced -with success by a boy or girl of ten.</p> - -<p class='c005'>Take a wash-bowl, and fill it half full of soft water, into -which a heaping teaspoonful of baking soda should be -thrown; place this in a sunny window, or one with a -southern exposure if possible, and put in your leaves; -care must be taken that they are all under water, and not -too crowded, although three or four dozen can safely be -done at a time. Any leaf which has a firm, well-defined -frame-work will make a good specimen. The leaves of -the horse-chestnut, maple, silver-leaf catalpa, and magnolia; -those of the currant, pear, English ivy, and plum, -all make fine skeletons, and many delicate seed-covers, -like those of the strawberry-tomato, are very easily -treated. Do not confine yourself to this list, however, -but try any which resemble these in texture, as a great -variety is particularly desirable, if you would have a good -collection.</p> - -<p class='c005'>After you have put your leaves to soak in the soda-water, -<span class='pageno' id='Page_143'>143</span>leave them in the sun for three weeks, as that is -the shortest time in which any will do. Then look them -carefully over, and should any be found nearly free from -their tissues, take them out, and wash them off in a bowl -of clean water; then with a soft brush liberate any tiny -particle that may still adhere to the frame-work, as any -blemish of this kind is considered a defect in the specimen.</p> - -<p class='c005'>During this process, be careful to retain the fine threadlike -bit of fiber that entirely encircles the leaf and forms -an outside frame-work or edge. If it is found impossible -to entirely clean the skeleton by aid of the brush, it -should be put in a bowl or saucer of clean water and left -in the sun for two or three days longer. When they are -thoroughly cleaned, place them between the leaves of an -old book, and lay them aside until the time for bleaching.</p> - -<p class='c005'>If you live in or near the latitude of New York, the -best time to collect and treat your leaves is in June, while -they are still fresh and tender, and before the insects have -destroyed their shape; but should your home be further -south, April or May would be a better time.</p> - -<p class='c005'>After your collection is complete, and all are dry, they -will be much improved by bleaching. This process is -also very simple, consisting, as it does, of merely dipping -them in a weak solution of chloride of lime, and letting -them remain there until the proper color is attained; then -<span class='pageno' id='Page_144'>144</span>by slipping a piece of unglazed paper—ribbon paper is -best for this purpose—beneath the surface of the water, -and bringing it up with the leaf lying flat upon it, the -skeleton can easily be taken from the water.</p> - -<p class='c005'>If the form is not inclined to spread out on the paper as -it should, take a long slender darning-needle, and with -the point carefully arrange it to your satisfaction. Another -drying is now necessary, but the bleached leaves -should be left on the ribbon paper, which may be put -between the leaves of a book as before.</p> - -<p class='c005'>These can be kept for years, and should you be successful -and obtain a number of perfect specimens, they will -form a very valuable addition to your materials for -Christmas gifts, and, prettily arranged, a very acceptable -present to any dear friend.</p> - -<div class='nf-center-c1'> -<div class='nf-center c007'> - <div>―――――◀▶―――――</div> - </div> -</div> - -<h3 class='c009'>CAMERA OBSCURA.</h3> - -<p class='c010'>Camera Obscura, a Latin name, meaning literally a -dark chamber, belongs to an instrument invented by -Baptista Porta in the sixteenth century.</p> - -<div class='figcenter id038'> -<img src='images/i_145.png' alt='' class='ig001' /> -</div> - -<p class='c005'>The principle involved in the simplest and most refined -forms is the same, and may be illustrated by the following -experiment: Let a small hole be cut in an opaque window-shade, -and the room darkened. If, now, the beam -<span class='pageno' id='Page_145'>145</span>of light entering the room by this hole be intercepted by -a sheet of white paper, held at a small distance from the -hole, an inverted image of objects without will be seen -upon the paper. By placing a small convex lens over the -hole this image is rendered much more distinct. It will -also be found, that at a certain distance from the hole -the image attains the sharpest or clearest outline, and -that if the paper be removed from this point to any position -either nearer to the hole or further from it, the image -becomes indistinct and confused. At the point of greatest -clearness the image is said to be <i>focused</i>. Such being -the principle of the camera, it is evident that in practice -the instrument may assume many forms, provided always -that it consists of a darkened box or chamber, having a -hole at one end for the insertion of a lens or combination -of lenses, and at the other a screen, generally made of -ground glass, on which to receive the image. One of the -<span class='pageno' id='Page_146'>146</span>first home-made cameras I remember seeing was constructed -by a boy friend many years ago. In it he used -a lens from an old ship’s spy-glass, which still remained -incased in its brass tube. Fig. 1 gives a view of this form -of camera. As every boy is not as fortunate as my friend -in having a brass mounting for his lens, it would be well -to inclose it in a small tube of papier-maché or pasteboard, -so that it may be moved in or out of the opening -at will. The box itself was made of cigar-box wood, with -the cover sawed in two parts. After the hole had been -cut at one end and the lens inserted, a piece of looking-glass -was placed obliquely across the lower corner of the -other end of the box, the longer piece of the cover nailed -on the front part of the top, and a piece of ground glass -carefully fitted, with the ground side downward, over the -remaining open space; the smaller part of the cover was -then fastened on one side with small pieces of tape. -When not in use, this little cover fell down over the -glass, but when any object was to be viewed the little lid -was lifted into the position in the cut, and served as a -<span class='pageno' id='Page_149'>149</span>shield to the ground glass beneath. A piece of black -cloth thrown over this cover, and allowed to fall over the -triangular side-openings, so as to still further prevent -outside light from reaching the ground glass, is a great -improvement.</p> - -<div class='figcenter id038'> -<img src='images/i_146.png' alt='' class='ig001' /> -</div> - -<p class='c005'>In the diagram, the dotted lines show the course of the -light from the object in view, through the lens (where the -rays cross each other) to the looking-glass, and thence to -the ground glass above.</p> - -<div class='figcenter id048'> -<img src='images/i_147.png' alt='' class='ig001' /> -</div> - -<h4 class='c012'>A SIMPLER FORM OF THE CAMERA OBSCURA.</h4> - -<div class='figcenter id034'> -<img src='images/i_149.png' alt='Fig. 2' class='ig001' /> -</div> - -<p class='c010'>A simpler form of the camera obscura is seen in Fig. 2. -Here the case is a small soap or spice box, the lens a convex -spectacle-glass, and the board marked <i>b</i> a partition, -serving as a screen upon which the image is thrown. In -this form the lens may be fixed in the end of the box if -desired, which is much easier than adjusting it in a sliding -tube. The focal distance of an ordinary spectacle-glass -averages about twelve or fourteen inches, and the -box should be, of course, somewhat longer than the focal -<span class='pageno' id='Page_150'>150</span>length of the glass used. A glass from “near-sighted” -spectacles will not do, as it is concave instead of convex.</p> - -<p class='c005'>The box is now pointed out of the window, at some -well-marked object, such as a sun-lighted building, and -the partition-board moved backward and forward, till the -point is found at which the image on it is best defined. -Then the board may be fastened (as <i>a</i>, <i>b</i>, <i>c</i>, <i>d</i>, Fig. 2) -and the top put on, of which the end should be cut off -about four inches from the screen, as shown in the figure.</p> - -<p class='c005'>A piece of black cloth thrown over the head, and completely -covering the ends of the opening, renders the -image more distinct.</p> - -<h4 class='c012'>THE SKETCHING CAMERA.</h4> - -<div class='figcenter id046'> -<img src='images/i_151.png' alt='Fig. 3' class='ig001' /> -</div> - -<div class='figcenter id049'> -<img src='images/i_150.png' alt='Fig. 4' class='ig001' /> -</div> - -<div class='figcenter id030'> -<img src='images/i_153.png' alt='Fig. 5' class='ig001' /> -</div> - -<p class='c010'>This form of camera may be also used for sketching -from nature, by raising it on end, and providing it with -an inclined mirror, as shown in Fig. 4. The opening <i>a</i>, <i>b</i>, -<span class='pageno' id='Page_151'>151</span><i>c</i>, <i>d</i>, should in this case be sufficiently large to admit easy -play of the hand in sketching, and also allow an unobstructed -view of the image. The mirror may be prepared -without much difficulty. Get the glazier to cut for you a -piece of looking-glass three or four inches square, and -cover the back with a piece of thick paper or card, to -prevent scratching; then take a wire of sufficient length, -and double it as in <i>A</i>; now bend this double wire in the -form of <i>B</i>, letting the ends come at <i>a</i> and <i>b</i>, and placing -your mirror, face downward, upon the frame as in <i>C</i>; hold -it in place by two bands of strong paper, passed around -the glass and wires, and pasted strongly on the back, at -the top and bottom of the mirror. When in use this -frame is placed over the lens, and reflects the image down -upon the drawing-paper placed on the screen below. The -four round-headed screws in the top are intended for attaching -an opaque curtain to the box, which, however, is -only needed when the artist is working in the open air. -Then the dark curtain is buttoned in place, and falls over -<span class='pageno' id='Page_152'>152</span>the head and shoulders, completely shielding the image -from any invading rays of light which might otherwise -confuse the draughtsman.</p> - -<p class='c005'>As a matter of fact, in using the sketching camera, it is -necessary to turn one’s back to the objects sketched, if it -is desired to draw them in an upright position. I have -represented the artist facing the house, as it would look -strangely in the illustration to see him seated with his -back to the view; but he is compelled, in consequence, to -draw his house, sister, and everything else which is included -in the image thrown upon his paper upside down, -as a penalty for appearances.</p> - -<h4 class='c012'>THE DARKENED ROOM.</h4> - -<p class='c010'>To those boys living in the country, and having a wide, -extended landscape stretched out before their windows, -the “darkened room” is a very interesting feature. It -simply requires a room which can be made perfectly dark. -At the window (if there are more than one) commanding -the broadest prospect have a perfectly tight, opaque -screen fitted, with a small hole cut in the lower part for -the insertion of the lens. Over this fasten a small mirror -to receive the image, at such an angle as will throw the -reflection down upon a stand placed two or three feet -from the window, and thus make it possible for the spectator -<span class='pageno' id='Page_153'>153</span>to view the scene in its normal condition. Should -you be desirous of having the whole sweep of the horizon -at your command in the darkened room, a simply constructed -frame-work is necessary for the accommodation -of the movable mirror, and also for the lens; this would -further necessitate the cutting of a larger hole in the curtain. -Fig. 5 represents this arrangement; <i>a</i> being the -movable lens, which can be readily taken from its socket -if desired; <i>b</i>, the hole in the bottom of the bracket, which -should correspond to a larger hole in the shelf <i>d</i>, upon -which the bracket rests, and can be easily turned in any -direction desired. This hole should be large enough to -allow the passage of all the diverging rays, and <i>c</i>, a small -mirror, fitted like the one for the sketching camera just -described, to receive the image and reflect it down through -<i>b</i> upon the stand, or a sheet placed upon the floor for the -screen. The height of the shelf <i>d</i> from the floor is determined -by the focal length of the lens, and must be decided -by experiment before the hole is cut in the shade. -It is fastened in place by strings attached to small screw-eyes -<span class='pageno' id='Page_154'>154</span>at its corners, and tied upon tacks driven into the -window-frame. The arrangement shown in Fig. 5 can be -moved on the shelf, so as to face the lens toward any portion -of the view commanded by the window.</p> - -<div class='nf-center-c1'> -<div class='nf-center c007'> - <div>―――――◀▶―――――</div> - </div> -</div> - -<h3 class='c009'>PHOTOGRAPHIC PRINTING.</h3> - -<p class='c010'>If all boys are not so fortunate as to possess a camera, -there is no reason why they should be debarred from all -the pleasures of photography; and as there is much entertainment -to be derived from this simple amusement, it -is advisable for every boy throughout the land who is old -enough to give it a fair trial. The first thing needed is a -frame for holding the print while it is being exposed. -This can be made by an ingenious boy, but as it is a rather -troublesome job, it is better to buy a small transparent -slate for five or ten cents, and discarding the copies, use -the frame and glass for your work. The sensitized paper -should next be prepared. This can be bought at any -place where photographers’ supplies are to be found; -many boys, however, are too far away from our great -cities to have access to such stores, and even those who -have will find more delight in making it for themselves. -There is a great satisfaction in the feeling of perfect independence, -and the more we can do for ourselves without -<span class='pageno' id='Page_155'>155</span>aid or hinderance from the world at large, the nearer -we come to the ideal state. So, presuming that every boy -has this independent spirit well ingrained in his nature, I -will give two formulas for this kind of paper, and leave it -to the reader to decide for himself which he will use. -The first produces a negative impression; that is, one in -which all the parts that are dark in the copy come out -light in the print, and <i>vice versâ</i>; and the second makes -a positive print, or one in which all the shadings remain -the same as in the original.</p> - -<h4 class='c012'>FIRST PROCESS.</h4> - -<p class='c010'>Paper by this process is very easily prepared as follows: -Make two solutions:</p> - -<div class='lg-container-b'> - <div class='linegroup'> - <div class='group'> - <div class='line'>1st.—Water, 1 ounce.</div> - <div class='line in6'>Prussiate of potash, 60 grains.</div> - </div> - <div class='group'> - <div class='line in1'>2d.—Water, 1 ounce.</div> - <div class='line in6'>Ammonia citrate of iron, 70 grains.</div> - </div> - </div> -</div> - -<p class='c005'>When these are dissolved, mix them together, and pour -them through a piece of filter-paper into a tumbler, and -then into a clean glass bottle. If filter-paper cannot be -had, nice clean cotton wool answers the purpose nearly as -well. This solution should be kept and also used in a -dark room. To sensitize the paper, pour out a little of -<span class='pageno' id='Page_156'>156</span>the liquid into a saucer; then having cut note-paper into -rectangular pieces, a trifle smaller than the glass in your -frame, take one of these pieces at a time, and place it -evenly upon the surface of the liquid; let it lie in this -position until it is flat and not inclined to curl. Now take -it out by one corner, and thrusting a pin through this -point, drive it lightly into the edge of a shelf in your -dark room, and leave it to dry. It is now ready for use; -should any be left after printing, roll it up and place it -in a tin box which has a cover, to keep it from the light -and dampness. To print on this paper, place your glass -in the frame, and next to it any engraving you may fancy, -provided it is printed on thin paper and has no type on -its back. If a copy is desired precisely like the original, -place the engraving face downward on the glass, but if a -reverse is wished, that is, one in which all the objects in -the original are turned about, and its left side is to correspond -to the right in your print, then place it with its -face toward you in the frame. When this is adjusted to -your satisfaction, take the frame to your dark closet, and -put in your sensitized paper, being careful to cover it -closely with the back of the frame well fastened in place -before bringing it to the light. Place the frame, glass -side upward, on a window-ledge, or in any place where it -will be exposed to the free rays of the sun, and let it remain -until it is printed to the desired depth. It will be -<span class='pageno' id='Page_157'>157</span>noticed that at first the light changes the portions exposed -to a bluish color; the operation, however, is not -finished at this stage, but must be continued long enough -to turn these portions a deep metallic gray. Care must -be exercised in examining the print, that the paper is not -moved from its position relative to the copy to be printed; -with the above frame this will be a very delicate matter, -and it is doubtful if it can be successfully done. A better -way would be to make one or two prints, without caring -for accuracy of form, but simply with a view of obtaining -a good color, and time the operation; this would form -a sort of basis from which to work. If some subsequent -engraving was upon thicker paper, it would take a somewhat -longer time to print it, and if on thinner paper, the -time required would be proportionately shorter. It would -be a great source of convenience if the back could be cut -in two equal parts, and a piece of canton flannel be pasted -over both, joining them as they were at first. This with -the soft side outward will keep the paper from slipping, -and act as a hinge to either half. Now instead of one -fastening, two will be required, one on either half of the -cover; if then you wish to examine your print, you have -only to open one end of your frame, and carefully lift up -the edge of the paper, while the other end, remaining -firmly closed, holds the whole thing in place.</p> - -<p class='c005'>After your print has reached the proper degree of color, -<span class='pageno' id='Page_158'>158</span>take it out and immerse it in clean water, when it will become -a rich blue, except those parts which are to remain -white. Change the water once or twice, or until every -part comes out distinctly; then take it from the bath and -dry between sheets of blotting-paper.</p> - -<p class='c005'>The second way to prepare paper consists in washing -good letter-paper with the following solution:</p> - -<div class='lg-container-b'> - <div class='linegroup'> - <div class='group'> - <div class='line'>Bichromate of potash, 10 grains.</div> - <div class='line'>Sulphurate of copper, 20 grains.</div> - <div class='line'>Water, 1 ounce.</div> - </div> - </div> -</div> - -<p class='c005'>Papers prepared with this are of a pale yellow color; -they may be kept any length of time in a tin box, and are -always ready for use. For copying engravings, the wings -of dragon-flies, or of cicadas, the beautiful skeletonized -leaves or delicate ferns, arranged in tiny bouquets on the -inner surface of the ground glass, this paper is excellent.</p> - -<p class='c005'>After it has been exposed to the influence of the sunshine, -take the frame to your dark closet, and after removing -the print, wash it over with a solution of nitrate -of silver of moderate strength. As soon as this is done, a -very vivid positive picture makes its appearance, and all -the “fixing” it requires is well washing in pure water.</p> - -<p class='c005'>The dark closet spoken of above is necessary in all -kinds of photography, as light let in upon the sensitized -paper would darken the whole surface. To make a -<span class='pageno' id='Page_159'>159</span>“dark room,” stop the upper part of the window with -any opaque substance, and pin a large sheet of dark -orange paper over the lower sash. The yellow paper -used in making envelopes is excellent for this, but if it -cannot be found, four sheets of tissue-paper, two red -and two yellow, placed over each other, answer the purpose -very well.</p> - -<p class='c005'>A friend of the writer utilizes an old disused chicken-house -for his dark room, and it answers its purpose capitally, -while it was at the window of this little room I first -saw the tissue-paper successfully used.</p> - -<p class='c005'>The prints used for copy might be rendered more translucent -by rubbing them over with a little linseed oil -mixed with turpentine. This, of course, should be thoroughly -dried before it is used in connection with the -sensitized paper.</p> - -<p class='c005'>A great number of graceful, pretty things can be photographed -in this manner; the delicate maiden-hair fern, -so common in several parts of our country; the fine, -feathery leaves of many of our wild flowers, some of the -finer flowers themselves, and many of the beautiful -mosses and sea-weeds after they are pressed, make exquisite -little photographs, worthy of a place in any collection.</p> - -<p class='c005'>A dozen or more of these prints carefully taken, pressed, -and trimmed, would make a pretty Christmas present to -<span class='pageno' id='Page_160'>160</span>a dear friend. The cover could be of plain paper, with -the name of the person for whom it was intended neatly -written upon the top, an appropriate sentiment on the -middle, and the donor’s name with the date upon the -lower part of the page.</p> - -<p class='c005'>The stencils, for the making of which full directions are -given in another part of this book, make very line subjects -for photographs. If intended for this purpose, however, -they should be of a slender, delicate pattern, small -in size, and cut with extreme care. A snow-flake caught -upon a black surface, and examined in a cold room, will -furnish many suggestions for stencils designed for copy.</p> - -<div class='nf-center-c1'> -<div class='nf-center c007'> - <div>―――――◀▶―――――</div> - </div> -</div> - -<h3 class='c009'>THE TOY PANORAMA.</h3> - -<p class='c010'>The modern stereopticon has almost entirely superseded -the old-fashioned panorama, so popular a quarter of a -century ago.</p> - -<div class='figcenter id050'> -<img src='images/i_161.png' alt='' class='ig001' /> -</div> - -<p class='c005'>Your parents will probably remember with what delight -those itinerant exhibitions were greeted by the young -people of those days; how the very handbills, those wonderful -precursors of so many entertaining spectacles, were -studied and commented upon, and when the happy day -came, how we all rejoiced to see the manager enter the -school-house door, and after a few words with the teacher, -<span class='pageno' id='Page_161'>161</span>address the school, and offer to us children an afternoon -exhibition, for the trifling sum of ten cents apiece, if -enough could be induced to attend.</p> - -<p class='c005'>The panoramas the writer remembers most vividly occurred -during the war of the Rebellion, and as the subjects -of the paintings were of a very patriotic character, -we had little difficulty in urging our parents to permit us -to go; and the afternoon session of the school was gladly -sacrificed for so good a cause.</p> - -<p class='c005'>The battle of the <i>Monitor</i> and <i>Merrimac</i>, was a favorite -<span class='pageno' id='Page_162'>162</span>subject, and, as the vessels moved to and fro, and -sent forth from their tiny port-holes volleys of real fire -and smoke, while a big drum, out of sight, gave forth the -answering boom, the scene was very impressive, and -struck a kind of fascinating terror to our childish hearts.</p> - -<p class='c005'>After the many accounts and fine illustrations which -subsequent readings have given, at the simple mention of -that famous battle, my mind instantly wanders back to -the darkened hall, filled with boys and girls, all intently -gazing at the sham battle in progress before them; while -far back in the rear end of the hall stood the two brass -field-pieces, captured from Burgoyne at the battle of -Saratoga, nearly a hundred years before, grim and awful, -and silently waiting for the time when they should be -called to take their place in the mighty conflict then so -fiercely raging in our land.<a id='r1' /><a href='#f1' class='c013'><sup>[1]</sup></a></p> -<hr class='c014' /> -<div class='footnote' id='f1'> -<p class='c005'><span class='label'><a href='#r1'>1</a>. </span>This building was erected for an armory, but served the purpose of -town-hall as well.</p> -</div> -<hr class='c014' /> -<p class='c005'>But finally the war ceased; and after all, the only part -the old cannon played was to thunder forth resoundings -of joy, which shook our old town to its very foundations, -when peace was again restored.</p> - -<p class='c005'>Although children’s hearts will never again be gladdened -by these great, clumsy shows, there is no reason -why the little toy panorama should also be banished from -<span class='pageno' id='Page_163'>163</span>among us. The mere delight of making it is sufficient -reason for its existence, and when it is once finished it -will continue to be a source of enjoyment to each little -member of the household in turn.</p> - -<div class='figcenter id019'> -<img src='images/i_163.png' alt='Fig. 1' class='ig001' /> -</div> - -<p class='c005'>The simplest form this can have is represented in Fig. -1, the foundation being a small soap-box, the rollers, sections -of a broomstick, with small wooden pins glued into -each end, which extend through holes made in the box -for that purpose. The pictures, taken from any illustrated -paper, are all cut the same width, about an inch -narrower than the length of the rollers, and pasted together -at their ends, the only limit to the length of this -strip being the capacity of the box.</p> - -<div class='figcenter id011'> -<span class='pageno' id='Page_164'>164</span> -<img src='images/i_164.png' alt='Figs. 2, 3' class='ig001' /> -</div> - -<p class='c005'>When the paste is dry, attach an end to each roller. It -is necessary that the upper peg of each roller be also -fitted with a strong crank, as an even motion is requisite -for the proper display of the pictures; and this crank can -be made in two ways: first, like Fig. 2, where a piece of -wood is nicely fitted and glued on the pin, or like Fig. 3, -which is the better arrangement, where a stiff wire is bent -into the shape <i>a</i>, and then passed through two holes -pierced through the crank-pin as shown at <i>b</i>; this arrangement -securing the needful firmness, the projecting -ends of the wire are then bent, the upper one upward, -the lower downward, so completing the crank.</p> - -<p class='c005'>After the mechanical part of the panorama is finished -so that it runs smoothly, two strips of stiff pasteboard -can be fastened over the front, corresponding to the -dotted lines <i>a</i> and <i>b</i> in Fig. 1, which will hide the rollers -and give a neater appearance to the whole. If liked, a -second piece of the pasteboard can be cut, in length corresponding -to the width of the box, and wide enough to -<span class='pageno' id='Page_165'>165</span>cover the cranks, and extend down to the top of the -pictures.</p> - -<p class='c005'>When exhibiting the pictures, place the box on a table -with its front well lighted, turned toward the audience, -and turn the pictures slowly, by an even motion of the -cranks, pausing slightly at each scene, at the same time -giving, if possible, a brief description of the thing illustrated, -as this will add considerably to the enjoyment of -the little folks. I forgot to add, in its proper place, that -for a final finish the whole thing should be covered with -any pretty paper at hand. Nice wall-paper or even common -brown wrapping-paper gives it a neat appearance.</p> - -<div class='nf-center-c1'> -<div class='nf-center c007'> - <div>―――――◀▶―――――</div> - </div> -</div> - -<h3 class='c009'>A MORE ELABORATE PANORAMA.</h3> - -<p class='c010'>Having thoroughly mastered the construction of the -simpler form of the panorama, a more elaborate one can -be made by simply devoting to it considerably more time -and attention; but as this is greatly superior to the other -in every respect, it is well worth the extra trouble.</p> - -<p class='c005'>This will necessarily require a much larger box than the -one previously described. For convenience in description, -suppose we have a soap-box two feet long, twelve -inches high, and eighteen inches wide. We shall first -take away both top and bottom, then standing it upon its -<span class='pageno' id='Page_166'>166</span>side, we have the frame-work of our structure, which is -still two feet long, but now eighteen inches high, and -twelve inches deep, that is from front to back; next, we -cut from the discarded top a false bottom, or shelf, like -Fig. 2, which, if your box is of seven-eighths inch material, -will measure twenty-two and a quarter, by eight -inches. Mark the point <i>a</i>, four inches from one side of -the board, and equidistant from the ends; through this -draw the line <i>b c</i>, five inches long on each side of <i>a</i>, or ten -inches in all; mark at three and one-half inches from the -ends of the board the points <i>d</i> and <i>e</i>, and draw the lines -<i>b d</i> and <i>c e</i>; then cut out the piece thus marked off.</p> - -<div class='figcenter id019'> -<img src='images/i_166.png' alt='Fig. 2' class='ig001' /> -</div> - -<p class='c005'>The holes at the bottom for the rollers are four and -one-half inches from the back <i>f g</i>, in order to insure that -the line of pictures when in motion shall not fall back -from the line <i>b c</i>, and are equidistant from the ends of -the board and the oblique lines <i>b d</i> and <i>c e</i>, to secure as -much room as possible for the roll. Make corresponding -<span class='pageno' id='Page_167'>167</span>holes in the top of the box, taking particular care that -they are exactly above those in the shelf, when that is in -position. The rollers are made from sections of broomstick, -with holes bored in the ends, and the wooden pins -glued firmly in place. Remember that the upper set of -pins are to be much longer than the lower to allow for the -insertion of the crank. These rollers are about eleven -and one-half inches long, and when the glue has thoroughly -dried, should be put in place and kept there by -inserting the shelf, and fastening it in place by nails -driven through the sides as at <i>i i</i>, in Fig. 3.</p> - -<div class='figcenter id051'> -<img src='images/i_167.png' alt='Fig. 3' class='ig001' /> -</div> - -<p class='c005'>Fig. 3 represents what is called a horizontal section; -that is, the work is supposed to be cut across from front -<span class='pageno' id='Page_168'>168</span>to back, a little way above the shelf just mentioned, and -the observer is supposed to be looking downward at it. -Fig. 4 represents the work in an upright position, and the -observer sees the front of it.</p> - -<div class='figcenter id052'> -<img src='images/i_168.png' alt='Fig. 4' class='ig001' /> -</div> - -<p class='c005'>From the top of the shelf to the lower outside edge of -the box should be just five and one-half inches. Next -come the two uprights, <i>a b</i>, <i>c d</i>, Fig. 3, and <i>A A</i>, Fig. 4. -They may be made from the bottom of the box, which -was taken out, it will be remembered, and let their width -correspond to <i>a b</i> and <i>c d</i>, Fig. 3. Round off the edges at -<span class='pageno' id='Page_169'>169</span><i>a</i> and <i>c</i>, and smooth it with sand-paper, as it would soon -tear the pictures if left in a rough state; place these two -boards in position, and secure them by nails at the top -and bottom. Now cut two oblong pieces from stiff -cardboard, as long as these wooden uprights, and wide -enough to cover the spaces left at <i>e b</i> and <i>d f</i>, and tack -these in position; they are shown by dotted lines in -Fig. 4.</p> - -<div class='figcenter id014'> -<img src='images/i_169.png' alt='Fig. 5' class='ig001' /> -</div> - -<p class='c005'>From a thin board cut two other strips to cover the -spaces <i>g h</i>, but leave the placing of these till the work is -nearly finished. A board two feet long and about three -inches high is also necessary for the lower edge of the -front, and should be put on after the other parts are in -position, to hide the flame of the foot-lights (consisting of -a row of short candles) from the spectator. The two -pieces like Fig. 5 are made of pasteboard and are designed -to furnish the upper and lower portions of the frame for -the pictures. Their position is indicated by dotted lines -in Fig. 4. As it is somewhat difficult to arrive at the -<span class='pageno' id='Page_170'>170</span>exact proportions of these irregular pieces, without the -actual box before one, it will be easier to leave this to the -maker, as it is simply necessary to take a stiff piece of -paper and place it in the position desired; then crease the -lines so that they shall meet the proper points on the uprights; -the lower piece comes up to the top of the shelf, -and the upper piece comes down just below the top of the -picture. After fitting this paper, it is an easy matter to -trace the form on the pasteboard, taking care that all the -lines are perfectly straight. The curtain should be next -adjusted, and a piece of dark blue or green cambric is -best suited for this purpose.</p> - -<p class='c005'>Cut (do not tear) from your cloth a piece of the required -size, making sure that the sides are at right angles to -each other, and prepare another roller from your broomstick -twenty-one and one-half inches long. This roller is -seen between <i>e</i> and <i>f</i> in Fig. 3. Paste or glue one of the -ends of the cloth, which corresponds to the length of the -roller, smoothly around it; now letting this roll just -touch the floor, draw the other end up evenly, and tack -it along the under-side of the top of the box, on a line -three inches from the edge. In order that the curtain -may roll up smoothly, it is best to mark straight lines -with a pencil and ruler, on both roller and box, and adjust -its edges carefully to these lines.</p> - -<p class='c005'>Just in front of this line, and at two inches from either -<span class='pageno' id='Page_171'>171</span>end, tack to the box the ends of two pieces of fish-line, -and, carrying the strings down the front of the curtain, -bring them under the roller, up on the other side, and -through two small holes bored for the purpose in the top -of the box, about three and one-half inches from the ends; -next bring the two strings together, and pass them through -a screw-eye placed at the middle and back edge of the top -to receive them. At one side of the back, in any convenient -place, drive a small nail to wind the strings upon -when the curtain is up. By simply undoing this, the -curtain can at any moment be made to fall. It is also -well to tie the two strings together, and fasten a button -to them just back of the point where they pass through -the screw-eye, when the curtain is down, and they are -evenly drawn, as this prevents an extra play of the cord, -and obviates entirely the danger of their slipping. Before -the curtain is nailed on, it is best to paper the whole -beveled surface picture frame with some neat plain paper; -very dark red or green “velvet” house-paper being preferable -to all others.</p> - -<p class='c005'>After the curtain is in a good working condition, fasten -on the two uprights, <i>g</i> and <i>h</i>, indicated in Fig. 3, and the -long piece across the front which you have already prepared; -make a fancy design for the top out of stiff cardboard, -taking especial care that it is wide enough to cover -the cranks on the top, while at the same time it extends -<span class='pageno' id='Page_172'>172</span>low enough to cover the upper edges of the curtain and -the rough unfinished wood in front.</p> - -<p class='c005'>Cover the outside and edges of the box with fancy -wall-paper, letting it extend well over on the inside, -wherever there is the slightest danger of that surface being -exposed to view; and lastly, fasten the long strip of -pictures on the rollers, and nothing is wanting but posters -and tickets, to insure a first-class show, of the best approved, -old-fashioned style.</p> - -<div class='nf-center-c1'> -<div class='nf-center c007'> - <div>―――――◀▶―――――</div> - </div> -</div> - -<h3 class='c009'>REPOUSSÉ WORK FOR BOYS.</h3> - -<p class='c010'>The term Repoussé is applied to any sheet-metal in -which a pattern is hammered out or left in relief, by -means of a hammer and common nail, or a regular tool -made for the purpose. It does not simply refer to brass-work, -but applies equally to work of like character either -on silver or gold.</p> - -<div class='figcenter id026'> -<img src='images/i_173.png' alt='' class='ig001' /> -</div> - -<p class='c005'>If you have friends who have made the voyage of the -Nile, you have probably seen the beautiful silver bracelets -bought by them of the Nubian workmen as souvenirs -of their Eastern travels. These bracelets are made, I was -told, by the natives of the interior, with simply a nail and -a stone, but the effect is very artistic and pretty. So, if -ignorant Nubians can make these beautiful things with -such primitive tools, certainly an intelligent American -<span class='pageno' id='Page_175'>175</span>lad can do equally good work, with a little instruction and -better materials.</p> - -<h4 class='c012'>REPOUSSÉ, OR HAMMERED BRASS.</h4> - -<p class='c010'>This work is chiefly produced by means of a punch -and hammer. An ordinary tack-hammer can be used, but -that generally in use by most workers is of rather peculiar -shape, like that in Fig. 1.</p> - -<div class='figcenter id027'> -<img src='images/i_175.png' alt='Fig. 1' class='ig001' /> -</div> - -<p class='c005'>The round end will be found very useful in working -from the inside of the pattern, which will be explained -hereafter. The punches are of various forms; but a set -of common board nails of different sizes, and varying -shaped ends, make good tools for beginners. A very nice -piece of work can be done with a common French nail -whose end has been ground flat.</p> - -<p class='c005'>It is desirable that a beginner should practice upon the -thinnest sheet-brass until he becomes perfectly acquainted -with the use of his tools. Brass can be obtained for about -twenty-five cents a pound, and one-quarter of a pound of -No. 25 will be amply sufficient for this practice.</p> - -<p class='c005'><span class='pageno' id='Page_176'>176</span>A tool which is of great assistance in all brass work is -a dull chisel or screw-driver, with a serrated edge, so that -a dotted line is left when it is pressed upon the metal; -however, if this is not readily procurable, a common -screw-driver will answer the same purpose in most instances. -In this practice, the first thing to be done is to -draw a line of some design upon the brass with a soft -lead-pencil or with impression-paper, taking extreme care -that this line is precisely like that in the copy, as all irregularities -should be corrected in the drawing, and none -left for the punch. It is, indeed, very difficult to make -the proper corrections after the work is commenced. -Then having traced your line as perfectly as you can do -it, lay the brass upon a piece of soft wood, and with the -end of the screw-driver pressed evenly upon the line, give -the head a light blow with the hammer; then move the -blade along the penciled line, so that its edge shall just -touch the end of the last indentation, and give it another -slight tap with the hammer. If you strike with too much -force your line will be unequally deep in some places, and -your work will not present as good an appearance when -finished. This process should be repeated along the entire -design, and a perfect unbroken line should be the -result. Until this is accomplished it is best to attempt -nothing further. After you have succeeded in making -one unbroken even line, mark two parallel lines upon the -<span class='pageno' id='Page_177'>177</span>metal, and do them in the same manner. When these -present a satisfactory appearance, trace some very simple -design upon the same thin sheet, and after nailing the -sheet at each corner to the block, commence with the -chisel and mark lightly around the figure. It is often -necessary to do this tracing over two or three times during -the process of working, as too deep denting at first -warps, or, as the regular brass-worker would say, “buckles” -your pattern. Now commence at the outside edge -of your design, with your nail placed near the line, strike -upon it with a light blow, and continue this operation -until your whole background is covered with little dents, -and presents a thickly mottled appearance. When this -is removed from the block, the pattern will seem to stand -out from the rest of the surface.</p> - -<p class='c005'>Care must be taken at first not to crack or break holes -in the brass, but after a little practice, and a thicker quality -of brass is used, you will learn to avoid this danger.</p> - -<h4 class='c012'>PLAQUE IN HAMMERED BRASS.</h4> - -<p class='c010'>When quite confident in the use of your tools, you can -proceed to make a card-receiver decorated with an antique -head, as in the figure; or by enlarging the design, and -making the background circular, a plaque will be the result, -which will be useful for holding fruit, or, set in a -<span class='pageno' id='Page_178'>178</span>velvet frame, will make an ornament for your walls. A -sheet of brass nearly one-eighth of an inch in thickness, -and at least seventeen inches square will be required.</p> - -<p class='c005'>As in work of this character a deeper relief is desirable, -you will find it more agreeable to work over a bed of composition, -which is more yielding than wood, and can be made -with but little trouble; this composition can be obtained -in small cakes at any store where jewelers’ tools are for -sale; but you can easily make it yourself by thoroughly -mixing fine sand, well-sifted wood ashes, or even brick-dust, -with equal parts of pitch or resin; a tiny bit of tallow -improves it considerably. This pitch bed, as it is -called, can be spread on a flat table or board, and the -sheet of brass, after the design has been carefully traced -thereon, fastened down upon it by means of four screws -at the corners. To draw the design for the plaque, with a -strong pair of carpenter’s dividers describe a circle whose -diameter shall be sixteen and one-half inches, and within -this draw a second circle, with a diameter of fifteen inches. -The space between these two circles is to be left untouched, -as it will be turned over to inclose the wire which forms -the edge, if for a platter; or will extend under the edge -of the velvet, if intended to be framed. Be sure and put -your screws outside the large circle, as holes in the body -of the plaque would ruin its effect. In this work heavier -blows with the hammer will be needed; and a large, well-shaped -<span class='pageno' id='Page_179'>179</span>nail used for the background. Work around the -pattern until it stands out in line relief.</p> - -<p class='c005'>The brass will become discolored and black during the -process of hammering; but, when done, it can be readily -cleaned, at first with oxalic acid and rotten-stone, then a -final polishing with chamois-skin.</p> - -<p class='c005'>When well polished, take it to a tinsmith and he will -make it up for you as a platter, or trim and bend the -edges for a plaque.</p> - -<h4 class='c012'>CARD-RECEIVER.</h4> - -<p class='c010'>In making the card-receiver, take the design off on -tracing-paper, and then carefully trace it with a sharpened -stick or end of a bone crochet-hook, over the impression-leaf -on the sheet of brass. In this also the relief -should be high, thus rendering it necessary that it should -be hammered on the composition-bed. Polish and finish -this in the same manner as the plaque.</p> - -<h4 class='c012'>FOXING.</h4> - -<p class='c010'>Foxing, or sticking the metal to be embossed upon a -block covered with pitch, is a favorite method with many -workers. The block can be of iron or wood, and should -measure eight or nine inches across; this rests upon a -deep ring of straw, which is readily made by an ingenious -boy, as it simply consists of the twisting several wisps -of rye straw in the form of a large cable, and then bending -<span class='pageno' id='Page_180'>180</span>them into a small ring of even thickness. Catch them -in place with a large darning-needle filled with wrapping-twine. -Nice rings, made of leather, and designed expressly -for this purpose, can be obtained in the trade, but -the home-made ones answer as well for any work a novice -would be competent or even desirous of undertaking. -The top of the block is covered with pitch, which should -be warmed, and then given the slightest possible coating -of oil, whenever a new object is to be placed upon it. -Care must be taken that too much oil is not used, as in -that case it will be impossible to make the surface of the -brass adhere to the bed. In work of a nice nature, where -the lines are many and fine, and the background complicated, -this is by far the most satisfactory bed to use, and -when the metal is “annealed” it will be found invaluable.</p> - -<h4 class='c012'>ANNEALING.</h4> - -<p class='c010'>When working in very heavy metal, it is often necessary -to soften it somewhat, especially if a deep relief is -desired. This is accomplished by placing the plate upon -a bed of glowing coals, and allowing it to remain there -till it becomes soft, but not in the least melted, and then -removing it with pincers. Hammering upon the cold -metal is inclined to make it brittle, and at times slightly -unmanageable, and this unpleasant quality can be overcome -<span class='pageno' id='Page_181'>181</span>by annealing; but so much care and patience are -required to accomplish this process successfully, that it -is not very popular with young workers. In many larger -designs, a very high relief is obtained by turning the -brass after the plaque has been hammered upon the right -side as much as seems necessary, and with the round end -of the hammer sending strong, even blows into the figure, -at whatever points the highest work is desired. By annealing -the metal, and working the pattern from the inside -after the background is finished, a very fine bunch -of well-rounded grapes is easily formed, and makes a -very nice subject for a fruit-dish or dining-room plaque. -A dragon, and the emblem of St. Mark, both make unusually -fine designs for a mediæval plaque.</p> - -<p class='c005'>As you become more expert in this art you will constantly -desire new punches. Designs will suggest themselves -to you, and it will be impossible to obtain them -ready-made, so it is well for a boy to learn to make his -own tools. A kind of square steel wire about one-eighth -of an inch thick is made for this purpose, and can be -bought in any quantity; this can be cut with a file, and -the ends formed into the desired shapes.</p> - -<h4 class='c012'>A SALVER IN REPOUSSÉ.</h4> - -<p class='c010'>A very beautiful salver, which will not only be ornamental -but exceedingly useful, can be easily made by one -<span class='pageno' id='Page_182'>182</span>accustomed to work upon sheet-brass. A piece twenty -by fifteen inches in size, and about one-eighth of an inch -thick, will be required for one of medium size. Strike -off with the dividers a quarter circle in each corner, to -give it a slightly oval effect, and draw a line around the -salver parallel to the intended edge, and one and three-fourths -inches from it. The entire central surface can be -hammered in the honey-comb pattern, which is so popular -just now, and is done with a perfectly straight-edged -punch, its length determining the side of the hexagon, or -if preferred the pentagon, as both forms are equally attractive; -or it may contain some graceful design done in -low relief. The more original the design the more unique -the salver, provided it is artistic and in harmony with -the object and use for which it is intended.</p> - -<p class='c005'>It would be well for all young workers in brass to examine -carefully any work of that nature which comes -within their field of view, especially any antique or -foreign brasses, with a view toward perfecting their own -designs, or gaining ideas for others.</p> - -<p class='c005'>When the work on this salver is completed, take it to -the tinman, and tell him how you wish it made up, and -he will do it for you for a very small sum.</p> - -<h4 class='c012'>A SILVER BANGLE FOR A LADY’S BRACELET.</h4> - -<p class='c010'>For the past few years there has been an increasing -<span class='pageno' id='Page_183'>183</span>passion among young girls for the little round bangles, -which tinkle so musically with every movement of the -slender white wrist, that we are forcibly reminded of the -old nursery rhyme:</p> - -<div class='lg-container-b'> - <div class='linegroup'> - <div class='group'> - <div class='line'>“With rings on her fingers,</div> - <div class='line in3'>And bells on her toes,</div> - <div class='line in1'>She shall have music</div> - <div class='line in3'>Wherever she goes.”</div> - </div> - </div> -</div> - -<p class='c005'>And as it has long been a matter of rivalry, as to who -should display the greatest number of these resonant -favors, it is quite certain that one of the pretty trifles will -make a very acceptable present to any of your sisters or -girl friends you may desire to please. They are usually -made from ten cent pieces, but occasionally a bit of silver -no larger than an old-fashioned three-cent piece is used. -The coin is beaten or rolled flat, and the giver’s initials or -monogram, with perhaps a date, is engraved on one side. -Now a much more unique and artistic thing could be -made by annealing the coin, and beating its surface flat -on some firm, hard bed. After the silver is reduced to -the proper size and thinness, with a pen or pencil draw -some odd designs, and hammer it in shape with a small, -blunt-pointed nail. Ancient coins, such as are frequently -on exhibition in store windows, afford excellent subjects -for this class of ornaments. When the design is well indented, -<span class='pageno' id='Page_184'>184</span>the work can be cleaned by boiling it in sulphuric -acid and water, and polishing it with chamois-skin.</p> - -<h4 class='c012'>A BANGLE BRACELET.</h4> - -<p class='c010'>A bangle bracelet can be easily made of hammered -work, from a narrow strip of sheet-silver, which can be -obtained from any silversmith at a small cost. The design -is to be traced on the silver in the same manner as -upon the sheet-brass, and great care must be taken in the -working out of each little detail. When the work is finished, -it should be sent to a jeweler to be made up and -polished. This is of course an expensive, as well as a -very nice piece of work, and should not be tried until -considerable skill in the manipulation of sheet-metal has -been acquired, and success seems in a large degree -certain.</p> - -<p class='c005'>Many ladies are fine workers in repoussé, and it cannot -fail to be a source of satisfaction to every one interested -in the art to know, that each year its merits are becoming -more fully known and appreciated by that great class of -people, whose purchases govern the prices of all artistic -things. Now, boys, I have simply touched upon this -very interesting subject of repoussé, and given you a few -directions, culled from my own experience. If, however, -I have succeeded in stimulating in you a desire to pursue -<span class='pageno' id='Page_185'>185</span>this subject further, you will find many excellent helps, -in the form of books or pamphlets, in any of our large -stores devoted to artists’ materials and supplies.</p> - -<div class='nf-center-c1'> -<div class='nf-center c007'> - <div>―――――◀▶―――――</div> - </div> -</div> - -<h3 class='c009'>A FRAME FOR A PLAQUE.</h3> - -<p class='c010'>A fine frame for any kind of plaque, whether repoussé, -porcelain, leather work, or papier-maché, can be easily -made from a square piece of wood, about six inches wider -than the subject to be framed; this can be beveled at the -edges, or left as when sawed. In the center, with a strong -pair of carpenter’s dividers describe a circle, whose diameter -shall be half an inch shorter than that of the -plaque. Bevel the front edge of this opening, then covering -the whole front surface of this wood with thin glue, -lay it, face downward upon the piece of plush or velvet, -intended to cover it; the material lying flat and smooth, -with its raised surface downward, upon an uncovered -table. Cut the center of the cloth away, allowing enough -on the edge to draw over the opening of the frame; -slash this to within a short distance of the wood, that it -may lay evenly when finished; now glue this firmly down -upon the back, and bring over the outside edges and fix -them in the same way. When this is dry, fasten in your -plaque with brads driven into the back of the frame, and -<span class='pageno' id='Page_186'>186</span>extending over the edge of the opening at its back. Finally, -when certain all is securely fastened, wet a piece -of brown paper, cut to exactly cover the entire back of -plaque and frame both, cover it with paste and press it -in place. It is necessary to wet the paper first, to prevent -its wrinkling or forming great bubbles when dry. When -the paper is dampened, a bit of paste around the edge is -all that is necessary to hold it in place.</p> - -<p class='c005'>After this backing is completed, a couple of screw-eyes -and a wire cord are to be added, and your plaque is ready -for your walls.</p> - -<div class='nf-center-c1'> -<div class='nf-center c007'> - <div>―――――◀▶―――――</div> - </div> -</div> - -<h3 class='c009'>THE AQUARIUM.</h3> - -<div class='figcenter id053'> -<img src='images/i_187.png' alt='' class='ig001' /> -</div> - -<p class='c010'>The name aquarium was formerly sometimes given to a -tank or cistern placed in a hot-house, and intended for -the cultivation of aquatic plants; but in later years its -signification has widened, so that it now embraces animals -as well as plants in its category. Its use seems to -have been known nearly a hundred years ago, and a number -of gentlemen, in the latter part of the eighteenth century, -made several successful experiments by means of -this “scientific plaything,” as some writer has happily -called it. The aquarium can be used for either salt or -fresh water animals, the former necessitating a residence -conveniently near the sea, for the purpose of occasionally -<span class='pageno' id='Page_189'>189</span>replenishing it with a fresh supply of the water. It may -be an ordinary globe, or it can be made of slabs of heavy -glass, fastened inside an iron frame-work, with a peculiar -kind of cement, made specially for the purpose. They -can be obtained in different sizes at several places in New -York and other cities, and as the materials in themselves -are expensive, and the work of making one usually results -in a series of disappointments, and finally, in total -failure, the expediency of buying one ready-made cannot -be too strongly urged upon the young naturalist. Although -the large aquarium accommodates more inmates, -the globe is much more easily cleaned, and answers -equally well for a few fishes, as the one in my window -will testify. As fresh-water animals and plants are more -accessible to the larger proportion of boys in the country, -and the globe much cheaper, while it occupies less space -than the large square articles alluded to above, it may -possibly not come amiss for me to give, for the benefit of -those of my readers who are interested in the subject, a -description of my own fresh-water aquarium, and what -little experience I have derived from it.</p> - -<p class='c005'>It is a globe of ordinary shape, and has the capacity of -a common water-pail. For several years it was stocked -with gold-fish, but it was, moreover, a source of ceaseless -anxiety and trouble. The fish would die or turn black -without any apparent cause, and, still worse, would frequently -<span class='pageno' id='Page_190'>190</span>have what we termed “fits” in the night, and -jump out of the globe on the floor, where they would be -found, cold and lifeless, in the morning.</p> - -<p class='c005'>The experiment of keeping these decidedly troublesome -pets was finally given up, and the empty globe placed -high and dry upon a closet shelf.</p> - -<p class='c005'>One day nearly a year ago, a young member of our -household brought home three small fishes (the common -dace), and begged so hard that the globe might be -brought out, and converted into the family fish-pond -once more, that we finally consented, and the little fishes -were soon at home in our library window. Not more than -a week after this, a genuine mud-turtle was added to the -collection, and, strange as it may seem, these little creatures -have lived at peace with each other ever since.</p> - -<p class='c005'>We covered the bottom with a few pebbles from the -brook, and afterward added some sand and a handful -of shells from the sea-shore.</p> - -<p class='c005'>We experimented with several species of water-plants, -but were convinced that a tiny fine-leaved plant, of which -I have forgotten the name, but which grows very plentifully -in our northern fresh-water brooklets, and the <i>vallisneria -Spiralis</i>, or common tape or eel-grass, gave the -greatest satisfaction on the whole. With these little -plants growing on its bottom, we are not obliged to -change the water for several days at a time.</p> - -<p class='c005'><span class='pageno' id='Page_191'>191</span>In bright sunny weather the plants give forth plenty of -oxygen for the fishes to breathe. This can be readily -seen by noting the little air-bubbles adhering to the -leaves and stems, or rising slowly to the surface of the -water; but in cloudy weather this gas-making process -diminishes, so that after awhile the air becomes vitiated, -and the fishes, finding it hard to breathe, are forced to -swim near the top, with their heads at the surface of the -water. At such times it is well to introduce fresh air into -the water, by filling a cup with the water, and, holding it -an inch or two above the surface, pour it slowly back into -the globe; by repeating this process several times the -water is made comparatively pure once more. Another -and easier way of accomplishing this is by using a small -syringe instead of the cup; but care must be taken in -either case to avoid hitting the fish with the descending -stream.</p> - -<p class='c005'>Their food consists of angle-worms and flies in summer, -and bits of fresh meat cut very fine with the scissors, during -the colder portions of the year.</p> - -<h4 class='c012'>THE SALT-WATER AQUARIUM.</h4> - -<div class='figcenter id054'> -<img src='images/i_193.png' alt='' class='ig001' /> -</div> - -<p class='c010'>The globe answers equally as well for salt as for fresh -water fish, provided its inmates are not crowded and are -supplied with a sufficient quantity of good sea-water. In -<span class='pageno' id='Page_192'>192</span>obtaining this supply, it is desirable to have it dipped -from deep water some distance from the shore, or from the -channel if possible.</p> - -<p class='c005'>In preparing your globe, put a handful of gravel and -sand on the bottom, then with three or four irregular -stones build a cave or little arch, for the fishes to play -beneath.</p> - -<p class='c005'>Although some authorities say that the aquarium should -be kept in the shade, the one with which the writer was -familiar through childhood always stood in a south -window, which was only partially shaded by some great -trees in the garden beyond.</p> - -<p class='c005'>Occasionally, on very sunny days in spring or early -summer, before the leaves were fully grown, a newspaper -would be placed between the glass and the window-pane, -or over a corner of the top, to give the desired protection; -but the tiny cavern usually supplied sufficient shade, and -it was ever a source of unabating amusement to watch -the little fellows swim in and out through the arches, -darting now here and again there, hiding in the shadow -of some moss-grown stone, to spring out a moment later -upon an unsuspecting companion swimming leisurely by; -their little games of hide-and-seek and of tag were very -entertaining to witness, and we children would frequently -find ourselves quite excited over the success or failure of -our special favorite in the game.</p> - -<p class='c005'><span class='pageno' id='Page_195'>195</span>As the aquarium of which I speak was a large one, it -frequently had several inmates at the same time; among -these the little nippers, or, as the dwellers along the coast -of New York State call them, killie-fish—so named by the -Dutch settlers from their frequenting the little kills, or -inlets, along the shore—always held a conspicuous place. -Indeed, these little fishes seem to be blessed with a long -string of names entirely disproportionate to the size of -their tiny little bodies. In some places they are known -as minnows, while on the shores of the Narragansett they -retain their old Indian name of Mummychog. They are -a bright, lively little fish, darting through the water with -such rapidity, that you hold your breath in fear lest they -dash themselves against the glass at the end, but they -never do; just as contact with it seems a matter of certainty, -they suddenly turn a sharp angle, face about, and -perhaps come to the front and peer at you through the -glass, with their funny little faces pressed up close to its -surface. They are of a greenish-gray color upon the -back, which gradually shades to a bright silvery tone at -the sides, and their eyes, which are large and staring, -have a very mild, good-natured expression.</p> - -<p class='c005'>Very different from these are the sticklebacks (<i>Gasterosteus</i>), -also fine subjects for the aquarium, for a more -pugnacious or plucky little fellows it would be hard to -find than these graceful little tyrants, which in early -<span class='pageno' id='Page_196'>196</span>spring are found in our creeks and salt-water ditches in -great abundance. As this is the only season of the year -in which they can be captured, it is best to be on the -watch for them during the last of March or the first of -April. A dip-net, made of a piece of mosquito netting -caught over a small hoop, and attached to a long, slender -handle, is best for catching all kinds of fish for the aquarium, -and the shores of bays or salt-water streams supply -a greater abundance than the open sea, or the shore -washed by the heavy ocean waves. If your globe is the -vessel you are to use, the sticklebacks will afford you -quite as much amusement as any fish you could find, for -aside from their quick, lively manner, they are a very -handsome fish. The male is of a rich ruddy color, his -little silvery sides giving forth gleams of red or blue, -which vary considerably, according to his temper. If he -feels quiet and peaceful, they are pale and soft in tone, -but if indignant, they become very brilliant, and the little -chap with his savage, fiery eye, becomes an object of -great respect and terror to all the other denizens of the -water within reach of his teeth or sharp little spines. -The female is less brilliantly colored than the male, is -blunter in build, and has a comparatively mild disposition, -leaving all little differences with other fish for her liege -lord and master to settle, for which duty he is perfectly -well fitted and takes great delight in performing; indeed, -<span class='pageno' id='Page_197'>197</span>so quarrelsome were these little fellows, that they would -soon kill all fish of other species in the tank, and when -no other subject was at hand, would fall to and fight one -another, biting as ugly dogs might do, and spearing with -their tiny spines, till one had acquired complete supremacy -over all the rest. It is very interesting to watch the -process of their nest-building, and to see them, like so -many lilliputian carpenters, lay the sticks and hairs in -place, working as if their whole life depended upon -their unceasing exertions. We used to put in bits of -broom-corn split in threads, and bristles from the floor-brush, -for materials; and the work of building would generally -occupy three or four days. The nest was built in -one corner of the box (we were obliged to keep the sticklebacks -in a separate glass case, as they killed all the other -fish if together) and well up on the sides, with a tiny -round hole at the top for the fish to go in and out. After -a short time—I do not remember now just how long—hundreds -of little fish came out from the nest, and were very -lively for two or three days, but in a week they were all -dead, and the parents had the waters to themselves once -more. We never succeeded in raising the young fish, I -remember, but I do not now recall whether any reason -was ever ascribed to our failure, or if it was even known.</p> - -<p class='c005'>But to go back to our large aquarium. Fortunately -for us, not many fish are as quarrelsome as the sticklebacks, -<span class='pageno' id='Page_198'>198</span>and most of those I shall now describe live together -in perfect harmony. The young of larger fish do -very nicely for a time in the aquarium, and a young eel is -a rather amusing although somewhat sluggish fellow to -keep.</p> - -<p class='c005'>The most amusing denizens are creatures of the crab -family. The little hermit-crabs, found in quantities on -any shelving beach of the bay or sea inlet, create much -sport for the young naturalist. These little crabs, you -must know, are soft little fellows, for whom nature in a -frugal moment prepared no house or covering to protect -them from the thumps they might receive from both -water and stones; but the little fellows, with a shrewdness -one would hardly suspect in creatures so small, rise equal -to the occasion, and help themselves to the empty snail-shells -left by their more fortunate neighbors. When -small they occupy the little black snail-shells, moving -from a smaller to a larger as they increase in size. After -outgrowing these plainer homes they take possession of -the pretty grayish-white shells also found in abundance -on our shores. It is frequently quite amusing to watch -two fight over a particularly desirable one, which either -has chosen for its own, and ofttimes the battle will be -long and heavy before either will give up that which he -considers by rights his own. If you have one or more of -these little wanderers in your globe, remember to put in -<span class='pageno' id='Page_199'>199</span>two or three empty snail-shells for them to flee to when -they have outgrown their present abode. Their manner -of eating affords a very entertaining spectacle. Clams, -either soft or hard, cut into tiny bits, form the principal -food for all the dwellers in the aquarium, and a long stick -with a needle driven in one end, to form a tiny spear, is -used in passing it to them. When a particular crab is to -be fed, a bit of clam is taken up on the needle, and lowered -down in the water to a position directly in front of -him. At first, before he has become acquainted with this -mode of dining, he draws in his claws, and nothing but -the shell is to be seen upon the bottom; but in a few moments -the little fellow lets himself out again, little by -little, with a quick, jerky movement, till at last his two -little eyes stand in an upright position, and he is ready to -seize the tempting morsel. This he does with his longest -claw, and holding the clam firm in his grasp, he proceeds -to pick it in pieces with the other long claw, and pass it -along to the smaller set, which in turn give it to the next -in order, until it finally disappears in the mouth itself, -and is swallowed by the little creature.</p> - -<p class='c005'>It is important to have two or three snails in your globe -to act as scavengers, and keep the water free from the -refuse which would otherwise remain on the bottom. -These little creatures are often seen moving slowly along -on the surface of the glass, feeding upon the green moss -<span class='pageno' id='Page_200'>200</span>or confervæ which accumulates so quickly on all the -objects under water. The pipe-fish, a peculiarly shaped -specimen, comparatively rare on our Atlantic coast, is -worthy a place in your collection; and the shrimp, the -acrobat of the aquarium, whose funny little backward -movements, when the poor little fellow is frightened, -create so much laughter among the little folks, must not -be forgotten. Young scallops are very pretty, and when -left undisturbed open their shells a trifle, disclosing a -beautiful fringe of tiny blue tentacles which wave to and -fro with every motion of the water.</p> - -<p class='c005'>The medusæ, also called jelly-fish, with their umbrella-like -cover, and long, slender tentacles streaming downward, -are pretty for a time, but do not live long after -they are taken from the sea. The Cydippe and the Beroe -are very lovely specimens of this class, the former particularly -is noticeable for its beautiful iridescent colors. -The beautiful orange colored medusa is an unsafe inmate, -as he very soon kills all the fishes within his reach.</p> - -<div class='figcenter id055'> -<img src='images/i_201.png' alt='' class='ig001' /> -</div> - -<p class='c005'>If it is possible, obtain one or more of the beautiful sea-anemones, -and add it to your globe; the large, bright-colored -members of this class are only to be found in the -tropics, but very pretty, delicate specimens are sometimes -found in our northern waters, where a rock or bit of stonework -is constantly washed over by a swift current. If possible, -it is better to take the stone on which they rest, as it -<span class='pageno' id='Page_203'>203</span>is almost impossible to remove them from its surface without -killing them. This was, however, done several times -with success, and the anemones lived in our aquarium as -long as they could be expected to exist in perfectly quiet -water. When these creatures are at rest or frightened -they draw down into little shapeless masses; but when -looking for food they stretch up again, and expand on -the top of the long stalk, as we may call it, a beautiful -flower-like head, resembling an aster in form, and of a deep -brownish-yellow color. When food is passed down to -this animated blossom, it will fold its little tentacles one -by one around it, and pass it down into its mouth, open -to receive it, but which is entirely hidden by the beautiful -petals of this delicate flower.</p> - -<p class='c005'>All of you have probably noticed the serpulæ, or worm-like -excrescences often seen upon oyster and other hard -shells. If one of these shells be taken from the water -and immediately placed on the bottom of your aquarium, -after a few days, when the little animals feel quite at -home, they send out of one end of their slender tubes -bunches of the loveliest, delicate brown fern-like feelers, -which sway about in the water like the beautiful roadside -ferns in a gentle summer breeze.</p> - -<p class='c005'>But in the salt as in the fresh water aquarium, vegetation -is necessary for a healthful condition of the inmates. -Here we see on a miniature scale that wonderful balance -<span class='pageno' id='Page_204'>204</span>of organic forces which exists on the larger globe -around us. The vegetation exhales the purifying oxygen, -which renders the water fit for sustaining animal life; the -fishes and other animals in their turn give forth the carbonic-acid -gas, which is equally needed for the healthful -development of the plants; while, last of all, the snails—those -little scavengers nature has so wisely provided—remove -such minute portions of decaying matter as might -otherwise pass unnoticed, and so contaminate the entire -water in the globe.</p> - -<div class='nf-center-c1'> -<div class='nf-center c007'> - <div>―――――◀▶―――――</div> - </div> -</div> - -<h3 class='c009'>THE WOODEN WINDMILL.</h3> - -<p class='c010'>So common were these little toys among the companions -of my childhood, that it seemed almost superfluous to insert -what I supposed every boy must be familiar with; -but upon questioning my young friends, I find that very -few of them away from the sea-coast towns of New England, -and the sailor-like influence or atmosphere which -permeates them, know anything of the pretty little windmills, -or weather-vanes, which we copied from those of -our sailor friends.</p> - -<p class='c005'>It was no uncommon thing in those days for some boy -less ingenious than his companions to use a little strategy, -and so get his work done for him by proxy; and the -<span class='pageno' id='Page_205'>205</span>manner in which he would proceed was generally something -like this: Early some bright spring morning, with -jackknife and shingle in hand, he would saunter down to -the wharf, upon which he knew at an early hour the old -sea captains of the village would assemble, and wait his -chance. Here the old captains, and the sailors, who by -reason of their advanced age took the same honorary -title, were wont to gather on the sunny side of the -weather-beaten old store-house, and watch from under -their heavy gray eyebrows the bay stretched out before -them, while they enjoyed their pipes, and lived over -again the wonderful adventures and disasters of their -successive voyages; and here he would watch for his -prey, little suspected by those kindly old souls, who had, -years long gone by, ruled with iron will over the crews -and destinies of great ships, known to him only by their -names. Occasionally two or three would arrive at the -wharf together, and he knew his chances were gone for -that day at least; but usually some one, whose breakfast -may not have claimed as much attention as usual, would -be seen making his way down the quiet village street, -easily recognized by his rolling gait, his inseparable pipe, -and manner of scanning the clouds and horizon. Now -our friend would begin to whittle in earnest, soon attracting -the attention of the ancient mariner by his awkward -movements. Of course, he would receive no end of ridicule -<span class='pageno' id='Page_206'>206</span>for his stupidity; but as that did not sink very deep -in his boyish soul, he was prepared to pay a greater price, -if necessary, for the work he expected to receive. It not -unfreqently happened that the old fellow would take the -shingle to show him how to begin, and would get so much -interested in the work that he would offer to do it during -the day, and would actually whittle away on the little -boat, while he or one of his companions related for the -fiftieth time how the <i>Nautilus</i> passed through so many -hair-breadth escapes, and finally reached port at last, -with no soul missing and cargo untouched.</p> - -<p class='c005'>It was during these long voyages, when time hung -heavily on their hands, that they acquired their skill in -fashioning these mechanical toys, which almost always -had for their motive power the wind or the waves.</p> - -<div class='figcenter id024'> -<img src='images/i_206.png' alt='Fig. 1' class='ig001' /> -</div> - -<div class='figcenter id024'> -<img src='images/i_207_a.png' alt='Fig. 2' class='ig001' /> -</div> - -<div class='figcenter id024'> -<img src='images/i_207_b.png' alt='Fig. 3' class='ig001' /> -</div> - -<div class='figcenter id031'> -<img src='images/i_208.png' alt='Fig. 4' class='ig001' /> -</div> - -<p class='c005'>The simplest form of windmill from this source I remember -seeing is very easily constructed. It is made -from an oblong piece of wood like Fig. 1. Through the -center of this bore a hole, <i>a</i>, for the pivot upon which it -will finally turn, and mark the two lines at <i>b</i>. Now, commencing -at the point <i>b</i>, cut off the corner, <i>b c</i>, and make -<span class='pageno' id='Page_207'>207</span>the surface flat as in Fig. 2; then cut off the opposite side -of the other end, indicated in Fig. 1 by the dotted lines -<i>d e</i>, in a like manner. Your figure will now resemble Fig. -2, and both ends will form a prism like <i>b c d e f</i>; but <i>b -c d e</i> should be a thin flat blade, so the corner or edge, -commencing at <i>f</i>, should be cut down in the same manner -that <i>e d</i> was treated in Fig. 1. Make the other blade to -correspond and chamfer out the middle, or square piece, -as seen in Fig. 3. This middle piece is not a square, although -I have spoken of it as such, but is oblong, to allow -room for another two-bladed piece made precisely like -this to interlock with it. When these two pieces are -fitted together, fasten them with one or more nails, and -then insert the small round stick upon which the windmill -is to turn. Fig. 4 shows an arrangement by which -<span class='pageno' id='Page_208'>208</span>two windmills are operated on the same stick. These -should turn in opposite directions to make them effective, -and this is easily accomplished by simply cutting the -vanes of the one so that the wind shall strike it at an -angle opposite to that with which it strikes the other. -Should you care to decorate them in colors, it had best -be done by painting bands or stripes across each vane, all -to correspond with each other in width and shade. For -instance, take the windmill in Fig. 4; let the outside -bands be of chrome yellow and one inch wide; the next -red and two inches wide; while the third yellow, and the -fourth blue, should each be an inch in width. The axis -<span class='pageno' id='Page_209'>209</span>should have a greater diameter where the larger revolves -upon it, but should be cut smaller where it meets the back -of the little windmill. Nails in front and back of the -larger, and front of the smaller, are necessary to keep -them in place.</p> - -<div class='figcenter id014'> -<img src='images/i_209.png' alt='' class='ig001' /> -</div> - -<p class='c005'>Perhaps the most satisfactory way of arranging such a -<span class='pageno' id='Page_210'>210</span>windmill is to place it on the end of a weather-vane, as -shown in Fig. 5. It is then always presented to the wind. -The vane and the windmill may be painted the same -color, or the latter may be decorated in stripes, as before -described, and the vane given a color which will harmonize -with it. Care must be exercised to fasten each part -strongly in place, as the strain is very great during a -strong wind or in a storm.</p> - -<h4 class='c012'>THE SCREW-PROPELLER; OR, WEATHER-VANE AND WINDMILL COMBINED.</h4> - -<div class='figcenter id024'> -<img src='images/i_210.png' alt='' class='ig001' /> -</div> - -<p class='c010'>Take a piece of board, seven-eighths of an inch thick, -and large enough to make a vessel of the size you desire. -Cut out a hull like that in the illustration. Make a -small windmill like that just described, but with rounded -<span class='pageno' id='Page_211'>211</span>ends to the vanes, like that represented in Fig. 2. Pass -a strong wire through the hole in the center, and drive -it into the stern of Fig. 1; fasten the -other end into the rudder, which should -be stationary. Be careful when planning -your vessel to allow sufficient room for -the windmill to revolve below the over -hang. Bore a hole at a for the pivot to rest in, upon -which the weather-vane is to turn, and insert the two -masts in their proper places. Cut a small mizzen-sail -from thin board and nail it to the mast.</p> - -<div class='figcenter id009'> -<img src='images/i_211.png' alt='' class='ig001' /> -</div> - -<p class='c005'>The flags are of red and blue flannel, the stays of -copper or galvanized wire, and the bowsprit a small -stick, cut from a tough bit of wood. This propeller may -be painted to suit the fancy, but usually is black, with a -narrow yellow or white stripe near the top. The lower -third is frequently painted green, however, which adds -considerably to its nautical appearance. The windmill -should be a bright red, and the entire vessel should have -plenty of time to dry before being placed in its final -position.</p> - -<h4 class='c012'>THE SIDE-WHEELER.</h4> - -<div class='figcenter id056'> -<img src='images/i_212.png' alt='Fig. 1' class='ig001' /> -</div> - -<p class='c010'>Another, and very pretty windmill, which can be easily -constructed by a boy, is in the form of a steam-boat, the -paddles of which are always presented to the wind by -<span class='pageno' id='Page_212'>212</span>the position of the boat itself. Cut out of a seven-eighths -of an inch board a hull like that seen in the illustration, -and make the hole for the pivot at the middle point between -bow and stern; bore another hole just aft of this -for the axle of the paddle-wheels. Out of thin wood cut -two circular disks for these wheels, and dovetail the -paddles into their edges as seen in Fig. 2. Next cut out -two half circles of your thin wood for paddle-boxes, and -bore a hole in each for the axle of the wheels. These are -to shield the upper half of the wheels from the wind. -Now take a piece of tin, in shape like Fig. 3, and wide -<span class='pageno' id='Page_213'>213</span>enough to accommodate the wheels on either side, and -nail it to the edges of the paddle-boxes, as seen in the -figure; the ends, <i>a</i>, are to be nailed upon the deck of the -steamer, and answer the purpose of keeping these boxes -in position. Paint this boat black and green, the latter -occupying the lower third of the hull, while a narrow -line of yellow or white around the top relieves the somberness -<span class='pageno' id='Page_214'>214</span>of the upper part. The paddle-boxes should be -black, with narrow lines of light red radiating from a -small semicircular figure of the same color near the bottom. -This boat should also be fitted with a small mizzen-sail, -made of tin or thin board, and painted white. The -top of the paddle-boxes is buff or light yellow, and the -wheels or windmills are a bright red.</p> - -<div class='figcenter id034'> -<img src='images/i_213_a.png' alt='Fig. 2' class='ig001' /> -</div> - -<div class='figcenter id041'> -<img src='images/i_213_b.png' alt='Fig. 3' class='ig001' /> -</div> - -<p class='c005'>In this steam-boat, a “dummy” walking-beam, cut out -of a single piece of thin wood, can be added if desired, -and should be painted in solid black, or, if liked, it can -be striped like that in the “Toy Steam-boat,” elsewhere -described in this book. The smoke-stack in this, as well -as the screw-propeller, should be nailed in place before -the first painting.</p> - -<p class='c005'>If you should care to take the trouble, the walking-beam -can be made to move by simply cutting away the -hull between the paddle-boxes, to allow the crank to -turn in, and bending the axle of the wheels in the form -of the crank described in the “Toy Steam-boat.” A -long slit must also be cut in the tin cover of the paddle-boxes, -to allow of the play of the connecting-rod. Small -flags of bright-colored strong cloth can be placed in the -proper places if desired, and really add considerable to -the bright, pretty effect when first made; but as they are -soon ruined by the combined influences of sun, rain, and -wind, they are hardly desirable, unless the boat is in -<span class='pageno' id='Page_215'>215</span>some position where it can be easily reached, and the -little flags changed for new ones, as they become faded -or torn.</p> - -<h4 class='c012'>THE REGATTA WINDMILL.</h4> - -<div class='figcenter id018'> -<img src='images/i_215.png' alt='' class='ig001' /> -</div> - -<p class='c010'>Take two sticks of wood, about three feet long, and -one inch in diameter; fasten them together at their central -points, so that their arms shall be at right angles -with each other (see Fig. 1); and bore a large hole -through the point of intersection. From shingles cut -out four boats, each eight inches long, and fit them with -masts; next cut from strong new cloth four small triangular -pieces for sails, and sew them to the masts; -fasten the lower corner by a strong bit of cord to the -stern, as seen in Fig. 2; then cut a small flag from red -<span class='pageno' id='Page_216'>216</span>flannel and nail it to the top of the mast. You can paint -these boats if you like, and also the cross-pieces upon -which they are finally nailed. Care must be taken that -they all head the same way. Observe their positions in -Fig. 1.</p> - -<div class='figcenter id023'> -<img src='images/i_216.png' alt='' class='ig001' /> -</div> - -<p class='c005'>Fig. 1 shows the affair finished and mounted on its -pole. Place them in as high a position as possible, so -that they may catch the breeze from all directions.</p> - -<div class='nf-center-c1'> -<div class='nf-center c007'> - <div>―――――◀▶―――――</div> - </div> -</div> - -<h3 class='c009'>A BOY’S SOLAR MICROSCOPE.</h3> - -<p class='c010'>The microscope is, as every boy knows, an optical instrument, -which enables us to see and examine objects -which are too small to be seen by the naked eye. The -arrangement of the solar microscope is similar to that of -the magic lantern, the sun taking the place of the limelight -usually employed. In this form of the magic lantern, -<span class='pageno' id='Page_217'>217</span>two difficulties are to be overcome; one, the necessarily -fixed position of the instrument; and the other, -the very inconvenient habit the sun has of constantly -changing his position; so that it would be impossible to -adjust the lens without the aid of a mirror, to throw sufficient -light in upon the object to be examined. Both of -these obstacles are surmounted in the simple arrangement -of the solar microscope here described.</p> - -<div class='figcenter id016'> -<img src='images/i_217.png' alt='Fig. 1' class='ig001' /> -</div> - -<p class='c005'>First make a strong frame of wood, seven-eighths of an -inch in thickness, that will exactly fit in the lower half -of the window when the sash is thrown up; and in the -middle of this fit an upright board a foot wide, which has -a hole cut in its center ten inches in diameter. Fasten it -<span class='pageno' id='Page_218'>218</span>strongly in place by four nails driven through the frame, -and well into the ends of the boards, or, if more convenient, -by long screws inserted in the same places. Fig. 1 -shows the position of the board <i>a</i>, also that of the nails -<i>b</i>. The open spaces, <i>c</i>, are to be closed by several thicknesses -of brown paper pasted or tacked across on the inside -of the frame. The upper part of the window must also -be closed, so that no ray of light shall enter the room, -except through the hole <i>d</i>.</p> - -<div class='figcenter id008'> -<img src='images/i_218.png' alt='Fig. 2' class='ig001' /> -</div> - -<p class='c005'>Before proceeding further, it may be well to remark, -that, as perhaps the largest part of the work is the cutting -of no less than seven circular holes of various sizes, -through as many pieces of board, a scroll-saw will be -<span class='pageno' id='Page_219'>219</span>found an almost indispensable aid to the construction -of this apparatus. Also, that the window in which this -microscope is used must necessarily have a southern -exposure.</p> - -<div class='figcenter id042'> -<img src='images/i_219.png' alt='Fig. 3' class='ig001' /> -</div> - -<p class='c005'>In Fig. 2 we have a disk of half-inch wood, twelve -inches in diameter, with an opening in the center four -inches across, to hold the condensing lens, <i>a</i>; <i>b</i> is a mirror -five inches wide and ten inches long, turning on an axis -which passes through the supports, <i>c c</i>, the latter being attached -to the disk. These supports should be long enough -to admit of the mirror turning entirely around without -touching the disk, and are fastened in place by screws -passing through the disk and into their ends. When the -mirror is in place, cut the slit <i>d</i> parallel with the edge of -the mirror, for the wire <i>e</i> to pass through. The manner -of attaching the wire to the back of the mirror is seen in -Fig. 3. The back is first covered with paper to prevent -<span class='pageno' id='Page_220'>220</span>its scratching; then the wire is bent and laid in place, -and lastly, a piece of very strong paper is pasted over -the wire and entire back, and caught down over the edge -of the front, forming a narrow frame to the glass; the -ends of this wire should pass through rather small holes -<span class='pageno' id='Page_221'>221</span>in <i>c c</i>, so that it will not turn easily out of position. A -handle (see <i>f</i>, Fig. 4) should be placed on the other side -of the disk, and just across the lens from the slit <i>d</i>.</p> - -<div class='figcenter id056'> -<img src='images/i_220.png' alt='Fig. 4' class='ig001' /> -</div> - -<p class='c005'>Next take two pieces of wood, fifteen inches square -and half an inch thick; in the center of one cut a hole -twelve inches in diameter, while in that of the other cut -another round hole only ten inches across. In Fig. 4, -which represents a section of this microscope, <i>g</i> is the -central board of the screen, marked <i>a</i> in Fig. 1; <i>h</i> is the -piece you have just made, with the central opening -twelve inches in diameter; and <i>i</i> is the second piece, -which measures fifteen inches square, but has a hole of -only ten inches diameter in its center; <i>d</i>, which has a -dotted surface, to distinguish it from the frame-work, is -the large disk (Fig. 2), which, you remember, is just -twelve inches in diameter, and, consequently, will exactly -fit the opening in <i>h</i>; if these edges are rough, sand-paper -both with a coarse quality first, finishing them off with a -finer kind. When <i>d</i> is in position, and moves easily but -not loosely in <i>h</i>, place <i>i</i> over it and fasten it in place with -screws, passing through <i>i</i> into <i>h</i>; but <i>h</i>, of course, must -first be strongly nailed or screwed upon <i>g</i>.</p> - -<p class='c005'>You will now see that by turning the handle, <i>f</i>, the -position of the mirror, which is fastened to this disk, can -be easily changed so that it shall face in any direction, -while by drawing the wire, <i>e</i>, it can be turned so as to reflect -<span class='pageno' id='Page_222'>222</span>the sun’s rays through the lens, <i>a</i>, from whatever -quarter of the heavens it may be shining. This double -adjustment of the mirror and lens enables you to throw -the rays of the sun through the opening in upon the object, -<i>o</i>, at any hour of the day. As the mirror is adjusted -in Fig. 4, the sun must be very low, as its rays, to -strike the mirror, would necessarily be nearly horizontal.</p> - -<div class='figcenter id057'> -<img src='images/i_222.png' alt='Fig. 5' class='ig001' /> -</div> - -<p class='c005'>The lens, <i>a</i>, should be held in place by two pieces of -whalebone, bent around on either side of it, at the edge -of the opening in <i>d</i>; this lens is four inches in diameter, -and has a focal length of nine or ten inches; its adjustment -had better be left till everything else in the microscope -<span class='pageno' id='Page_223'>223</span>has been finished. Fig. 5 shows the appearance of -this when completed.</p> - -<div class='figcenter id014'> -<img src='images/i_223.png' alt='Fig. 6' class='ig001' /> -</div> - -<p class='c005'>As the outer part of the work is fitted, we will now -turn our attention to the other, or inner, side of the -screen. In Fig. 4, the board <i>j</i> is eighteen inches long -by ten inches wide, and half-an-inch thick. In the middle -is a small circular hole, one and one-half inches in -diameter. This is fastened to the middle board, <i>g</i>, by -the four horizontal posts, <i>p</i>, each six inches long.</p> - -<p class='c005'>Now take a square piece of half-inch board, five -<span class='pageno' id='Page_224'>224</span>inches across, cut a circular hole two inches in diameter -in the middle, and fit into this hole a pasteboard tube -four inches long, which is painted black on the inside. -The edge of the circular hole in <i>j</i> should also be black. -In Fig. 6, which represents this board, you will notice -two cleats, <i>l l</i>, fastened to the back of <i>k</i>; these are also -made of half-inch wood, and are five inches long by one -wide. In Fig. 4, the position of <i>k</i> and <i>l</i> is seen in connection -with the longer piece, <i>j</i>; the center of the openings -in <i>j</i> and <i>k</i> should form one and the same horizontal line. -The opening between <i>l</i> and <i>l</i> is for the glass slides upon -which the objects to be examined are placed.</p> - -<p class='c005'>After these parts are fastened in their proper places, -make a pasteboard tube, with a black inner surface, as -represented at <i>n</i>, about four inches in length, and inclose -in one end two lenses, each one and one-half inches in -diameter, and each having a focal length of four inches. -Fit this tube in the one marked <i>m</i>. Now, having everything -in place, fit in the lens, <i>a</i>, so that it will send the -rays of light directly through the hole in <i>j</i> upon the -object in <i>l</i>, and fasten it securely in place with your bent -whalebones.</p> - -<p class='c005'>The screen upon which the image is thrown can be the -opposite whitewashed surface of the room, if by a proper -adjustment of the tubes the image can be made distinct, -or it can be a sheet stretched over a frame-work of light -<span class='pageno' id='Page_225'>225</span>wood; the latter is preferable, as it can be more easily -brought in focus. Of course, in this form, as in any -other “magic lantern,” the nearer the screen to the lantern, -the longer the tubes <i>m n</i>; but the image, which is -smaller, gains in brilliancy of illumination, while with -these conditions reversed, the results are the opposite; -a larger image, but less bright in appearance. The same -light being spread over a larger surface is necessarily -less strong.</p> - -<h4 class='c012'>SOME OBJECTS FOR THIS MICROSCOPE.</h4> - -<p class='c010'>The objects which can be examined by aid of this instrument -are many in number, and can be readily prepared -by simply inserting them between two pieces of -glass, sufficiently small to slide in the opening <i>l l</i>, and -pasting bits of brown paper over the edges to hold them -in place.</p> - -<p class='c005'>In this manner the legs of flies and mosquitoes, the -heads of the latter with their venomous sting; hairs of -the dog and cat, also from the human head; tiny sections -of human skin; down from the butterfly’s wing, obtained -by dusting off a few of the tiny particles upon a glass -plate; the pollen from different flowers; spores of the -puff-ball and tiny grains of dust, all make very interesting -subjects for study, when magnified and thrown upon -the screen in the darkened room.</p> - -<p class='c005'><span class='pageno' id='Page_226'>226</span>One of the most interesting experiments with this form -of the magic lantern is made by throwing the image of -a drop of some solution, like sulphate of copper, upon the -screen, and watching the process of its crystallization; -sulphate of copper and of iron; hyposulphite of soda, -which latter may be colored by adding a very little permanganate -of potash to the solution.</p> - -<p class='c005'>The eels in a drop of vinegar, drops of stagnant water, -and the larvæ of the mosquito are also interesting objects, -when viewed by the aid of this powerful magnifier.</p> - -<div class='nf-center-c1'> -<div class='nf-center c007'> - <div>―――――◀▶―――――</div> - </div> -</div> - -<h3 class='c009'>SEA-MOSSES.</h3> - -<div class='figcenter id058'> -<img src='images/i_228.png' alt='' class='ig001' /> -</div> - -<p class='c010'>No boy who has lived on our coast, or, indeed, who has -spent much time near the sea, could have failed to notice -and admire the beautiful feathery mosses which sway -about so gracefully under the surface of the water. The -most delicate mosses are not found upon the open sea-beach, -but in the more sheltered bays and inlets near the -coast, and one who has never given them especial attention -cannot fail to be impressed by the great variety of -form and color to be found within a small space of water. -Ranging in color from the palest pink or straw to the -deepest purple or brown, and from the lightest sea-green -to the darkest shade of olive, they are capable of being -<span class='pageno' id='Page_227'>227</span>arranged in most beautiful bits of coloring, while the delicate, -fine specimens, united with the coarser varieties, -add to the effectiveness of the whole. To gather and -arrange these mosses is not as difficult a task as most -people imagine. Any boy can, with a little care, make a -fine collection, which would be valued very highly by -some inland friend who cannot reach the sea-shore every -year, or perhaps not more than once or twice in a lifetime. -If any of you, my boy readers, have any such -friend, do not fail to collect a quantity of the mosses common -to the waters near you, and arrange them on cards -for their preservation. In gathering your mosses have an -old tin can filled with water in the bottom of the boat, -and after detaching from the stones, throw them immediately -into the can. When you get home they can be -left in the can of salt water over night, if you have not -the time to attend to them at once; or they may be put -into a basin of fresh water, and left for awhile to wash -away the salt and sand that remains on them. When they -seem perfectly clean, take two or three carefully up on a -bit of paper and throw them into a basin of clean water.</p> - -<p class='c005'>Now the delicate part of the process is reached. Have -a number of square pieces of unglazed paper at hand—ribbon -paper is very good for the purpose—and thrust -them carefully into the water under the bit of moss you -desire to take out. With a long, slender darning-needle -<span class='pageno' id='Page_228'>228</span>carefully arrange the tiny filaments, so that they shall -form a graceful composition, and raise the card carefully -from the water. It is not necessary to exercise as much -care with the coarser “silver mosses,” as their more wiry -branchlets naturally assume graceful positions, and the -water flowing from the surface of the card does not so -easily disarrange their positions. When all the mosses -have been taken up on cards, fasten each to a table or -shelf to dry. This is done by driving a pin through one -<span class='pageno' id='Page_229'>229</span>corner of the card into the edge of the shelf or table, and -allowing it to remain undisturbed until both the moss and -paper are perfectly dry. They may now be mounted -upon cards prepared for the purpose, and their names, -with the locality where they were found, neatly written -beneath; or they may be preserved in a case or frame.</p> - -<div class='figcenter id059'> -<img src='images/i_229.png' alt='' class='ig001' /> -</div> - -<p class='c005'>The illustrations show two different arrangements of -sea-mosses for the frame. In the first, that seen in Fig. -1, they are glued upon a background of fine white cardboard, -<span class='pageno' id='Page_230'>230</span>one layer superimposed above another, until they -extend forward from the card for an inch or more. Their -stems are finally covered by a small, well-striped scallop-shell -which has been washed clean and varnished. It is -perhaps needless to add that the effect is very pretty. -The “silver mosses” are best adapted for this arrangement.</p> - -<p class='c005'>The design given in Fig. 2 is quite grotesque in its appearance, -and appeals rather more to the average boy’s -taste than the former arrangement. Red and brown -mosses are used entirely, unless the effect seems too -somber, in which case a little “silver moss” may be -introduced on the back to lighten it a trifle.</p> - -<p class='c005'>Tiny baskets, made of pretty scallop-shells nicely fitted -together and varnished, are often filled with the coarser -varieties of moss, and are very pretty; but if they are -unprotected from the dust they are soon destroyed, and -unless covered with a glass case or inverted thin plain -glass tumbler, they hardly pay for the trouble of making.</p> - -<div class='nf-center-c1'> -<div class='nf-center c007'> - <div>―――――◀▶―――――</div> - </div> -</div> - -<h3 class='c009'>ANTIQUES AND HORRIBLES.</h3> - -<div class='figcenter id060'> -<img src='images/i_231.png' alt='' class='ig001' /> -</div> - -<p class='c010'>This is another of the mechanical toys which was common -during my childhood. The whole affair is so simple -that a small boy could make it, in a less finished form at -<span class='pageno' id='Page_233'>233</span>least, and the most sullen little fellow in all the land could -not fail to be amused by the grotesque procession of clowns -and hobgoblins, kings and countrymen, birds and fishes -and animals, whose names no naturalist could tell, and -whose like was never seen on this earth before. This procession -travels on and on, as long as the crank is turned. -The above illustration gives some idea of a few of the -many members of the band, but any boy at all ingenious, -will see that he has a variety—the more grotesque and -outlandish the better the effect. Fig. 2 shows a section -of the machinery; the box-like covering is removed, and -the frame-work exposed to view. First procure a board, -<i>a</i>, about twenty by eight inches; next two rollers upon -which the band is to turn, for you must have seen that -these little images are made of thin cardboard, attached -to an endless band of strong cloth. These rollers should -be rather larger than broomsticks, and held in place by -four uprights, <i>c</i>. Only two of these can be seen in the -cut. A table, <i>d e</i>, extends between the rollers and is supported -by four legs, <i>f</i>, which should be of sufficient -length to make the top, <i>d e</i>, come just below the upper -section of the band, <i>g g</i> are boards, the same width as -the bottom, <i>a</i>, and of sufficient height to make a good -foundation for the top, and to allow free passage of the -procession. None of the figures should be much over -three inches in height, and none should be attached to -<span class='pageno' id='Page_234'>234</span>the cloth in more than one place; that is, by only one -foot, as they would be unavoidably torn in passing over -the rollers if more firmly fixed. The top and front are of -pasteboard, and the whole exposed surface is covered -with pretty wall-paper. On the right roller at the back -end, fix a small crank, or handle, and the machine is -started by turning this. When about to give a grand -exhibition, be careful to turn in the right direction, and -not set the whole procession running backward, as you -might easily do if unobserving or forgetful. The images -are much more amusing if painted in bright colors. Use -plenty of blue, red, yellow, black, and white paint, with -a touch here and there of rich green and purple; and you -may perhaps almost make your audience believe that -Fourth of July is here again, and they are viewing the -“Antiques and Horribles” through the large end of a -spy-glass.</p> - -<div class='figcenter id051'> -<img src='images/i_234.png' alt='' class='ig001' /> -</div> - -<div class='nf-center-c1'> -<div class='nf-center c007'> - <div><span class='pageno' id='Page_235'>235</span>―――――◀▶―――――</div> - </div> -</div> - -<h3 class='c009'>THE MUSICAL CHICKENS.</h3> - -<div class='figcenter id045'> -<img src='images/i_235.png' alt='Fig. 1' class='ig001' /> -</div> - -<p class='c010'>One of the most pleasing toys for children, which may -be counted among those made by boys themselves, is this -little coop of chickens. Make a box like Fig. 1, leaving -off the top and back boards until the works are placed -within it. The little bars which separate the chickens -are thin strips of wood. In Fig. 2, <i>a</i> represents one of -the chickens, which is also made of thin wood and -painted yellow; a hole is made at <i>b</i>, to allow the passage -of a strong stiff wire, upon which the chickens turn, -and by which they are also kept in place. At the end, <i>c</i>, -of each, a strong piece of linen thread is tied through a -small hole bored for the purpose, and each line is caught -to a separate nail, driven in the bottom of the box, just -<span class='pageno' id='Page_236'>236</span>below the chicken, in such a manner that when it is -drawn tightly in place it will just touch the roller <i>d</i>. -Fig. 1 shows just where each chicken is placed, and how -far their heads protrude through the bars. The ends of -the wire, <i>b</i>, which holds them in place, can be fastened on -one side by simply pushing one end into a hole bored -partly through the wood to receive it; the other should be -slipped into a groove made for it, and fastened in place -by a wedge nailed just above it when in position. Fig. 3 -shows the roller in full, and the little blocks or cams -which are placed along its surface. These little cams -are made of wood, not more than three-eighths of an -<span class='pageno' id='Page_237'>237</span>inch thick, and are placed at such distances from each -other along the roller that the middle point of each shall -come opposite one of the threads.</p> - -<div class='figcenter id045'> -<img src='images/i_236.png' alt='Fig. 2' class='ig001' /> -</div> - -<div class='figcenter id019'> -<img src='images/i_237.png' alt='Fig. 3' class='ig001' /> -</div> - -<p class='c005'>Between these blocks, but so situated that they will -not come in contact with any one of the threads, are little -quills, driven into tiny gashes made in the roller. These -quills are an inch long, and should all be of the same -length. One end of the roller is fitted with a crank, while -the other is fastened in place by a wooden pin or long nail. -Below this, at either end of the box, is a curved bridge, <i>e</i>, -into which grooves are cut and slender brass wires drawn -very tightly, as seen in a violin. The curve made by the -wires, however, is unlike that in the above-named instrument, -being concave instead of convex. Now it will be -seen that by placing the roller in such a position that the -quills will strike the wires with some force as the wheel -revolves, a constant tinkling sound like that of a toy piano -<span class='pageno' id='Page_238'>238</span>is the result; and at the same time, as the little blocks -come in contact with the strings, they push the thread -backward, and in so doing lower the point <i>c</i>, and consequently -raise the head of the chicken. The top of the -extension in front of the bars is made of thin board -and painted green, while a slight sprinkling of yellow -over its surface represents the meal the chickens are -supposed to be eating. The remainder of the box may -be painted to suit the fancy of the maker.</p> - -<div class='nf-center-c1'> -<div class='nf-center c007'> - <div>―――――◀▶―――――</div> - </div> -</div> - -<h3 class='c009'>CAPTAIN S.’S PEG PUZZLE.</h3> - -<p class='c010'>One bright summer morning, which seems but a short -while ago, unless I stop and count the years that have -passed since then, we children were invited to take a sail -across the bay with one of the kind-hearted old captains -who owned a trim little cat-boat, which her owner was -wont to boast would beat any other craft of her length in -the harbor. But there was not much chance of beating -anything on the morning of which I write, for, although -a light northerly breeze was stirring when we intended to -start, the girls of our party took so much time in which -to get ready, that by the time we were fairly under way -we were scarcely able to fill our sail. However, we managed -to make some little headway, and in the course of -<span class='pageno' id='Page_239'>239</span>two hours reached the beautiful rocky point covered with -its grove of fine old trees, which, but for the delay in -starting, would have been reached much earlier in the -day. This point was quite a favorite spot for excursionists, -and was hailed with delight by most of our party. -We boys, however, cared more for the little <i>Sea Dog</i>, -and the companionship of old Captain S., than for the -walks on shore. So, claiming our full share of the good -things packed in the baskets stowed away in the cabin, -we decided to remain on board and share our picnic with -the captain on the bay.</p> - -<p class='c005'>After all were on shore, and the hampers had been -taken to the grove, we hoisted the sail and made for -deeper water; but there was no wind, and we had to content -ourselves with looking at the glassy surface around -us, and feeling that we were in a boat away from shore, -even if not in rapid motion. We ate our lunch as we listened -to a delightful story told by the captain, of how -his ship was once chased by a pirate, and only escaped -through the timely interposition of a snow-storm. We -next tried our hands at the oars and rowed some distance -further from the land. Finally, as we were about to return -for the others of our party on shore, a small piece -of wood Fred found on the cabin floor changed the current -of our thoughts, and we saw for the first time the -little device I am about to describe. This bit of wood -<span class='pageno' id='Page_240'>240</span>which he had picked up was a thin strip of a cigar-box -cover. In one end was a circular hole about an inch in -diameter, in the middle was a square hole of the same -diameter, and at the extreme end was still another opening, -in the form of an isosceles triangle, the perpendicular -being of the same length as the side of the square.</p> - -<div class='figcenter id025'> -<img src='images/i_240.png' alt='Fig. 1' class='ig001' /> -</div> - -<p class='c005'>When Captain S. saw the piece of wood he challenged -us each to make one peg which should exactly fit all -three holes. “But it can’t be done, Captain,” we both -exclaimed at once; “the holes that have corners couldn’t -be fitted with a round peg, and the peg large enough for -the square would be too large for the triangle,” continued -Fred, as he examined the openings more carefully. -“But it can be done,” answered Captain S., with a peculiar -kind of chuckle he always gave when very much -<span class='pageno' id='Page_241'>241</span>pleased. “It can be done, for I have done it hundreds -of times.”</p> - -<p class='c005'>He had done it hundreds of times; had made one peg -which should fit a round, a square, and a triangular hole, -and fit them nicely! How was it to be done? We thought -it over, and tried to study it out; we even took out our -jackknives and whittled away at an old broken thole-pin -which lay in the bottom of the boat. But we couldn’t -make it work; there were always the corners to be filled, -and little spaces would be left if we tried to compromise, -and make the pin less round as it increased in length; -then the triangle! that wouldn’t accommodate itself to -any shape we could devise. We whittled away for over -an hour, now and again receiving a little encouragement -from the captain, who greatly enjoyed our successive -failures. During the meantime a brisk south-west wind -had sprung up, and we were bounding over the water at -a delightful speed; but we paid little attention to the -sail; in fact, we hardly knew we were moving at all, so -intent had we become to solve the mystery. After the -others of the party came on board, we soon fired them -with our enthusiasm, and every bit of available wood -and every jackknife was brought into use. But not one -of the party was bright enough to hit upon the right -shape. I shall never forget the fun made of us by the -girls—not one of whom, by the way, could sharpen a lead-pencil -<span class='pageno' id='Page_242'>242</span>decently—when the captain finally showed us how -the thing was done. Asking one of the older boys to -take the helm, he picked up a bit of wood we had thrown -aside as too small, whipped out his jackknife, and in less -time than it takes me to write it, had the peg made and -fitted to the holes. How he made it fit so well in so short -a time has never ceased to be a source of wonder to me; -but probably the practice of years, while off on lonely -whaling cruises, had something to do with his dexterity.</p> - -<div class='figcenter id025'> -<img src='images/i_242.png' alt='Figs. 2, 3, 4' class='ig001' /> -</div> - -<p class='c005'>He first whittled out a cylinder, which exactly fitted -the circular hole; then he cut it off, so that its length -should be the same as the diameter of the square (see -Fig. 2). Now, by putting this sideways into the square -opening, it fitted it perfectly. Lastly, leaving the base of -the cylinder undisturbed, he cut away from either side -until he had a shape like Fig. 3, which, when looked at -from another point, presents the appearance of Fig. 4, -and would, of course, perfectly fit the last and triangular -opening.</p> - -<div class='nf-center-c1'> -<div class='nf-center c007'> - <div><span class='pageno' id='Page_243'>243</span>―――――◀▶―――――</div> - </div> -</div> - -<h3 class='c009'>SLATE GAMES FOR CHILDREN.</h3> - -<p class='c010'>A slate is one of the most useful presents which can be -given to a child. Long before the little hands can fashion -letters, or the infant mind comprehend them, the baby -fingers can make marks and scratches upon the smooth -surface and derive considerable amusement from the exercise.</p> - -<p class='c005'>As the little one grows older, these meaningless scrawls -gradually change to more intelligible forms, and then it -is that the “Tit-Tat-To,” so very old, and yet so delightfully -new, to every little girl or boy in their turn, comes -into play.</p> - -<div class='figcenter id061'> -<img src='images/i_243.png' alt='' class='ig001' /> -</div> - -<h4 class='c012'>TIT-TAT-TO.</h4> - -<p class='c010'>This game is played on a figure similar to the above, -<span class='pageno' id='Page_244'>244</span>made on an ordinary slate. The players alternately mark -in the figure, the one a cross, and the other a nought; he -who first obtains a row, either horizontally, perpendicularly, -or diagonally, wins the game, and calls out the following -rhyme:</p> - -<div class='lg-container-b'> - <div class='linegroup'> - <div class='group'> - <div class='line'>“Tit-Tat-To, my last go;</div> - <div class='line in1'>Three jolly butchers all in a row.”</div> - </div> - </div> -</div> - -<p class='c005'>The object of each of the players is equally to obtain -such a row and to prevent his opponent from obtaining -one.</p> - -<h4 class='c012'>AIR, EARTH, OR THE SEA?</h4> - -<p class='c010'>This game—which is sometimes called <i>Birds, Beasts, -and Fishes</i>—is instructive as well as interesting to children -who have some slight knowledge of natural history. -It is played as follows: Two boys take their slates, and -each writes down the first and last letters of the name of -some bird, beast, or fish, first stating whether it belongs -to the air, earth, or water, or from which category the -name is selected, and puts a cross for each of the intermediate -letters. For example: James writes upon his -slate T × × × r, and remarks, as he passes it to his companion, -“the earth.” Charles selects a bird and marks -upon his slate as follows: E × × × e, saying, at the same -time, “the air.” They exchange slates, and each tries to -<span class='pageno' id='Page_245'>245</span>guess the name of the beast or bird indicated, and fills -up the blanks accordingly. It is evident that those indicated -above are respectively tiger and eagle.</p> - -<h4 class='c012'>TURKS AND RUSSIANS.</h4> - -<div class='figcenter id008'> -<img src='images/i_245.png' alt='' class='ig001' /> -</div> - -<p class='c010'>The slate should be divided into three divisions, the -top and bottom divisions each having a small compartment -marked off therein, as shown in the annexed -diagram.</p> - -<p class='c005'><span class='pageno' id='Page_246'>246</span>One of the two end divisions should be allotted to the -Turks, and the other to the Russians, and marks put -therein, to represent the soldiers of the respective nations.</p> - -<p class='c005'>Each player having provided himself with a well-sharpened -pencil, the game is played as follows: The -players decide the order of play, and the first selected -being supposed to be a Turk, places the point of his pencil -at the spot marked in the smaller compartment of the -Turkish division of the slate and draws it quickly across -the slate in the direction of the opposing army.</p> - -<p class='c005'>The pencil will, of course, leave a line marking its -track, and all the men of the opposite side through which -the track passes count as dead. Each player plays alternately, -and he wins who first kills all the men on the -opposite side.</p> - -<p class='c005'>The track of the pencil must be rapidly made and must -be either straight or curved; any track in which there is -an angle does not count. Sometimes the players turn -their heads or close their eyes when making the track.</p> - -<h4 class='c012'>THIRTY-ONE.</h4> - -<div class='figcenter id062'> -<img src='images/i_247.png' alt='' class='ig001' /> -</div> - -<p class='c010'>Although this game is usually played upon a board -similar to the one in the cut, and with small wooden -blocks made for the purpose, a slate properly marked off -<span class='pageno' id='Page_247'>247</span>would answer very well for the board, and bits of pasteboard, -marked with the necessary figures, do equally well -for the blocks.</p> - -<p class='c005'>The game consists of playing these bricks or squares -of pasteboard, so that the column added up makes just -thirty-one.</p> - -<p class='c005'>As only two persons play together, suppose William -and Mary are contestants. Mary commences the game -by playing a six; that is, she slides one of the blocks -numbered six over to the right-hand side of the board. -Then William plays block No. 4. This makes ten. -Mary then plays two, and William follows with a five, -making seventeen total. Now, some calculation is necessary -if either will win. Mary, after some study, ventures -<span class='pageno' id='Page_248'>248</span>a five, and William plays a six. It is now only necessary -for Mary to slide No. 3 over to the right side, to make the -total thirty-one and beat.</p> - -<p class='c005'>That move of Mary’s—which was made after considerable -deliberation—was not a safe one, as William could -have moved over a one and made the total only twenty-three. -This would require eight more to complete the required -thirty-one, and as six is the largest number on the -blocks, William would have had the last play and gained -the contest.</p> - -<h5 class='c015'><i>Rules for Thirty-one.</i></h5> - -<p class='c010'>The object of each player is to gain thirty-one, or -<i>nearer</i> thirty-one than his opponent, <i>without going over</i> -that number.</p> - -<p class='c005'>Put the blocks or bits of pasteboard on the left side of -the board; and each in turn moves any piece they like to -the other side.</p> - -<p class='c005'>Each player moves alternately one piece at a time.</p> - -<p class='c005'>Add together the numbers on <i>all the blocks moved</i>, -until one or the other gains thirty-one, without going -over that number.</p> - -<p class='c005'>The player gaining this number by his individual -block wins.</p> - -<p class='c005'>The final honor is given to him who wins three out of -five single games.</p> - -<div class='nf-center-c1'> -<div class='nf-center c007'> - <div><span class='pageno' id='Page_249'>249</span>―――――◀▶―――――</div> - </div> -</div> - -<h3 class='c009'>SOLITAIRE.</h3> - -<div class='figcenter id041'> -<img src='images/i_250.png' alt='' class='ig001' /> -</div> - -<p class='c010'>During the long winter evenings, we cannot have too -many games to amuse the younger members of the household, -and a variety is always acceptable.</p> - -<p class='c005'>Where the family is large and the means small, and -especially in the country where boys are forced to rely -upon their own devices in the way of amusement, few of -the ready-made games find their way into the household.</p> - -<p class='c005'>Now boys, and girls, too, let me whisper to you so -softly that your city cousins may not hear—you are no -losers because of that fact. A great part of the enjoyment -of a thing consists in the making of it. And many -of the games which are best enjoyed by children all over -the land you can, with a little ingenuity and some trouble, -perhaps, make for yourself.</p> - -<p class='c005'>Among the many things which a boy can make, there -are very few more interesting or fascinating than the simple -game of Solitaire, or, as it is more frequently called, -<i>The Peg Puzzle</i>.</p> - -<p class='c005'>Take a piece of smooth board, from nine inches to a -foot square, cut out the corners as indicated in the illustration, -and bore holes in the positions indicated by the -dots.</p> - -<p class='c005'>Out of soft pine or other suitable wood whittle thirty-two -<span class='pageno' id='Page_250'>250</span>pegs, which are to fit into these holes; the middle or -thirty-third hole is to be left empty.</p> - -<p class='c005'>The game consists in removing all the pegs excepting -one from the board, and that one is to be left in the -middle hole.</p> - -<p class='c005'>This is effected, as in “checkers,” by a series of captures; -that is, when taken off the board, the peg removed -must first have been jumped over by another -peg.</p> - -<p class='c005'>In beginning the game, peg No. 1 jumps over peg No. -2, and is placed in the central hole. No. 2 is then removed -from the board. As the hole occupied by No. 2 is now -empty, peg No. 3 jumps over No. 4, and is placed in the -<span class='pageno' id='Page_251'>251</span>empty hole No. 2. No. 4 is removed, and the moves -continue in like manner as those described.</p> - -<p class='c005'>The following is a key to the solution of the puzzle, -but should not be consulted until you find it impossible -to accomplish the feat without its aid.</p> - -<h4 class='c012'>KEY.</h4> - -<table class='table0' summary=''> -<colgroup> -<col width='20%' /> -<col width='20%' /> -<col width='20%' /> -<col width='40%' /> -</colgroup> - <tr> - <td class='c016'>1</td> - <td class='c017'>to</td> - <td class='c018' colspan='2'>centre</td> - </tr> - <tr> - <td class='c016'>3</td> - <td class='c017'>to</td> - <td class='c016'>2</td> - <td class='c019'> </td> - </tr> - <tr> - <td class='c016'>5</td> - <td class='c017'>to</td> - <td class='c016'>4</td> - <td class='c019'> </td> - </tr> - <tr> - <td class='c016'>2</td> - <td class='c017'>to</td> - <td class='c016'>3</td> - <td class='c019'> </td> - </tr> - <tr> - <td class='c016'>7</td> - <td class='c017'>to</td> - <td class='c016'>4</td> - <td class='c019'> </td> - </tr> - <tr> - <td class='c016'>8</td> - <td class='c017'>to</td> - <td class='c016'>6</td> - <td class='c019'> </td> - </tr> - <tr> - <td class='c016'>9</td> - <td class='c017'>to</td> - <td class='c016'>7</td> - <td class='c019'> </td> - </tr> - <tr> - <td class='c016'>11</td> - <td class='c017'>to</td> - <td class='c016'>3</td> - <td class='c019'> </td> - </tr> - <tr> - <td class='c016'>7</td> - <td class='c017'>to</td> - <td class='c016'>4</td> - <td class='c019'> </td> - </tr> - <tr> - <td class='c016'>6</td> - <td class='c017'>to</td> - <td class='c016'>8</td> - <td class='c019'> </td> - </tr> - <tr> - <td class='c016'>13</td> - <td class='c017'>to</td> - <td class='c016'>2</td> - <td class='c019'> </td> - </tr> - <tr> - <td class='c016'>x</td> - <td class='c017'>to</td> - <td class='c016'>1</td> - <td class='c019'> </td> - </tr> - <tr> - <td class='c016'>15</td> - <td class='c017'>to</td> - <td class='c016'>2</td> - <td class='c019'> </td> - </tr> - <tr> - <td class='c016'>16</td> - <td class='c017'>to</td> - <td class='c016'>14</td> - <td class='c019'> </td> - </tr> - <tr> - <td class='c016'>2</td> - <td class='c017'>to</td> - <td class='c016'>13</td> - <td class='c019'> </td> - </tr> - <tr> - <td class='c016'>18</td> - <td class='c017'>to</td> - <td class='c016'>11</td> - <td class='c019'> </td> - </tr> - <tr> - <td class='c016'>20</td> - <td class='c017'>to</td> - <td class='c016'>19</td> - <td class='c019'> </td> - </tr> - <tr> - <td class='c016'>8</td> - <td class='c017'>to</td> - <td class='c016'>21</td> - <td class='c019'> </td> - </tr> - <tr> - <td class='c016'>22</td> - <td class='c017'>to</td> - <td class='c016'>20</td> - <td class='c019'> </td> - </tr> - <tr> - <td class='c016'>20</td> - <td class='c017'>to</td> - <td class='c016'>19</td> - <td class='c019'> </td> - </tr> - <tr> - <td class='c016'>11</td> - <td class='c017'>to</td> - <td class='c016'>18</td> - <td class='c019'> </td> - </tr> - <tr> - <td class='c016'>24</td> - <td class='c017'>to</td> - <td class='c016'>14</td> - <td class='c019'> </td> - </tr> - <tr> - <td class='c016'>26</td> - <td class='c017'>to</td> - <td class='c016'>25</td> - <td class='c019'> </td> - </tr> - <tr> - <td class='c016'>25</td> - <td class='c017'>to</td> - <td class='c016'>17</td> - <td class='c019'> </td> - </tr> - <tr> - <td class='c016'>28</td> - <td class='c017'>to</td> - <td class='c016'>14</td> - <td class='c019'> </td> - </tr> - <tr> - <td class='c016'>17</td> - <td class='c017'>to</td> - <td class='c016'>25</td> - <td class='c019'> </td> - </tr> - <tr> - <td class='c016'>29</td> - <td class='c017'>to</td> - <td class='c016'>x</td> - <td class='c019'> </td> - </tr> - <tr> - <td class='c016'>x</td> - <td class='c017'>to</td> - <td class='c016'>27</td> - <td class='c019'> </td> - </tr> - <tr> - <td class='c016'>30</td> - <td class='c017'>to</td> - <td class='c016'>24</td> - <td class='c019'> </td> - </tr> - <tr> - <td class='c016'>32</td> - <td class='c017'>to</td> - <td class='c016'>25</td> - <td class='c019'> </td> - </tr> - <tr> - <td class='c016'>27</td> - <td class='c017'>to</td> - <td class='c018' colspan='2'>centre.</td> - </tr> -</table> - -<div class='nf-center-c1'> -<div class='nf-center c007'> - <div>―――――◀▶―――――</div> - </div> -</div> - -<h3 class='c009'>BATTLEDORE AND SHUTTLECOCK.</h3> - -<div class='figcenter id019'> -<img src='images/i_252.png' alt='' class='ig001' /> -</div> - -<p class='c010'>If any of my young boy friends wishes to make a useful, -and at the same time acceptable, present to a sister -<span class='pageno' id='Page_252'>252</span>or girl friend, he cannot do better than make a set of -this pretty and amusing game.</p> - -<p class='c005'>The battledore is readily made with a hickory stick -and a piece of hoop, and the shuttlecock with a cork and -a few short feathers. The forms of the two are shown in -the illustrations.</p> - -<p class='c005'>The game is played by two players, each having a battledore, -and each bats the shuttlecock from one to the -<span class='pageno' id='Page_255'>255</span>other, the one failing to return it when it is batted to -him within possible reach losing a point in the game. A -game consists of twenty points, and the best two out of -three games gains the match.</p> - -<div class='nf-center-c1'> -<div class='nf-center c007'> - <div>―――――◀▶―――――</div> - </div> -</div> - -<h3 class='c009'>RING TOSS.</h3> - -<div class='figcenter id063'> -<img src='images/i_254.png' alt='' class='ig001' /> -</div> - -<p class='c010'>This light pastime for the summer lawn, or for the parlor -on a winter’s evening, is one of the most graceful and -pretty games ever invented. Although particularly intended -for the fairer sex, boys are generally the most -skillful, if not the most graceful, competitors in the game.</p> - -<p class='c005'>This game is played with a target-post, more or less -ornamental, as the skill and taste of the maker may decree, -and a number of light rings or small hoops, ranging -from five to ten inches in diameter.</p> - -<p class='c005'>The rings are nicely made of old hoop-skirt wires, bent -in the desired shape, and strongly fastened with cords, -the whole covered with bright silk or ribbon; the greater -variety of colors used the brighter the effect of the game. -The ribbons need not necessarily be perfectly fresh, as in -winding the rings any soiled spots can readily be hidden.</p> - -<p class='c005'>It is also better to have the rings divided into three sets -or sizes, and all those of each set as nearly as possible of -the same size. For instance, if eighteen rings are to be -<span class='pageno' id='Page_256'>256</span>used, let six be about five inches in diameter, six more be -seven or eight inches, and the remaining six to be ten -inches across.</p> - -<p class='c005'>The game is simply to toss the rings so as to fall on the -target-post. The smaller the rings the higher the count.</p> - -<p class='c005'>For the large rings one point is scored, for the next in -size two points, and for the smallest or five-inch rings, -three points—fifty points being a full game.</p> - -<p class='c005'>The distance on a lawn which the player stands from -the target-post is twenty-five feet. In the parlor it is fifteen -feet.</p> - -<div class='nf-center-c1'> -<div class='nf-center c007'> - <div>―――――◀▶―――――</div> - </div> -</div> - -<h3 class='c009'>CHECKERS.</h3> - -<div class='figcenter id064'> -<img src='images/i_257.png' alt='' class='ig001' /> -</div> - -<p class='c010'>As I write the above title, I wonder if there is a boy or -a girl in this great American land who does not own a -checker-board, or does not know how to play this delightful -game. The game was brought to us from England, -we cannot say how many years ago, probably by the first -settlers in these then lonely wilds.</p> - -<p class='c005'>This game of checkers is a scientific one and is governed -entirely by calculation. So, in order to become a -good player, one has to give considerable time and -thought to the subject, which is perhaps as good mental -discipline as many of our less interesting school studies.</p> - -<p class='c005'><span class='pageno' id='Page_257'>257</span>The game is played upon a board or table, divided off -into thirty-two white and thirty-two black squares, with -twelve white and twelve black men or checkers.</p> - -<p class='c005'>The board can be made out of thin wood, or upon a -strong piece of pasteboard, the white squares left the -original color of the material used, and the black colored -with ink or paint, whichever is most conveniently at -hand.</p> - -<p class='c005'><span class='pageno' id='Page_258'>258</span>For the checkers, small pieces of wood may be used, or -black and white buttons be substituted in their place.</p> - -<p class='c005'>The table or board should be so placed that each player -shall have a black square at his right hand, if playing on -the white squares, or a white square, if playing on the black.</p> - -<p class='c005'>The men move obliquely <i>forward</i> until they arrive at -the last, or the adversary’s head row, when they are made -kings and can then move <i>backward</i> as well as <i>forward</i>.</p> - -<p class='c005'>To distinguish a king from a common man he is -crowned, by placing another checker of the same color -on top of him, as soon as he reaches the <i>king’s row</i>.</p> - -<p class='c005'>The adversary’s men are taken by leaping over them, -and <i>must be taken</i> whenever offered or exposed. No -move can be recalled after the man has been quitted; that -is, after the finger has been removed from him.</p> - -<p class='c005'>The players have the first move in each game alternately.</p> - -<p class='c005'>Checkers may best be learned by playing, for awhile at -least, upon a board on which the white squares are numbered, -some authorities advising the placing of permanent -numbers in a corner of each white square, so as to be seen -when the men are placed.</p> - -<p class='c005'>The numbers are arranged as follows: 1 being on your -right hand and 4 on your left; number 5 the right hand -of the second row, and 8 the left, and so on. See illustration.</p> - -<p class='c005'><span class='pageno' id='Page_259'>259</span>The black men are placed upon 1 to 12; the white on -21 to 32.</p> - -<p class='c005'>In order to understand the game more readily, it may -be of some assistance to beginners to show how a simple -game might be played.</p> - -<p class='c005'>Suppose B., who has the black men, makes the first move -from 11 to 15. W. follows him with 22 to 18. B. now -moves from 15 to 22, jumping over 18, and capturing it -by the move. 22 is now exposed, so W. is obliged to -take it, and to do so moves from 25 to 18. B. now commences -a new line of moving, and passes 8 to 11. W. -moves 29 to 25 thus breaking his king’s row. B. 4 to 8; -W. 25 to 22; B. 12 to 16; W. 24 to 20; B. 10 to 15. Now -W. moves 27 to 24, and loses the game by so doing. B. -follows with 16 to 19, thus exposing 19. As it is a law in -the game that the opposite side must take up the exposed -men, W. is obliged to jump 19, and moves from 23 to 16 -in so doing. B. moves from 15 to 19; W. 24 to 15 to jump -19; B. 9 to 14; W. 18 to 9, and captures 14. B. now sees -15 and 22 exposed, and moves from 11 to 25, thus capturing -both men by the act. W. 32 to 27; B. 5 to 14, jumping -9. W. 27 to 23; B. 6 to 10. W. 16 to 12; B. 8 to 11. -W. 28 to 24; B. 25 to 29, and is made a king. W. now -moves 30 to 25, but as 29 is a king and can move backward -as well as forward, B. moves from 29 to 22 and jumps 25, -but exposes the king, which is quickly captured by W., -<span class='pageno' id='Page_260'>260</span>who moves from 26 to 17. Now both sides proceed in a -quiet manner for a time, B. moving from 11 to 15, W. 20 -to 16, B. 15 to 18, W. 24 to 20. B. captures 28 by moving -from 18 to 27, and W. takes 27 by jumping from 31 to 24. -B. 14 to 18; W. 16 to 11, which is taken by B. who moves -7 to 16. W., in turn, takes 16 with 20, which he jumps -over to 11. B. 18 to 23; W. 11 to 8. B. 23 to 27, and -W. now gains another king by moving 8 to 4. B. moves -27 to 31 and also gets a king. The king, you remember, -can move backward, so W. moves from 4 to 8; B. 31 to -27. W. 24 to 20; B. 27 to 23. W. 8 to 11; B. 23 to 18. -W. 11 to 8, and B. 18 to 15, which shows the game is lost -to W.</p> - -<div class='figcenter id019'> -<img src='images/i_260.png' alt='Figs. 1, 2' class='ig001' /> -</div> - -<p class='c005'>The two following problems are given for practice, and -are intended to materially assist the learner in gaining -some knowledge of the intricacies of the game.</p> - -<table class='table1' summary=''> -<colgroup> -<col width='11%' /> -<col width='11%' /> -<col width='5%' /> -<col width='5%' /> -<col width='5%' /> -<col width='22%' /> -<col width='5%' /> -<col width='5%' /> -<col width='5%' /> -<col width='22%' /> -</colgroup> - <tr><td class='c020' colspan='10'><span class='pageno' id='Page_261'>261</span></td></tr> - <tr><td class='c020' colspan='10'>SOLUTION TO NO. 1.</td></tr> - <tr><td> </td></tr> - <tr><td class='c020' colspan='10'>Black to move and win.</td></tr> - <tr><td> </td></tr> - <tr> - <td class='c016'> </td> - <td class='c017' colspan='4'>Black.</td> - <td class='c017'> </td> - <td class='c017' colspan='3'>White.</td> - <td class='c019'> </td> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c016'>1st</td> - <td class='c017'>move</td> - <td class='c016'>6</td> - <td class='c017'>to</td> - <td class='c016'>1</td> - <td class='c017'> </td> - <td class='c016'>5</td> - <td class='c017'>to</td> - <td class='c016'>9</td> - <td class='c019'> </td> - </tr> - <tr> - <td class='c016'>2d</td> - <td class='c017'>move</td> - <td class='c016'>10</td> - <td class='c017'>to</td> - <td class='c016'>15</td> - <td class='c017'> </td> - <td class='c016'>9</td> - <td class='c017'>to</td> - <td class='c016'>5</td> - <td class='c019'> </td> - </tr> - <tr> - <td class='c016'>3d</td> - <td class='c017'>move</td> - <td class='c016'>15</td> - <td class='c017'>to</td> - <td class='c016'>18</td> - <td class='c017'> </td> - <td class='c016'>5</td> - <td class='c017'>to</td> - <td class='c016'>9</td> - <td class='c019'> </td> - </tr> - <tr> - <td class='c016'>4th</td> - <td class='c017'>move</td> - <td class='c016'>1</td> - <td class='c017'>to</td> - <td class='c016'>5</td> - <td class='c017'> </td> - <td class='c016'>9</td> - <td class='c017'>to</td> - <td class='c016'>6</td> - <td class='c019'> </td> - </tr> - <tr> - <td class='c016'>5th</td> - <td class='c017'>move</td> - <td class='c016'>18</td> - <td class='c017'>to</td> - <td class='c016'>15</td> - <td class='c017'> </td> - <td class='c016'>21</td> - <td class='c017'>to</td> - <td class='c016'>17</td> - <td class='c019'> </td> - </tr> - <tr> - <td class='c016'>6th</td> - <td class='c017'>move</td> - <td class='c016'>5</td> - <td class='c017'>to</td> - <td class='c016'>1</td> - <td class='c017'> </td> - <td class='c016'>6</td> - <td class='c017'>to</td> - <td class='c016'>9</td> - <td class='c019'> </td> - </tr> - <tr> - <td class='c016'>7th</td> - <td class='c017'>move</td> - <td class='c016'>15</td> - <td class='c017'>to</td> - <td class='c016'>18</td> - <td class='c017'> </td> - <td class='c016'>9</td> - <td class='c017'>to</td> - <td class='c016'>5</td> - <td class='c019'> </td> - </tr> - <tr> - <td class='c016'>8th</td> - <td class='c017'>move</td> - <td class='c016'>18</td> - <td class='c017'>to</td> - <td class='c016'>22</td> - <td class='c017'> </td> - <td class='c016'>17</td> - <td class='c017'>to</td> - <td class='c016'>14</td> - <td class='c019'> </td> - </tr> - <tr> - <td class='c016'>9th</td> - <td class='c017'>move</td> - <td class='c016'>1</td> - <td class='c017'>to</td> - <td class='c016'>6</td> - <td class='c017'> </td> - <td class='c016'>5</td> - <td class='c017'>to</td> - <td class='c016'>1</td> - <td class='c019'> </td> - </tr> - <tr> - <td class='c016'>10th</td> - <td class='c017'>move</td> - <td class='c016'>6</td> - <td class='c017'>to</td> - <td class='c016'>2</td> - <td class='c017'> </td> - <td class='c016'>14</td> - <td class='c017'>to</td> - <td class='c016'>10</td> - <td class='c019'> </td> - </tr> - <tr> - <td class='c016'>11th</td> - <td class='c017'>move</td> - <td class='c016'>22</td> - <td class='c017'>to</td> - <td class='c016'>18</td> - <td class='c017'> </td> - <td class='c016'>1</td> - <td class='c017'>to</td> - <td class='c016'>5</td> - <td class='c019'> </td> - </tr> - <tr> - <td class='c016'>12th</td> - <td class='c017'>move</td> - <td class='c016'>18</td> - <td class='c017'>to</td> - <td class='c016'>14</td> - <td class='c017'> </td> - <td class='c018' colspan='4'>White loses.</td> - </tr> - <tr><td> </td></tr> - <tr><td class='c020' colspan='10'>SOLUTION TO NO. 2.</td></tr> - <tr><td> </td></tr> - <tr><td class='c020' colspan='10'>White to move and win.</td></tr> - <tr><td> </td></tr> - <tr> - <td class='c016'> </td> - <td class='c017' colspan='4'>White.</td> - <td class='c017'> </td> - <td class='c017' colspan='3'>Black.</td> - <td class='c019'> </td> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c016'>1st</td> - <td class='c017'>move</td> - <td class='c016'>18</td> - <td class='c017'>to</td> - <td class='c016'>14</td> - <td class='c017'> </td> - <td class='c016'>5</td> - <td class='c017'>to</td> - <td class='c016'>1</td> - <td class='c019'> </td> - </tr> - <tr> - <td class='c016'>2d</td> - <td class='c017'>move</td> - <td class='c016'>14</td> - <td class='c017'>to</td> - <td class='c016'>9</td> - <td class='c017'> </td> - <td class='c016'>1</td> - <td class='c017'>to</td> - <td class='c016'>5</td> - <td class='c019'> </td> - </tr> - <tr> - <td class='c016'>3d</td> - <td class='c017'>move</td> - <td class='c016'>22</td> - <td class='c017'>to</td> - <td class='c016'>17</td> - <td class='c017'> </td> - <td class='c016'>5</td> - <td class='c017'>to</td> - <td class='c016'>14</td> - <td class='c019'> </td> - </tr> - <tr> - <td class='c016'>4th</td> - <td class='c017'>move</td> - <td class='c016'>17</td> - <td class='c017'>to</td> - <td class='c016'>10</td> - <td class='c017'> </td> - <td class='c016'>21</td> - <td class='c017'>to</td> - <td class='c016'>25</td> - <td class='c019'> </td> - </tr> - <tr> - <td class='c016'>5th</td> - <td class='c017'>move</td> - <td class='c016'>10</td> - <td class='c017'>to</td> - <td class='c016'>15</td> - <td class='c017'> </td> - <td class='c016'>25</td> - <td class='c017'>to</td> - <td class='c016'>30</td> - <td class='c019'> </td> - </tr> - <tr> - <td class='c016'>6th</td> - <td class='c017'>move</td> - <td class='c016'>15</td> - <td class='c017'>to</td> - <td class='c016'>19</td> - <td class='c017'> </td> - <td class='c016'>30</td> - <td class='c017'>to</td> - <td class='c016'>25</td> - <td class='c019'> </td> - </tr> - <tr> - <td class='c016'>7th</td> - <td class='c017'>move</td> - <td class='c016'>27</td> - <td class='c017'>to</td> - <td class='c016'>32</td> - <td class='c017'> </td> - <td class='c016'>25</td> - <td class='c017'>to</td> - <td class='c016'>22</td> - <td class='c019'> </td> - </tr> - <tr> - <td class='c016'>8th</td> - <td class='c017'>move</td> - <td class='c016'>19</td> - <td class='c017'>to</td> - <td class='c016'>24</td> - <td class='c017'> </td> - <td class='c016'>20</td> - <td class='c017'>to</td> - <td class='c016'>27</td> - <td class='c019'> </td> - </tr> - <tr> - <td class='c016'>9th</td> - <td class='c017'>move</td> - <td class='c016'>32</td> - <td class='c017'>to</td> - <td class='c016'>23</td> - <td class='c017'> </td> - <td class='c018' colspan='4'>White wins.</td> - </tr> -</table> - -<div class='nf-center-c1'> -<div class='nf-center c007'> - <div>―――――◀▶―――――</div> - </div> -</div> - -<h3 class='c009'>THE SPIRIT JEW’S-HARP.</h3> - -<p class='c010'>During the Christmas holidays, when families are home -for the season, and entertainments are the principal things -desired in the long bright evenings, perhaps a few more -tricks may not come amiss.</p> - -<p class='c005'>Among these the spirit jew’s-harp will be sure to amuse -and at the same time mystify both the older and younger -members of the company, who will probably form the -audience on these Christmas or New-year’s evenings; and -will form a pleasant entertainment between the acts of a -<span class='pageno' id='Page_262'>262</span>charade or the lapses in the music. Briefly described, -the trick is as follows:</p> - -<p class='c005'>A jew’s-harp is placed in the mouth, and played upon -for awhile with the finger in the ordinary way. Gradually, -however, the performer moves his hand away, but -continues the motion of playing some distance from the -mouth, while the instrument continues to play quite as -clearly and distinctly as before. The hand may wave -above the head, or in any position, to show the audience -that no thread or string is connected with the tongue of -the instrument, but must keep up the motion of playing -as long as the sound continues to come.</p> - -<p class='c005'>Procure a jew’s-harp with a very flexible tongue, and -cover the end with a smooth ball of sealing-wax. Now -place the instrument in your mouth with its tongue -pointed inward, and if your tongue is placed against the -ball of sealing-wax and suddenly pushed out, and as suddenly -released, a sound will be produced much as if it -was pushed out in the ordinary way with the finger.</p> - -<p class='c005'>After a time you will find it possible to produce different -notes upon it, and with some practice will find it as -possible to play tunes as by the common method.</p> - -<p class='c005'>It will now be seen that during the whole performance -the music is elicited by the tongue, and not by the finger -as at first appears; the placing the forefinger of the right -hand to the mouth, and moving it as if playing in the -<span class='pageno' id='Page_263'>263</span>ordinary way, is simply a little <i>ruse</i> to mislead the -audience.</p> - -<p class='c005'>The performer should so stand that the light does not -shine too strongly upon his face, and thus expose the absence -of the tongue of the jew’s-harp, and a complete -mastery of the instrument in the inverted position should -be acquired before one attempts the trick in public.</p> - -<div class='nf-center-c1'> -<div class='nf-center c007'> - <div>―――――◀▶―――――</div> - </div> -</div> - -<h3 class='c009'>A NEW WAY TO KINDLE THE FIRE.</h3> - -<p class='c010'>There are many ways given for producing fire, but the -following is the most unique, and at the same time convenient, -of all these various methods, as it consists in -simply blowing the flame from the mouth, and so igniting -the camp-fire or whatever else one wishes to burn.</p> - -<p class='c005'>To all appearances you fill your mouth with raw cotton, -and then, taking a fan in your right hand proceed to -make the fire. First a stream of blue smoke will be seen -curling from your lips, and after a moment or two a -bright spark will appear in the mass of cotton in the -mouth. This spark is quickly followed by others until at -last a clear bright flame bursts forth.</p> - -<p class='c005'>Many of the audience may not believe that it is a genuine -flame, but a paper may be lighted from it and -<span class='pageno' id='Page_264'>264</span>passed around the room, which will soon convince the -most skeptical that it certainly is <i>bonâ fide</i> fire.</p> - -<p class='c005'>To perform this trick, procure from a chemist a piece -of <i>amadon</i> or German tinder. This is an inexpensive -material, brown in color, and soft and silky to the touch. -Tear off a small piece—perhaps as large as a dime—and -roll it in a small bit of cotton wool, having already <i>lighted</i> -one end of the tinder. Place this with other cotton in -your hand, and you are ready to produce all the fire your -audience may demand.</p> - -<p class='c005'>First place the cotton which conceals the lighted tinder -in your mouth—it will not burn you—and then some -of the loose cotton you have in your hand; and remember -to draw the breath in through the nostrils, but <i>breathe -it out through</i> the mouth. This will fan the tinder and -in a moment light the cotton in front of it, so that the -smoke will begin to pass out with the breath; then the -sparks will appear, and finally the flame, as described -above. While placing fresh cotton in the mouth, you -may take advantage of the fact that your hand is before -your mouth to let some of the burnt cotton fall out. By -exercising a little tact your audience may be mystified for -a long time, and, in fact, will probably be unable to guess -the secret at all, unless you yourself divulge it to them.</p> - -<div class='nf-center-c1'> -<div class='nf-center c007'> - <div><span class='pageno' id='Page_265'>265</span>―――――◀▶―――――</div> - </div> -</div> - -<h3 class='c009'>A HOME-MADE COMPASS.</h3> - -<p class='c010'>Break a knitting-needle in two pieces, and magnetize -one of the pieces by passing it two or three times over one -of the poles of a strong magnet. Insert this piece through -a small cork. Fix an ordinary needle in the end of the -cork with the end projecting.</p> - -<div class='figcenter id050'> -<img src='images/i_265.png' alt='' class='ig001' /> -</div> - -<p class='c005'>Break the other piece of the knitting-needle into two -equal parts; and having wound one end of each with -thread pass the other end into the cork, as seen in the -illustration.</p> - -<p class='c005'>Next procure a small brass thimble, deeply indented, -and balance the cork upon it by dropping melted sealing-wax -upon the thread-covered ends, first on one side and -then on the other, until the equilibrium is established.</p> - -<p class='c005'>A small round box is next needed, and having fitted -<span class='pageno' id='Page_266'>266</span>the top with a disk, like that seen in Fig. 2, cut the -central hole large enough for the easy movement of the -cork.</p> - -<div class='figcenter id038'> -<img src='images/i_266.png' alt='' class='ig001' /> -</div> - -<p class='c005'>Now place the thimble on the bottom of the box, holding -it in place with a few drops of glue. (Le Page’s -liquid glue is best for this, as for all occasions in which -glue may be required in constructing the objects described -in this book.) Balance the cork upon it, with the -needle-point resting in one of the indentations on top of -the thimble, the magnetic needle having been temporarily -taken out. Now adjust the cardboard disk in place.</p> - -<p class='c005'>Lastly, insert the magnetized needle, and your compass -is completed.</p> - -<p class='c005'>This compass can be made very useful upon the various -<span class='pageno' id='Page_267'>267</span>excursions into the woods which boys are always fond of -taking, and, as a simple mechanical toy, much amusement -may be derived from it.</p> - -<p class='c005'>By presenting the south pole of the magnet to the -north pole of the compass, and jerking it quickly away, -the momentum of the needle will carry it around several -times before the impulse is exhausted.</p> - -<p class='c005'>The same experiment may be tried with the magnetized -blade of a jackknife.</p> - -<p class='c005'>The magnetic needle does not point to the north pole of -the earth, but to a point called the magnetic pole. This -variation, or declination, is, from the Atlantic region of -this continent, a few degrees westward of the direct -north.</p> - -<p class='c005'>The arrow indicates about the average variation; and if -the compass be so placed that the needle will rest directly -over it, the line N. S. will more nearly indicate the true -north and south.</p> - -<p class='c005'>The card should be held in place not by glue, but by a -few very short pins (filed off and re-sharpened). Then if -the needle is shaken from its perch, the card can be removed -to permit its re-adjustment.</p> - -<div class='nf-center-c1'> -<div class='nf-center c007'> - <div><span class='pageno' id='Page_268'>268</span>―――――◀▶―――――</div> - </div> -</div> - -<h3 class='c009'>HOW TO MAKE A CIRCLE.</h3> - -<p class='c010'>Many of the operations described in this book require -the making of circles of various sizes.</p> - -<p class='c005'>Those readers who own a pair of dividers, especially if -they are furnished with a pencil-holder, will find this an -easy matter. Those who are not as fortunate may be -glad to learn the following ready way of describing circles -accurately to any size desired.</p> - -<p class='c005'>One of the common substitutes for dividers is a loop of -string or thread passed around the pencil-point, and a pin -inserted in the center of the proposed circle. This is a -tiresome and vexatious method, as it is difficult to tie the -loop at just the right length when a circle of a specified -size is to be made, the stretching of the thread adding to -the perplexity. The loop is also very ready to slip up -and down on the pencil or pin, making it altogether a -matter of unusual good fortune to obtain a satisfactory -result.</p> - -<p class='c005'>The better way is to take a strip of stout paper or thin -card, about half an inch wide and a little more than half -the length of the circle’s diameter. A strip cut from a -postal card will serve the purpose admirably.</p> - -<p class='c005'>Near one end of this make a hole large enough for -the insertion of the pencil-point. Toward the other end -make a pinhole, the distance of which from the first -<span class='pageno' id='Page_269'>269</span>hole must be half the diameter of the circle required. -Stick a pin through this hole into the center of your proposed -circle; place the pencil-point in the other, and you -can achieve your result with accuracy and ease.</p> - -<div class='nf-center-c1'> -<div class='nf-center c007'> - <div>―――――◀▶―――――</div> - </div> -</div> - -<h3 class='c009'>THE MAGNETIC CIRCUS.</h3> - -<div class='figcenter id058'> -<img src='images/i_269.png' alt='' class='ig001' /> -</div> - -<p class='c010'>This mechanical toy is comparatively simple in its construction, -and will serve as the foundation for one of the -<span class='pageno' id='Page_270'>270</span>many Saturday shows, which are so dearly prized by -most of the bright, active boys in our land.</p> - -<p class='c005'>A good-sized soap-box serves as a table on which the -toy is to rest. The back is removed, and a hole cut in -the top admits the passage of the crank. It is perhaps -unnecessary to add that the exposed surface of this box -should be papered, or covered with a cloth curtain, in -such a manner as to give it a decorative effect.</p> - -<p class='c005'>The attraction of a magnet or iron is the principle on -which the “circus” is made to work.</p> - -<p class='c005'>Procure or make from thin wood a box about a foot -square, and five or five and a half inches deep. Cut a -hole through the central point of the bottom, to allow of -the passage of the crank.</p> - -<div class='figcenter id059'> -<img src='images/i_271_a.png' alt='' class='ig001' /> -</div> - -<p class='c005'>Now from a board cut a round disk which shall revolve -easily inside the box, and pass through its center an -axle which shall be long enough to form a support for the -ring-master on the top or stage, and extend down through -the top of the soap-box, where it ends in a crank by -which the whole machinery is worked. On the top of -this disk, and a short distance from the edge, fasten a -common horseshoe magnet, which should be about four -inches long, and can be bought at almost any toy store -for ten cents. This must be fastened in an upright position -by means of staples, as seen in the illustration.</p> - -<p class='c005'>After the magnet is arranged so that it will revolve -<span class='pageno' id='Page_271'>271</span>easily, fit the top of the box with a stiff pasteboard cover, -which shall just clear the magnet; and mark upon this a -circle which is to represent the ring of the circus.</p> - -<div class='figcenter id065'> -<img src='images/i_271_b.png' alt='' class='ig001' /> -</div> - -<p class='c005'>Out of stiff pasteboard cut the ring-master, and with a -small nail or strong pin fix him in place. Now from four -thicknesses of pasteboard cut out a horse and rider, something -like that represented in Fig. 3, and insert between -the layers which form each forefoot, a nail, the head of -which extends slightly below the pasteboard. File these -nail-heads so that they shall be smooth and rounded. -<span class='pageno' id='Page_272'>272</span>Glue the two layers together to form the legs of the animal, -and spread them slightly apart, as seen in Fig. 4 (which -gives an end view of the object), having already glued all -four layers to form the body of horse and rider.</p> - -<div class='figcenter id066'> -<img src='images/i_272.png' alt='' class='ig001' /> -</div> - -<p class='c005'>Various horses of different colors, forms, -positions, and with or without riders, may be -made in a similar manner; and elephants or -other animals may be substituted for the -horses, and made to move around the track, -as if subject to the master’s whip. After the -glue is dry, the outside edges should be -rounded and the roughnesses removed by -the use of a rasp and sand-paper.</p> - -<p class='c005'>The ring-master should be so fastened, facing the horse, -as to turn with each revolution of the axle.</p> - -<p class='c005'>The back of the box is fitted with a pasteboard or cloth -screen, painted to represent stage scenery, and supported -on either side by uprights, from the top of which float -banners. For further decorations the twigs of evergreen -trees are added, those of the larch or spruce, or perhaps -best of all the small branches of the juniper or cedar tree, -are best for the purpose. When these tiny stage trees -become brown and faded, they can be easily exchanged -for fresh ones, or may be painted with green paint, if a -new supply is not readily obtainable.</p> - -<p class='c005'>The front of the box may be papered with fancy wall-paper, -<span class='pageno' id='Page_273'>273</span>or otherwise decorated to suit the fancy of the -maker; and the one who supplies the motive power, or, -in other words, turns the crank, should be kept out of -sight of the audience if possible. As the horses are not -connected with any visible motive power, the cause of -their revolution will be enveloped in a mystery which -will add vastly to the entertainment of the little folks.</p> - -<div class='nf-center-c1'> -<div class='nf-center c007'> - <div>―――――◀▶―――――</div> - </div> -</div> - -<h3 class='c009'>TO PRODUCE RAISED FIGURES ON AN EGG.</h3> - -<p class='c010'>Melt some tallow, and with it paint on the shell of an -egg, making letters, numbers, profiles, or any outline -which your fancy may suggest, or the fineness of the -brush may permit. Then immerse the egg in strong vinegar. -After the lapse of a few hours, whatever is covered -with the lines of tallow will project slightly, the vinegar, -which is mainly acetic acid, having dissolved away the -unprotected surface. By painting with a fine brush an -intricate scroll or vine pattern, carrying it all around the -egg, the result is very pretty, giving somewhat the effect -of carved ivory.</p> - -<div class='nf-center-c1'> -<div class='nf-center c007'> - <div><span class='pageno' id='Page_274'>274</span>―――――◀▶―――――</div> - </div> -</div> - -<h3 class='c009'>AN ARITHMETICAL CURIOSITY.</h3> - -<p class='c010'>Write the nine digits in their order, and multiply them -by 9; the result will be composed of units, excepting the -next to the last, thus:</p> - -<table class='table2' summary=''> -<colgroup> -<col width='16%' /> -<col width='66%' /> -<col width='16%' /> -</colgroup> - <tr> - <td class='c016'> </td> - <td class='c016'>123456789</td> - <td class='c021'> </td> - </tr> - <tr> - <td class='c016'> </td> - <td class='c016'>9</td> - <td class='c021'> </td> - </tr> - <tr> - <td class='c016'> </td> - <td class='c016'>----------------</td> - <td class='c021'> </td> - </tr> - <tr> - <td class='c016'> </td> - <td class='c016'>1111111101</td> - <td class='c021'> </td> - </tr> -</table> - -<p class='c005'>Multiply by 18, instead of 9, and the product will consist -of 2’s. By 27, and it will be 3’s. In this manner all the -digits may be obtained by multiplying by the multiples -of 9; as 36, 45, 54, etc.</p> - -<div class='nf-center-c1'> -<div class='nf-center c007'> - <div>―――――◀▶―――――</div> - </div> -</div> - -<h3 class='c009'>ONE WAY TO FIND THE NUMBER OF DAYS IN THE MONTH.</h3> - -<p class='c010'>Count the knuckles of the hands, with the spaces between -them; all the months with thirty-one days will -fall on the knuckles, and those with less than thirty-one -in the spaces. Thus, beginning with the forefinger of the -left hand, July will come on the knuckle of the little finger; -then beginning with August on the forefinger of the -right hand, December will be reached at the knuckle of -the third finger.</p> - -<div class='nf-center-c1'> -<div class='nf-center c007'> - <div><span class='pageno' id='Page_275'>275</span>―――――◀▶―――――</div> - </div> -</div> - -<h3 class='c009'>SOME ELECTRICAL EXPERIMENTS.</h3> - -<p class='c010'>Considerable amusement may be derived from the electrical -phenomena manifested by a sheet of stout brown -paper, when friction is applied to it. Having warmed -such a sheet, and rubbed it with the dry palm of the -hand, or some woolen fabric, giving six or eight smooth, -steady strokes, with considerable pressure, and all in one -direction, away from the body, then place a bunch of -keys in the center of the paper, and lift it by the ends; -a spark of electricity may now be taken from the keys.</p> - -<p class='c005'>If ordinary unglazed paper be immersed in a mixture -of equal parts of sulphuric and nitric acids, then well -washed with plenty of water and dried, it becomes extremely -electric. If placed on a wooden table, or, better -still, on a waxed cloth, and rubbed with the hand, it attracts -feathers, pith-balls, fragments of paper, or other -small light objects.</p> - -<p class='c005'>When suddenly stripped from the waxed cloth in a -darkened room, the entire surface will have a luminous -phosphorescent appearance. A spark can be taken from -it by holding the finger about half an inch from the surface. -If placed against the wall it will adhere to it and -keep its place for several minutes.</p> - -<p class='c005'>This paper retains its electrical properties a long time. -When weakened, it is sufficient to slightly heat it to restore -all its energy.</p> - -<div class='nf-center-c1'> -<div class='nf-center c007'> - <div><span class='pageno' id='Page_276'>276</span>―――――◀▶―――――</div> - </div> -</div> - -<h3 class='c009'>THE ELECTROPHORUS.</h3> - -<div class='figcenter id045'> -<img src='images/i_276.png' alt='' class='ig001' /> -</div> - -<p class='c010'>This instrument, whose name, derived from the Greek, -means <i>bearer of electricity</i>, consists of two parts; first, a -cake or disk of resin, or of shellac and wax, these substances -being melted and poured into a tin mold; second, -a disk of brass, or sometimes of thin, well-dried wood, -covered on each side with thin sheet-brass or even thick -tin-foil. This should be fitted with a glass handle, to insulate -it; a stout, round bottle of moderate size will -answer. The cake of resin is rubbed vigorously; a surface -of fur is the best to use for this, such as a cat-skin or -fox-tail. The disk is then taken by the handle and rested -on the cake, and its upper surface touched a moment -with the finger; then, on withdrawing the disk from the -<span class='pageno' id='Page_277'>277</span>resin, a bright electric spark can be obtained from it. By -resting it once more on the resin, again touching and -withdrawing it, another spark may be elicited, and so on -for eight or ten successive trials.</p> - -<p class='c005'>The scientific explanation of this phenomenon is, that -negative electricity is excited in the cake by friction. -When the disk is applied, the electricity does not pass -into it from the cake, but is <i>induced</i> in the disk by the -law of electrical polarity; the lower surface being covered -with positive electricity, while the negative is repelled -to the upper side, from which it is drawn by the -finger. Then, when the disk is lifted, the spark of positive -electricity may be drawn.</p> - -<p class='c005'>If the construction of the instrument just described appears -too formidable a task to my young readers, perhaps -they may yet be inclined to experiment with</p> - -<h4 class='c012'>A SIMPLE ELECTROPHORUS.</h4> - -<div class='figcenter id059'> -<img src='images/i_278.png' alt='' class='ig001' /> -</div> - -<p class='c010'>Take a lacquered iron “tea-tray;” cut a sheet of stout -brown paper so as to fit the flat part of the tray, and fix -two strips of paper at each end by means of sealing-wax. -These strips serve as handles by which to lift the paper, -and the sealing-wax, being a non-conductor, prevents the -electricity from passing off. The tray is also insulated -by placing it upon two tumblers.</p> - -<p class='c005'>The sheet of paper is now heated quite hot, placed on a -<span class='pageno' id='Page_278'>278</span>wooden table, and rubbed with a hard and very dry -clothes-brush. Then it is lifted and placed on the tray.</p> - -<p class='c005'>The paper is negatively electrified; it induces a similar -state in the lower side of the tray, which should be -touched a moment with the finger; then lift the paper -from the tray. An electric spark can now be taken from -the latter.</p> - -<p class='c005'>The strips by which the paper is lifted can be brought -together, and held by the thumb and finger of one hand, -leaving the other free to take the spark. The paper may -now be replaced. By touching the lower surface of the -tray, and lifting the paper as before, another spark may -be obtained, and so on for several times, if the air be dry.</p> - -<div> - <span class='pageno' id='Page_279'>279</span> -</div> -<h4 class='c012'>THE EBONITE ELECTROPHORUS.</h4> - -<p class='c010'>This piece of apparatus, also called Pfeiffer’s electrophorus, -is composed of a thin sheet of ebonite, measuring -about six by eight inches. A small sheet of brass, about -five by three inches, is fixed on one side. With this, -electricity may be evoked with unusual readiness.</p> - -<p class='c005'>It is placed flat on a wooden table, and rubbed successively -on both sides with the open hand; if lifted in the -left hand, and the right hand is presented to the brass, a -spark will be received.</p> - -<div class='nf-center-c1'> -<div class='nf-center c007'> - <div>―――――◀▶―――――</div> - </div> -</div> - -<h3 class='c009'>A LEYDEN JAR.</h3> - -<div class='figcenter id067'> -<img src='images/i_279.png' alt='' class='ig001' /> -</div> - -<p class='c010'>This may be made as follows: Fill a plain glass tumbler -two-thirds full of shot; insert the bowl of a spoon in -the shot, leaving the handle projecting. Hold the tumbler -<span class='pageno' id='Page_280'>280</span>in the hand, and bring the handle of the spoon near -to the electrophorus—previously prepared for action—so -as to receive its spark. On repeating this a few times, -the electric fluid will be accumulated in the “jar,” and -the many small sparks may be obtained as one large one, -by approaching the finger to the spoon, still holding the -tumbler in the other hand.</p> - -<p class='c005'>This idea may be varied by using a large wide-mouthed -bottle or small jar, instead of the tumbler, and covering -the outside nearly up to the top with tin-foil. If that -rare treasure, a bullet-mold, is to be had, a ball may be -formed on the end of a stout wire, and used instead of -the spoon, the end with the ball being the projecting one, -thus making an article corresponding more nearly to the -regular professional pattern.</p> - -<div class='nf-center-c1'> -<div class='nf-center c007'> - <div>―――――◀▶―――――</div> - </div> -</div> - -<h3 class='c009'>THE PITH DANCER.</h3> - -<div class='figcenter id042'> -<img src='images/i_281.png' alt='' class='ig001' /> -</div> - -<p class='c010'>This fastidious little skipper never dances except to -piano music. It is fashioned from pith, cork, or other -light material. Generally it has a human head and -body; but when we consider its dancing extremities, we -must regard it as a quadruped, or even a tripod, as the -case may be; for it stands on three or four stout hog’s -bristles. These may be borrowed from the floor-brush, -<span class='pageno' id='Page_281'>281</span>and should be even at the lower ends, that the dancer -may stand erect. It should be painted in a gay and conspicuous -manner, to compensate for its diminutive size, -and a mantle of colored tissue-paper may add to its consequence. -When the image is complete, stand it on the -sounding-board of the piano, which should be operated -with vigor. The dancer will respond to the lively notes -with edifying briskness and vivacity.</p> - -<div class='nf-center-c1'> -<div class='nf-center c007'> - <div>―――――◀▶―――――</div> - </div> -</div> - -<h3 class='c009'>THE OBEDIENT BOTTLE.</h3> - -<div class='figcenter id007'> -<img src='images/i_282.png' alt='' class='ig001' /> -</div> - -<p class='c010'>Fashion a shape like a small bottle, out of pith, paper -pulp, or some other light substance. Cut a bullet in two, -and fasten the base of the bottle to the flat portion of one -<span class='pageno' id='Page_282'>282</span>of the halves. A straight piece of large wire, the length -of the bottle, should be provided, and a hole made down -through the center of the bottle, into which it will slide -readily, and remain with the end out of sight. This hole -may be made with greater ease before attaching the -bullet. This object can be made to yield apparent obedience -to the commands of its maker. If he orders it to -remain upright, he will place it on the table without inserting -the wire, when nothing but constant pressure will -induce it to lie prostrate. Then, taking it into his hands, -and skillfully introducing the wire while the attention of -<span class='pageno' id='Page_283'>283</span>the observers is directed elsewhere, he next orders it to -lie flat; and, as the weight of the wire overbalances it, it -will tumble over as often as it is set up.</p> - -<p class='c005'>The bullet should be covered with thin paper as -smoothly as possible, and the whole affair painted, to -better conceal the <i>modus operandi</i>.</p> - -<div class='nf-center-c1'> -<div class='nf-center c007'> - <div>―――――◀▶―――――</div> - </div> -</div> - -<h3 class='c009'>THE IMMOVABLE CARD.</h3> - -<p class='c010'>If a card, such as an ordinary visiting card, is turned -down about a quarter of an inch at each end, at right -angles to the rest of the card, and then placed on a table -so as to rest on the turned edges, you may safely challenge -most persons to blow it so as to make it turn over -on the other side. It would naturally seem easier to overturn -a card so prepared, than one whose shape remained -unchanged; but whoever tries it will find that the facts -are otherwise.</p> - -<p class='c005'>The card can be overthrown, however, by blowing on -the table, toward the card, as the stream of air is then -reflected against its under side.</p> - -<div class='nf-center-c1'> -<div class='nf-center c007'> - <div>―――――◀▶―――――</div> - </div> -</div> - -<h3 class='c009'>A TRIPLE BRIDGE.</h3> - -<div class='figcenter id056'> -<img src='images/i_284.png' alt='' class='ig001' /> -</div> - -<p class='c010'>This may be constructed by means of three table-knives, -in the manner illustrated in the figure. Three goblets or -<span class='pageno' id='Page_284'>284</span>tumblers will serve as the piers; these are to be arranged -in a triangle, a little farther from each other than the -length of the knives. Lay two of the knives on the table, -with the blades crossing each other. Then pass the blade -of the third knife over the uppermost blade of the other -two, and under the undermost; then take them up and -place them with the ends of the handles on the rims of -the glasses. The bridge now sustains itself, and if a moderate -weight be placed upon it, it will be all the firmer.</p> - -<div class='nf-center-c1'> -<div class='nf-center c007'> - <div>―――――◀▶―――――</div> - </div> -</div> - -<h3 class='c009'>AN ILLUSTRATION OF “INERTIA.”</h3> - -<p class='c010'>Inertia is defined as the tendency of a body to persevere -in its state either of rest or motion. It is generally -<span class='pageno' id='Page_285'>285</span>used in the sense of persisting in a state of rest. Among -the many illustrations of this property of matter, is one -which figured in the text-books of thirty or forty years -ago, and which the boys of that time adapted to their -amusement by constructing the apparatus here illustrated.</p> - -<p class='c005'>It consists of three parts: the board which forms the -base, a post about six inches high, and a strip of stout -whalebone, or dry, elastic wood.</p> - -<p class='c005'>The board should be as much as seven-eighths of an -inch in thickness, and the elastic strip or spring should -be firmly inserted in an inclined slit cut through the -board. The places of the spring and post should be so -adjusted to each other, that when the latter is secured -solidly by a good-sized screw passing up through the -board, the former will press with its upper end against -the top of the post (as shown by the dotted line) with -some degree of force.</p> - -<div class='figcenter id012'> -<img src='images/i_286.png' alt='' class='ig001' /> -</div> - -<p class='c005'>The top of the post should be hollowed slightly, to retain -the ball; and the appearance of the whole will be -improved by a coat of shellac or paint.</p> - -<p class='c005'>Now place a card on the top of the post; and if it is -sufficiently level, a marble or bullet may be induced to -remain on it, directly over the column; if not, a large -bean, a spool, or a coin, will prove more tractable. Draw -back the spring with the thumb and finger, as in the illustration; -<span class='pageno' id='Page_286'>286</span>let it go <i>suddenly</i>, and it will snap the card -away, leaving the superimposed object resting quietly on -the top of the column.</p> - -<p class='c005'>The same principle is sometimes illustrated by balancing -a card on the finger, placing a coin on the card, and -snapping away the card with the other hand, the coin -remaining on the finger.</p> - -<p class='c005'>Another way is to pile up a small tower with “checkers” -or “draughts.” By a quick blow with a ruler, one -checker may be knocked from between the others, without -overturning the tower.</p> - -<div class='nf-center-c1'> -<div class='nf-center c007'> - <div><span class='pageno' id='Page_287'>287</span>―――――◀▶―――――</div> - </div> -</div> - -<h3 class='c009'>OTHER CHRISTMAS HOLIDAY AMUSEMENTS.</h3> - -<p class='c010'>Perhaps one evening of this ever delightful season -might not be more entertainingly spent than in witnessing -an exhibition of some feats in <i>Magic</i>, if any lad of -the company could become sufficiently expert in the art -to render them with a fair amount of skill.</p> - -<p class='c005'>There are many of these mysterious tricks performed -by the professional “Thaumaturgist” or “Prestidigitateur,” -but as most of them require a complicated or expensive -apparatus, I shall only call your attention to -such as are comparatively simple, and require but few -“aids” or materials for their fulfillment.</p> - -<h4 class='c012'>HOW TO PALM A COIN.</h4> - -<p class='c010'>As it is necessary for any boy or girl who intends to -become an expert sleight-of-hand performer to be a successful -<i>palmer</i>, this is naturally the first lesson to be -learned. Indeed, very few of the tricks performed by an -expert prestidigitateur would be effective without its use.</p> - -<p class='c005'>To explain this art is difficult, although it is an easy -matter to show how the thing is done. By the aid of an -illustration may be seen, however, the final position of -the coin, or how it is held while it is palmed.</p> - -<p class='c005'>If possible, balance a half-dollar on the tip of the -second finger of the right hand; but if not at first easily -<span class='pageno' id='Page_288'>288</span>accomplished let the coin rest on the tips of the second -and third fingers, steadying it, in this position, by touching -it lightly with the thumb. Close the hand quickly -and the coin will rest in the palm. Then, by throwing -the thumb forward, the ball of the thumb will hold the -silver piece on one side, and that part of the palm which -lies between the second and third fingers holds it securely -on the other.</p> - -<div class='figcenter id050'> -<img src='images/i_288.png' alt='' class='ig001' /> -</div> - -<p class='c005'>Practice this well, and be sure you can depend upon -yourself to accomplish it perfectly with the left as well as -the right hand, before you try any of the following tricks -in the presence of a critical audience.</p> - -<h4 class='c012'>HOW TO PASS A COIN.</h4> - -<p class='c010'>Borrow of your audience two half-dollars and lay them -on your table.</p> - -<p class='c005'><span class='pageno' id='Page_289'>289</span>Next shake your sleeves and let your friends see that -you have no coins hidden about you. When they are -convinced that such is the case, pick up one half-dollar -with the thumb and second finger of your <i>right hand</i>. -Palm this in your right hand while you <i>pretend</i> to pass -it to your left, of course making a motion with the <i>left -hand</i> as if it received and still held the coin.</p> - -<p class='c005'>The right hand will then <i>seem</i> to be empty, although -still holding the half-dollar. Next pick up the other coin -with the right hand, and place the hand behind you, being -careful to keep the left well in front, and always in -sight of your audience. Make some few remarks concerning -the difficulty of the trick, and at last pronounce -the magic word “Pass”; at the same time clink the two -coins together, as if one had hit the other in the meeting. -Then bring the right hand forward, and, opening it and -the left at the same time, show that the coin has actually -left the latter and entered the former, as you promised it -should do.</p> - -<h4 class='c012'>HOW TO ROB PETER AND ENRICH PAUL.</h4> - -<p class='c010'>Twenty pieces of money are necessary for this trick; -and two-cent pieces, or quarters, are perhaps the most -convenient sizes to use. Of these, borrow fifteen from your -audience, the other five have at hand, but concerning -which your friends are to know nothing.</p> - -<p class='c005'><span class='pageno' id='Page_290'>290</span>Having borrowed them from the company, count out -five, and give them to one of your audience, while to another -you give ten, and after having seen that the latter -counts his carefully, take those given to the first, mutter -some cabalistic nonsense, and order them to pass into the -hands of the one who has the ten pieces. Finally, request -him to count them again, when, strange to relate, he will -find that he has fifteen, instead of the ten pieces which -he was supposed to have.</p> - -<p class='c005'>The trick is performed in this manner: Upon receiving -the money, throw it upon a plate or box cover—the plate -is the best—and passing it to the first person, request him -to take five of the pieces away. Now give the remaining -money, with the plate, to the second, and ask him to -drop each coin as he counts it, on the plate, that all may -know he has counted correctly.</p> - -<p class='c005'>Then comes the only difficult part of the trick. Ask -the one who has counted the coins to hold both his hands, -while you pour the money into them, and taking the -plate in your left hand, pour the contents into your -right, where you have already <i>five more palmed</i> (the five -the audience have not seen). Now pour the fifteen into -the hands of number two, and impress upon him the importance -of keeping his hands well closed over the money. -This will prevent his noticing that an addition has been -made. Take the five from person number one, and pretend -<span class='pageno' id='Page_291'>291</span>to place them in your other hand, but instead palm -them. Do your talking and command the money to pass. -If you have taken proper care in palming your coins, the -audience, as well as the one holding the money, will be -greatly amazed by the trick.</p> - -<h4 class='c012'>DANGER OF REPETITION.</h4> - -<p class='c010'>In almost any performance of this kind, the audience, -especially if of one’s intimate friends, are anxious for the -performer to try again whatever strikes them as strange -or mysterious, being of course on their guard to watch -certain movements, at points in the performance which -they had scarcely noticed before.</p> - -<p class='c005'>So it is very unsafe to try any trick over again immediately -after it has been once performed, or in fact during -the same evening; although perhaps it might be safely -done if a number of different ones intervened. If beseeched -to try it “just once more,” make as graceful an -excuse as you can, and suggest in its place something -equally interesting.</p> - -<h4 class='c012'>THE INEXHAUSTIBLE HAT.</h4> - -<p class='c010'>For this trick, seven half-dollars are required, and are -concealed in the right hand by “palming,” as the five -two-cent pieces were hid in the former trick.</p> - -<p class='c005'><span class='pageno' id='Page_292'>292</span>First, borrow of one of your audience a tall silk hat, -promising to return it “as good as new” at the end of -the performance. Let the audience examine it to see -that the owner is not in league with yourself, and then, -walking to the back of the room, place it upon a table. -While walking toward the table, with the back toward the -audience, palm your coins, which should be held in some -convenient pocket, readily accessible when the moment -comes for using them.</p> - -<p class='c005'>Next, turn to your audience, having your coins well -concealed in your right hand, and request some one to -lend you <i>six</i> half-dollars; but immediately, under the -pretense of disliking to trouble them, step forward, and, -excusing yourself for the liberty, take a coin from the -folds of a lady’s dress, by simply letting one of those -concealed in your hand slip to the end of your fingers. -If you have had sufficient practice in “coining” you -will find no difficulty in doing this, and your audience -will be inclined to believe you actually found the money -secreted in the fabric, although they may believe you -had some hand in placing it in its hiding-place.</p> - -<p class='c005'>If you have been thus far successful, go to the hat, and, -calling attention to the fact, drop the half-dollar into it; -then, as if you imagined some one was doubtful whether -the coin was really in the hat, make some remark to the -effect that if they do not believe you dropped it you will -<span class='pageno' id='Page_293'>293</span>do so again, at the same moment thrusting your hand -down to the crown to take it in sight again.</p> - -<p class='c005'>At the moment the hand is in this position, carefully -place the six half-dollars on the bottom, and let one -remain in the palm. Pick up one of these six, and holding -it high, let it drop, being careful, however, that it -does not hit the other five.</p> - -<p class='c005'>The coin in your hand you proceed to take from any -unusual place which may occur to you—the window curtain, -portière, a gentleman’s beard, or a lady’s coiffure, -are those most naturally suggested. As soon as you take -a half-dollar from its hiding-place, you pretend to place -it in your left hand, and from there command it to pass -to the hat, but in reality you palm it in your right where -it is ready for the next position from which you desire to -take it. Proceed in this way until you have gathered in -six half-dollars.</p> - -<p class='c005'>As these have been lying quietly in the hat during all -this time, you have no anxiety about sending them there, -and must simply avoid going near it while apparently filling -it with the money. When the last silver piece has -been sent to its destination, request the audience to select -some one of its members to count the money in the hat, -and see that none has been lost in its flight hence. It -will, of course, be found all right, and great will be the -curiosity to know how you placed it there; but do not -<span class='pageno' id='Page_294'>294</span>allow yourself to be influenced into trying it a second -time, for with the close watching you will undergo your -secret will be discovered.</p> - -<h4 class='c012'>ANOTHER HAT TRICK.</h4> - -<p class='c010'>The hat may well be called “inexhaustible,” for all -manner of things may be made to come from its prolific -crown, and in such profusion, that a receptacle of double -its size would hardly contain them.</p> - -<p class='c005'>If two boys have learned the art of palming well, they -may assist each other, and, if at all ingenious, invent a -variety of tricks for an evening’s amusement.</p> - -<p class='c005'>The following is but a suggestion, which may be varied -by different materials:</p> - -<p class='c005'>Let them borrow from the audience two tall silk hats, -and place them upon chairs standing some distance from -each other. Each having provided himself with a small rubber -ball—the one resembling the other as nearly as possible—they -are ready to proceed. The hats were of course -empty when passed to the stage, but as the first boy -takes his place, back of the chair which contains a hat, -he should glance down into it, and with surprise, draw -out a ball which he has had concealed in his right hand, -show it to the audience and then pretend to put it in his -left hand, but instead <i>palm</i> it in the right; at the same -time extending his left toward his partner. The second -<span class='pageno' id='Page_295'>295</span>boy stretches out his right arm as if to receive the ball, -and at the moment his hand touches the fingers of No. 1, -he lets that which he has been palming in his right hand -slip down to his fingers, as if he had just received it from -his friend. Now, pretending to change it to his left, he -palms it, as No. 1 has done, and finally drops his left -hand, which is supposed to hold the ball, into the hat in -front of him, at the same time giving the side or crown a -rap with one of his fingers, to imitate the falling of the -ball. This same thing may be repeated indefinitely, until -you have balls enough to stock the village. When you -see the audience is beginning to tire, let No. 1 say, -“My hat is empty; shall I help you count the balls in -yours?” No. 2 nods assent, and looks down, as if expecting -the hat to be full. He must then pretend great -surprise, and taking up the hat must turn it upside down, -gently shake it—remembering it is borrowed—and with -the audience wonder what has become of all the balls.</p> - -<p class='c005'>Eggs, small lemons or oranges, little china dolls, and a -number of small toys may be substituted for the rubber -balls above given.</p> - -<h4 class='c012'>THE PERAMBULATING EGG.</h4> - -<p class='c010'>This trick is one of the easiest, while at the same time -one of the most pleasing, of the magician’s arts. In it an -egg, apparently without any impulse beyond that which -<span class='pageno' id='Page_296'>296</span>resides within itself, travels over a hat, and after reconnoitering -it in its every nook and corner, passes gracefully -over to another, and commences its journey of discovery -around the second in much the same manner it has -traversed the first.</p> - -<p class='c005'>Two hats are borrowed from the audience, and a dish of -eggs is placed upon the table by their side, when the performer -requests the lady stationed at the piano to give -some music, and the exhibition commences. The egg -which is used is merely a shell, the inside having been -sucked or blown out through tiny holes made at either -end. A slender silken thread is tied to the upper button -of the performer’s waistcoat, while attached to the other -end is a small piece of wax or other sticky substance. -Just before the performance commences, show the dish -of eggs, and then pass away from them and back of your -audience, to show that they (the eggs) are in no way -attached to your person.</p> - -<p class='c005'>As the music strikes up, walk to the table, take the -shell from the dish, making it appear that you had no -choice, but took the first one you chanced to touch, and -place it inside the hat, at the same moment pressing the -bit of wax to its side.</p> - -<p class='c005'>As the egg is <i>in the hat</i> it is necessary for it to pass out -upon the outside surface. To do this the hat is slowly -moved downward until the egg is even with the brim; -<span class='pageno' id='Page_297'>297</span>then by careful management and a little practice, the -effect is produced of the egg walking up the hat instead -of the hat being lowered to the egg. You may now take -the egg in your hand and, holding the hat with the crown -upward in a horizontal position, place it beneath the -egg, and turn it slowly away from yourself. The effect -will be that the egg is traveling up hill. By placing the -other hat close to the one upon which you are performing, -and slowly drawing it under the egg, the latter will -appear to pass over to the crown of the second hat, and -very much the same movements may be repeated on this -as on the first.</p> - -<h4 class='c012'>THE MAGIC DISPATCHER.</h4> - -<p class='c010'>Borrow a quarter or half-dollar from your audience, -and ask the owner to place some mark upon it by which it -may be identified. Wrap this in the corner of a handkerchief, -and give it to some one to hold. Next take a -ball of yarn, and having placed it in a tumbler, ask some -other person in your audience to hold his hand over the -top of the tumbler in such a way that the ball will be -kept in place, and the yarn will run smoothly through -the fingers. Hold one end of the yarn some distance -from the tumbler, or near where the coin is held, and inform -your audience that, as your dispatcher is in good -working order, you will proceed to send the coin your -<span class='pageno' id='Page_298'>298</span>friend has in his hand into the very center of the ball of -yarn. Take the opposite corner of the handkerchief from -the one holding the money in your right hand, and having -counted one, two, three, command the coin to pass, at -the same instant snatching the handkerchief from your -friend’s hand. Next commence to unwind the ball, being -careful to keep some distance from the tumbler while -so doing.</p> - -<div class='figcenter id068'> -<img src='images/i_298.png' alt='' class='ig001' /> -</div> - -<p class='c005'>As the yarn is nearing its end, the silver piece will drop -upon the bottom of the tumbler, and nothing is left for -you to do but to request the owner of it to step forward -and see if it is the one he lent you.</p> - -<p class='c005'>In this, as in many of the tricks you have already -learned, very little preparation is required. First, a coin -<span class='pageno' id='Page_299'>299</span>of the same denomination as the one borrowed is sewed -in a corner of the handkerchief. The ball is wound upon -a stick of a particular shape, which is drawn out when -the coin is to be substituted in its place. This stick -should be about two and a half inches long, one and -a quarter inches wide, and an eighth of an inch thick, -rounded off at one end, and scraped until it is perfectly -smooth.</p> - -<p class='c005'>When winding your ball, be careful to have the -rounded end of the stick in the center of the ball, and -the other end projecting slightly on one side.</p> - -<p class='c005'>After you have procured your coin, palmed it, and -given the handkerchief containing the other into the -hands of some person to hold, go for your ball, which -should be at some distance from your audience, that you -may have time to draw out the stick and insert the coin -in its place, while you are walking back to the table -upon which is your tumbler.</p> - -<p class='c005'>The trick is now done, but the audience must be kept -ignorant of the fact, while your conversation and subsequent -acting should shroud it in all the mystery possible.</p> - -<h4 class='c012'>THE TURKISH RING TRICK.</h4> - -<p class='c010'>A few years ago I had the good fortune to see a famous -magician perform. Many and wonderful were the things -<span class='pageno' id='Page_300'>300</span>he did, and at times it seemed as if other than human -skill must be aiding him in his craft.</p> - -<p class='c005'>Among others, he gave the following trick, which was -as enthusiastically applauded as many of the others. It -had for me no element of strangeness, as I was already -initiated into its secret. Since it has ever been a favorite -in the little amateur performances we have from time to -time been in the habit of giving, I hope it may gain a -wider popularity in the larger circle of friends to whom I -am about to disclose it.</p> - -<div class='figcenter id025'> -<img src='images/i_300.png' alt='' class='ig001' /> -</div> - -<p class='c005'>To the public it appears as follows: A plain gold ring -is borrowed, placed in a handkerchief, and given to a -person to hold. A small stick is held by two others, in -such a position that its center is hidden by the handkerchief; -each person holds an end. The magician commands -the ring to pass, at the same moment snatching -the handkerchief, a corner of which he has taken, away -from the one holding it—when behold! the ring, which a -<span class='pageno' id='Page_301'>301</span>moment ago was in the spectator’s hand, is now whirling -around the stick, which it evidently has just reached.</p> - -<p class='c005'>It is performed as follows: When the ring is taken -from its owner, it is palmed, and not placed in the handkerchief, -as one is led to suppose, the handkerchief being -supplied, as you probably have already guessed, with a -ring which is sewed in its end. In passing the stick to -the holders, you have simply to pass it through the right -hand, in the center of which your ring is palmed, and, -of course, through the ring itself. Then, holding it until -it is hidden by the handkerchief, is not difficult to do. -When you first take up the stick, be sure and use your -left hand, so that you will have it ready to pass through -your ring without any awkward or suspicious movements. -Finally, pulling the handkerchief suddenly and quickly -across the stick, causes the ring to whirl upon it very -much as if it had just dropped in its place. It is always -well, when performing with the handkerchief, to have a -second and similar one in your pocket, to show in case -suspicion should be aroused concerning it.</p> - -<h4 class='c012'>HOW TO MELT AND RE-COIN A HALF-DOLLAR.</h4> - -<p class='c010'>Supply your table with a candle in a light candlestick, -and a glass of water. When ready to perform, request -some one of your audience to lend you a half-dollar, suggesting -at the same time, that a new bright coin would -<span class='pageno' id='Page_302'>302</span>best suit your purpose. Have it marked that the owner -may be sure of its identity.</p> - -<p class='c005'>If nothing but dull coins are to be found, have a small -bottle of ammonia at hand, and holding the piece in your -hand, pour a few drops of the liquid upon it; let it stand -a few moments and then wipe with a bit of cloth. Treat -both sides in the same way, and brighten up the edges in -like manner. All this while you may be talking of this -treatment, as if it were intended to render the metal more -fusible, but be careful not to mention what the fluid is, -or for what it is really intended. This treatment is, of -course, not necessary in the case of new coins, in which -case it can be omitted.</p> - -<p class='c005'>When the silver is bright, and presents the appearance -of a new coin, take it between the thumb and forefinger -of your right hand, look at it carefully, and then pretend -to drop it into your left hand, but instead palm it in your -right.</p> - -<p class='c005'>Now continue to move your left hand as if working the -coin around in it, keeping up a continual flow of small -talk during the whole performance. The difficulty of -melting silver, the amount of heat required, and the comparative -hardness of different metals, forming good subjects, -with which you will become familiar before your -public exhibition.</p> - -<p class='c005'>To render the idea of palming an apparent impossibility, -<span class='pageno' id='Page_303'>303</span>take up the candle in your right hand. This will -render the holding of the coin less troublesome, and appear -to your audience as a conclusive evidence that the -half-dollar is in your left hand.</p> - -<p class='c005'>After you have pretended to place the coin in your -left hand, do not for an instant forget to appear as if it -really was there, and keep that hand always in sight of -your audience.</p> - -<p class='c005'>Having taken the lighted candle in your right, hold the -left hand above the flame, and move the fingers as if allowing -the silver to pass down, drop by drop, into the -candle itself. If, just before this, previous to taking the -candle, you could catch up the glass for a drink and drop -a spoonful of water into the hollow of your left hand, the -dropping of it into the candle-flame would add to the -impression of melting silver. You can wet your hand -slightly in many natural ways, as no one would imagine -the water had anything to do with the trick. Continue -to pretend to drop the silver, until it would naturally be -gone; then, without removing your hand, open it and -announce that the half-dollar is melted, and can be found -in the candlestick; assuring the donor that he need not -be alarmed, as you can bring it out as it was before it -went in, if he will but have patience.</p> - -<p class='c005'>Put the candlestick down upon the table, and pretend -to pick out bits of silver from the various parts of it with -<span class='pageno' id='Page_304'>304</span>the right hand, placing them as they are gathered in the -palm of the left hand. At a convenient moment, when -the right is exactly above the left hand, drop the half-dollar -into it, and the trick is done. But it would not do -to let the audience know this, so you must continue to -work the left hand as if molding the coin in shape, blowing -with the mouth into the palm as if cooling the heated -mass; toss it from hand to hand as if to cool it more -rapidly, and finally return it to the spectator from whom -it was borrowed.</p> - -<h4 class='c012'>BURNING THE CENTER FROM A HANDKERCHIEF.</h4> - -<p class='c010'>The young performer will find but little difficulty in -performing this simple sleight-of-hand trick successfully. -A lighted candle, a small stick, or magic wand, and a -piece of thin cambric or muslin about six inches square, -are the materials required.</p> - -<p class='c005'>Place the lighted candle on your table, and the wand -on another table or shelf some distance from the former -with the bit of cambric behind it.</p> - -<p class='c005'>Now borrow of some lady present a handkerchief, a -gentleman’s being inconveniently large. Take the handkerchief -by the center, pull it carefully between the fingers -and thumb of left hand, and advance toward the -candle.</p> - -<p class='c005'>Just as you are about to burn it, stop and say, as if in -<span class='pageno' id='Page_305'>305</span>answer to some remark overheard, “Oh, no, I have not -changed the handkerchief. See!” and at the same time -allow another inspection of it.</p> - -<p class='c005'>Suggest now to its owner, if, in case her handkerchief -is burned, she would like it restored again to its proper -condition; and, upon her answering in the affirmative, -announce the necessity of the magic wand for that purpose. -Walk to the spot where the wand is lying, and -take it up, managing to pick up at the same time between -the left thumb and forefinger the bit of cambric; the -center of this piece should be pointed outward so that it -may be readily pulled out at the desired moment, the -remainder being neatly rolled up and palmed under the -thumb. This piece should have been rolled up with the -central point slightly projecting when first placed on the -shelf, and the performer should manage to turn his back -toward the audience for a few moments when taking up -the wand.</p> - -<p class='c005'>Place the wand in one of your coat pockets as you -advance toward your candle, and again take the handkerchief, -putting it this time into the left hand, and pull -up the small piece of material, completely hiding the -center of the real handkerchief between the second and -third fingers and the palm of the hand.</p> - -<p class='c005'>The portion of the cambric extending beyond the -thumb and forefinger may now be safely burned, and -<span class='pageno' id='Page_306'>306</span>the audience may be sure the handkerchief is burned, as -you can make some display of rolling it up in a ball, taking -care, however, to separate the burned piece from the -real article. Now take the wand from the pocket, and -at the same time manage to drop the small semi-burned -piece of muslin unperceived into the pocket; touch the -handkerchief with the wand, and, after some magic word -or words, return the handkerchief to the owner to be examined, -remarking that you hope not even an odor of -smoke is noticeable about it.</p> - -<p class='c005'>Whenever displaying feats in magic, it is better for the -performer to go forward among the audience if he has -anything to show or have examined, than to allow the -latter to come to his portion of the room. His table has -often some things upon it which if seen near by would -do much toward dispelling the mystery connected with -his works.</p> - -<p class='c005'>A wide space should be left between his table and the -front row of spectators, as he often has occasion to step -between the two in some of his feats.</p> - -<p class='c005'>The lights also should be judiciously arranged, so as -not to shine too directly upon his hands or person, or -even upon his table. Always have everything you can -possibly need in some easily accessible place, and in just -the position most convenient to be taken.</p> - -<p class='c005'>Decide beforehand what tricks you will perform, and -<span class='pageno' id='Page_307'>307</span>in just what order they are to be given. Of course, all -the materials are not to be spread on the table at the -commencement of the entertainment, as they would be -in the way, and confuse you in your first acts; but they -should all be at hand, and while articles are being examined -which have passed through the various vicissitudes -in a former trick, you can utilize the time when the attention -is thus carried away from yourself to gather together -and properly place the materials for your next -feat.</p> - -<p class='c005'>Never be induced to perform a trick a second time, -unless nearly a whole evening’s performance intervenes. -Even then it is pretty sure to be detected.</p> - -<h4 class='c012'>THE MAGIC ROPE.</h4> - -<p class='c010'>Take a piece of clothes-line, six or seven yards long, -and pass it among your audience for inspection. While -it is going its rounds, have your hands securely tied -with a handkerchief, which should be passed around -the wrists and knotted on one side.</p> - -<p class='c005'>When the rope is returned to you, drop one end between -your arms, or inside the handkerchief, and request -some one to take both ends of the rope and pull, to make -sure your hands are firmly tied. It would now seem impossible -to get the rope off, unless the hands were untied -<span class='pageno' id='Page_308'>308</span>or the ends released. After two or three rapid motions, -however, the rope drops to the floor, while your hands -remain tied as at first.</p> - -<div class='figcenter id038'> -<img src='images/i_308.png' alt='' class='ig001' /> -</div> - -<p class='c005'>First, do not have your hands tied so tightly that you -cannot move them; this can be arranged by holding them -slightly apart while they are being tied. After the rope -has been pulled by the holder, it is somewhat relaxed; -and then, by rubbing it between the wrists a loop may -be formed, into which the second finger may be slipped. -The whole hand is now readily thrust through, and only -a jerk is necessary to send the rope upon the floor. In -performing this trick, work as quickly as possible, that -your movements may not be easily followed.</p> - -<h4 class='c012'>A CAMPING-OUT COOKING-STOVE.</h4> - -<p class='c010'>Although the winter season is now well upon us, and -its reigning king, Jack Frost, jealous if we but mention -<span class='pageno' id='Page_309'>309</span>the “camp-fire,” has covered its very site with ice and -snow, we need not fear incurring his displeasure by the -following exhibition.</p> - -<p class='c005'>Procure an old silk hat if possible, and pass it among -your audience for inspection. Have upon the stage, or -at your end of the room, a table, with a drawer open at -the back. In this drawer have a small cake in the tin -in which it was baked. Let it be made in a patty-pan if -convenient. Beside this cake have a small tin cup, which -will fit rather tightly into the mouth of a china jar you -have also provided. On the top of the table have an unlighted -candle, the jar, which should be porcelain if possible, -a basket containing a few eggs, a pitcher of water, -some flour, and a box marked sugar. The hat, after having -been examined, is returned to you; and the cake, -along with the cup which is to receive the eggs and flour, -are put into it. This is effected as follows: Take the cake -and cup in your left hand, keeping it down behind the -table, and your hat in the right hand; bring the cake and -cup up to the edge, and immediately cover it with the -hat, which you begin brushing with your right. Keep up -a running discourse all the time, so that the movement -will seem natural, and not be suspected. In a moment or -two partly withdraw the left hand, and grasping the brim -of the hat, turn it upside down upon the table. If the tin -is not in a good position to catch the eggs and flour which -<span class='pageno' id='Page_310'>310</span>you are to drop into it, palm a penny and pretend to find -it in the hat, chiding your audience for carelessly overlooking -it, remarking that although a useful thing to -have, it is not exactly a proper ingredient for cake. Of -course, while pretending to pick up the coin, you can arrange -the tin cup on top of your cake in the middle of -the hat. Be sure that it stands firm.</p> - -<p class='c005'>Now proceed to break one or more eggs, and drop the -contents into the hat, taking especial care that they drop -into the cup. Next throw in a spoonful of sugar, and -then pour a few drops of water and one or two spoonfuls -of flour into the jar, and stir well with a spoon. Pour the -contents of the jar into the cup, and then, under pretense -of draining the last drop into the hat, force the jar down -over the cup, and work it around until the cup is well -pushed up into the mouth of the jar. It is needless to -add that you must pretend all the while that you are -scraping or shaking out the mixture. The jar can now be -taken out and carelessly placed behind the sugar-pail or -any other object, to prevent the edge of the tin cup from -being seen.</p> - -<p class='c005'>The trick is now completed, the only necessary thing to -do is to keep up the acting until the cake is supposed to -be finished.</p> - -<p class='c005'>First, stir it well by moving the spoon around quite -actively in the hat; then light the candle, and, informing -<span class='pageno' id='Page_311'>311</span>your audience that the cake is ready for baking, take the -hat in one hand and hold it over the candle for a minute -or two, occasionally glancing in to see if it is doing well.</p> - -<p class='c005'>In a short time announce that it is baked; and after -blowing out the candle, take the cake from the hat, turn -it out upon a plate, and placing a knife by its side, pass -it to some one to cut, and politely request your friends to -try it, and judge upon the efficacy of your camp-stove. -If the hat was borrowed, return it with thanks to its -owner, and congratulate him upon having such a useful -article always on hand.</p> - -<h4 class='c012'>NECESSITY OF A SOBER COUNTENANCE.</h4> - -<p class='c010'>In most, in fact all, of these exhibitions, it is absolutely -necessary that one should keep a sober countenance while -performing. No matter how hard your audience laugh, -do not allow the shadow of a smile to flit across your -face. If you do it will take away much of the effectiveness -and half the mystery, from whatever you are doing.</p> - -<p class='c005'>I once had a young friend, a quick bright boy, who -was very successful in palming, and in many of the other -elements in sleight-of-hand tricks, but he had a ridiculous -and unconquerable habit of laughing whenever his -audience laughed, and, in fact, of sometimes anticipating -the laugh, and commencing before his friends saw anything -worth laughing about.</p> - -<p class='c005'><span class='pageno' id='Page_312'>312</span>He was of course not successful, and was never watched -with as much interest as his brother, who, although not as -clever, was as sober as a judge from the beginning to the -end of the performance. No amount of hilarity in the -audience affected him in the least. If he found it was -impossible to make himself heard, he stood still and -waited; but always with the same quiet, calm countenance -he would have worn had he been walking up the -aisle of a church. Learn to command your countenance, -as one of the most important requisites of a successful -magician.</p> - -<h4 class='c012'>THE GREAT CHINESE ROPE FEAT.</h4> - -<p class='c010'>Many years ago this trick was exhibited in a show-window -on Broadway, but as probably most of the people -who then saw it have long since forgotten how it was -performed, I give the following account:</p> - -<p class='c005'>Two ropes, each about three yards in length, are given -to the audience to examine, which of course are pronounced -perfect; then they are passed through the -sleeves of a coat, in such a way as to suspend it; the -ends are then given to two boys to hold. The performer -then places his hand inside the coat, and having requested -those who are holding the ends of the rope to -pull, the coat falls to the floor, having in some mysterious -manner worked off the ropes.</p> - -<div class='figcenter id064'> -<span class='pageno' id='Page_313'>313</span> -<img src='images/i_313_a.png' alt='' class='ig001' /> -</div> - -<p class='c005'>Of course, the whole secret of this trick depends upon -the arrangement of the ropes, which are of themselves -perfect. After they have been examined, and are returned -to the performer, he pretends to measure them, -and while so doing manages to bend each rope double; -that is, he brings the two ends of each together; while -still holding them he contrives to slip a small elastic band -over the center of one, and bringing the middle of the -other alongside of it, he slips the band over both, thus -tying them together, as shown in the illustration.</p> - -<div class='figcenter id064'> -<img src='images/i_313_b.png' alt='' class='ig001' /> -</div> - -<p class='c005'>Now holding this juncture carelessly in his left hand, -over which arm a coil or two of the rope is thrown, he -passes the ends marked <i>A</i> through one sleeve of the coat, -and the end marked <i>B</i> through the other, and these are -the ends he gives to the two persons to hold.</p> - -<p class='c005'><span class='pageno' id='Page_314'>314</span>If he now slips off the rubber band, the coat will fall; -but each person will have both ends of the same rope in -his hand, and the mystery would be easily solved. To -remedy this, however, the performer, under pretense of -making the trick still more difficult, takes an end from -each of the holders, and proceeds to tie a single loop, as -seen in the illustration, thus reversing the ends, which he -then returns to them.</p> - -<p class='c005'>Of course, when the band is taken off, each person has -but one end of either rope in his hand.</p> - -<h4 class='c012'>TO PULL A STRING THROUGH A BUTTON-HOLE.</h4> - -<p class='c010'>Tie together the ends of a piece of string about two feet -long; pass it thus tied through a button-hole of your -coat. Hitch the two ends on your thumbs, and catch up -with each little finger the upper string on the thumb of -the opposite hand; then, stretching the hands apart, the -string will appear in a very complicated tangle. If the -hold of the right thumb and left little finger, or <i>vice -versâ</i>, be then loosed, and the hands quickly separated, -the string will come away from, and appear as if it had -passed through, the outside edge of the button-hole.</p> - -<h4 class='c012'>TO UNITE A PARTED STRING.</h4> - -<p class='c010'>Take a piece of string about four feet long; hold the -ends, pointed upward, between the first and second finger -and thumb of the left hand, and the first finger and -<span class='pageno' id='Page_315'>315</span>thumb of the right hand, letting the remainder of the -string hang down in a loop. Now bring the right hand -close to the left, crossing at right angles that end of the -cord held in the left hand, and continue to pull until half -the length of the string has passed the left hand, at the -same time slipping the third finger of the left hand between -the two parts of the string.</p> - -<p class='c005'>The first finger and thumb of the right hand should -then seize the string at a point just below the little finger -of the left hand, the third finger of that hand at the -same time drawing back the string toward the palm of -the hand.</p> - -<p class='c005'>The part of the string now held horizontally between -the two hands is only the continuation of the end held in -the left hand, though it will appear to be the middle of -the string.</p> - -<p class='c005'>This piece of the string some one of the audience -should be invited to cut, and thus apparently divide the -string in halves, although in fact he only cuts off two or -three inches.</p> - -<p class='c005'>Place all the ends of the string between the teeth, withdraw -the short piece with the tongue, and show the remainder, -apparently as the string was at the commencement.</p> - -<p class='c005'>Of course, the string must not be measured, or the trick -will be detected.</p> - -<div class='nf-center-c1'> -<div class='nf-center c007'> - <div><span class='pageno' id='Page_316'>316</span>―――――◀▶―――――</div> - </div> -</div> - -<h3 class='c009'>A MINERAL GARDEN.</h3> - -<p class='c010'>Fill a clear glass jar—a fruit jar will answer the purpose—with -sand, to the depth of two or three inches; -insert a few pieces of sulphate of iron, sulphate of copper, -and sulphate of aluminum, so that they will be -barely covered with the sand.</p> - -<p class='c005'>Now fill the jar to within about three inches of the -top with a solution of silicate of soda, commonly known -as “water-glass,” which can be procured at most large -city drug stores. This should be diluted with three -times its bulk of water before it is poured in; and care -should be taken not to stir up the sand and disarrange -the chemicals.</p> - -<p class='c005'>After standing about a week, the silicates of the various -bases will appear in a luxuriant and variously colored -growth, resembling vegetation.</p> - -<p class='c005'>Now the silicate solution may be displaced with clear -water, which should be poured in very carefully, so as -not to break or disturb the vegetation. This permanent -miniature forest will be found to present a very attractive -appearance, and as no pruning or weeding are required, -the young gardener will probably feel that his trouble is -well repaid. Its development from day to day will be -watched with interest by all the members of the household, -although it will be of especial value to the invalid, -<span class='pageno' id='Page_317'>317</span>to whom any new and interesting object to watch is a -blessing indeed.</p> - -<p class='c005'>Another pleasing and ingenious device I insert for the -benefit of this class of my readers, wishing, in the meantime, -that it might be in my power to make their in-door -life so bright and full of interest, that they would forget -the more active sports of their sturdy brothers and sisters, -or at least cease to regret their enforced confinement. -This little affair I shall call</p> - -<h4 class='c012'>THE CRYSTAL VASE.</h4> - -<p class='c010'>This sparkling ornament will almost make itself, so -little trouble is required.</p> - -<p class='c005'>You have only to half fill a tall glass tumbler with -water, and put in half a teacupful of table salt, then let -it stand.</p> - -<p class='c005'>As the water dries out, put in a little more, adding salt -also in due proportion; and keep this up for five or six -months.</p> - -<p class='c005'>By degrees an incrustation of crystals will fill the -tumbler, and spread gradually down the outside; extending -and thickening till the whole vessel is covered -with an irregular glittering mass, which might well be -the work of the ice-sprites in the kingdom of Jack Frost.</p> - -<p class='c005'>As the crystals approach the bottom of the tumbler, the -<span class='pageno' id='Page_318'>318</span>latter should be set in a saucer; when the tiny stalactites -have enveloped this also, the vase is complete.</p> - -<p class='c005'>Should it be desired to enhance still further the decorative -effect of this by the use of color, a blue tint can be -communicated by adding a little indigo blueing to the -salt and water. Should other colors be desired, almost -all of those employed in coloring alum crystals (see page -25) may be used with equal success in this case. By -adding different colors at different times, a variegated -effect may be produced.</p> - -<p class='c005'>The gradual growth of the crystals, and enlargement of -the mass, is a very interesting spectacle.</p> - -<div class='nf-center-c1'> -<div class='nf-center c007'> - <div>―――――◀▶―――――</div> - </div> -</div> - -<h3 class='c009'>THREE CHRISTMAS OR BIRTHDAY GIFTS.</h3> - -<p class='c010'>When speaking of Christmas presents in an earlier portion -of this book, I unintentionally omitted three quite -interesting and easily made puzzles, which are always -pleasing sources of amusement to the young folks, and -sure to while away many half-hours on stormy days. -Such presents are always valuable additions to the nursery -closet, and in an indirect way are as gratifying to -mamma and nurse as to the little recipient himself. The -first of these is called the</p> - -<h4 class='c012'>OCTAGON PUZZLE.</h4> - -<p class='c010'>This puzzle consists of twelve irregular pieces of stiff -<span class='pageno' id='Page_319'>319</span>pasteboard or wood, which are to be arranged in the form -of an octagon.</p> - -<p class='c005'>Although these pieces can be cut from pasteboard, they -are more lasting, stronger, and better every way if made -of wood. White holly, such as is employed for brackets, -is a nice material to use.</p> - -<div class='figcenter id005'> -<img src='images/i_319.png' alt='' class='ig001' /> -</div> - -<p class='c005'>With a jig-saw cut four pieces in shape like that represented -in Fig. 1, four like Fig. 2, and four more like Fig. -3; rub the edges down with sand-paper, and, if you like, -paint each set a different color. When the paint is dry, -varnish them.</p> - -<p class='c005'><span class='pageno' id='Page_320'>320</span>Pack them in a small pasteboard box, which you can -neatly cover with paper—any fancy color will do—and -you will find your little brother or sister will be as well -pleased with them as with many toys which have come -direct from the store.</p> - -<p class='c005'>Another puzzle of the same character as this is</p> - -<h4 class='c012'>THE CROSS PUZZLE.</h4> - -<p class='c010'>In this, as in the Octagon, the pieces composing the -cross may be made of pasteboard, but are better and -stronger if made of the white holly or other thin -“bracket wood.”</p> - -<div class='figcenter id034'> -<span class='pageno' id='Page_321'>321</span> -<img src='images/i_320.png' alt='' class='ig001' /> -</div> - -<p class='c005'>Cut three pieces—with the jig-saw, of course—in shape -like Fig. 1, one piece like Fig. 2, and one like Fig. 3.</p> - -<p class='c005'>These pieces may be of any size, but relatively each one -must correspond with the sizes and shapes indicated in -the diagram.</p> - -<p class='c005'>Paint as fancy may dictate, after smoothing the edges -off with sand-paper. Pack in a box treated like that -used for the “Octagon Puzzle.”</p> - -<p class='c005'>The last of these interesting puzzles is known as the</p> - -<h4 class='c012'>SQUARE PUZZLE.</h4> - -<p class='c010'>Of the pasteboard or white holly cut out eight squares -of whatever size desired; divide four of them into halves -by cutting them from corner to corner, so there are in all -twelve pieces.</p> - -<div class='figcenter id046'> -<img src='images/i_321.png' alt='' class='ig001' /> -</div> - -<p class='c005'>The puzzle is to form a square of these twelve pieces. -The illustration shows how this is done.</p> - -<p class='c005'><span class='pageno' id='Page_322'>322</span>When these puzzles are given to the little folks, no -“key” should accompany them, but the children should -try to put them together without help. If, however, you -find they begin to lose interest, show them the first step, -and encourage them to try to finish it by themselves.</p> - -<p class='c005'>There are great differences in children in this respect; -some persevering and unwilling to be helped at all, while -others become discouraged at the smallest obstacles and -refuse to try. The latter should be encouraged by a -little help, care being taken, however, that they do a considerable -portion of the work themselves.</p> - -<p class='c005'>No doubt this “indolence,” as it is sometimes erroneously -called, is generally due to a weak physical condition, -rather than to inferior mental powers. A child of -this temperament, instead of being ridiculed by his more -vigorous companions, should be encouraged and stimulated -to action; and such games or puzzles as those contained -in this book are just the things to accomplish -this end.</p> - -<div class='nf-center-c1'> -<div class='nf-center c007'> - <div>―――――◀▶―――――</div> - </div> -</div> - -<h3 class='c009'>A SIMPLE FOUNTAIN.</h3> - -<p class='c010'>Take a bottle holding eight or ten ounces, and insert a -tube in the cork. A fine glass tube or even a pipe-stem -will answer.</p> - -<p class='c005'><span class='pageno' id='Page_323'>323</span>The tube should reach nearly but not quite to the bottom -of the bottle, and should fit air-tight in the cork.</p> - -<p class='c005'>Fill the bottle about three-fourths full of water, and -blow with considerable force down the tube. Upon removing -the mouth, the water will spurt out, forming a -miniature fountain; which will continue to play as long -as any water remains in the bottle.</p> - -<div class='nf-center-c1'> -<div class='nf-center c007'> - <div>―――――◀▶―――――</div> - </div> -</div> - -<h3 class='c009'>THE FAN FROM NAGASAKI.</h3> - -<p class='c010'>A few months ago, a friend who had been for several -years a resident of Japan, came home to America for a -visit, and brought with her a bright little son and daughter, -neither of whom had ever set foot on our American -shores before. The children were delighted with their -American cousins; and evidently could not find words -strong enough to sound the praises of the new games -and sports which they were constantly learning.</p> - -<p class='c005'>Their lives had been spent with Chinese or Japanese -nurses; and although kind-hearted and devoted as my -friend assured me these people were, the little exiles -must have had a sorry time of it in their foreign play-room, -when compared with our own boys and girls. The -respect and almost reverence with which they regarded -Jack, the most daring scapegrace in our family, would -<span class='pageno' id='Page_324'>324</span>have been very amusing had it not been pathetic. What -Jack did was always marvelous in their eyes, and into -many an unsuspected trap they were beguiled by his -mischievous pranks. They were what most of you boys -and girls would call very green, when they first reached -us, but under Jack’s tuition, I fear that next winter—in -fact, at the very time you are reading this—perhaps they -will be trying the same tricks upon their innocent Japanese -nurse that Jack tried upon them.</p> - -<p class='c005'>It will not be strange if that long-suffering personage -does not in his secret heart have less respect for this -illustrious nation than he has been wont to have before.</p> - -<p class='c005'>But if so ignorant in most things, these children were -very ingenious and uncommonly happy in making things -of paper.</p> - -<p class='c005'>One rainy morning, about a week after they came to -us, I had occasion to go into the nursery for something, -and was quite surprised to find the children busily engaged -in folding paper. Edith had brought down some -rice-paper from her trunk, and with the help of her -brother, was fashioning all sorts of odd things from it; -while the younger members of my own family were looking -on with intense interest.</p> - -<p class='c005'>I left the room, after watching them for a few minutes, -but an hour later, upon entering it again, found them -still employed in the same amusement.</p> - -<p class='c005'><span class='pageno' id='Page_325'>325</span>It seems that their nurse had been in the habit of -teaching them many Japanese arts to keep them still -while under his charge. Their nurse was a man, strange -to say, as very few female servants are employed in either -China or Japan, and now they in their turn were teaching -these to us. I confess the graceful, pretty things they -were making had quite a fascination for me, and I even -left off what I had been doing, and became a pupil with -the youngsters. I took up the article which they were -just beginning to learn, and, following my little teacher’s -directions, I made what I have styled “The Fan from -Nagasaki,” because my little instructress was born and -lived in that city, and learned her art from a native Jap, -and not because the fan itself, if it can strictly be called -a fan, came from that region.</p> - -<p class='c005'>The children called it by a delightfully odd Japanese -name, which you would find it hard to pronounce even if -I should invent a way of spelling it.</p> - -<p class='c005'>Edith used Japanese or rice paper for those she made; -but we found a stout quality of brown wrapping-paper, -not too stiff, answers nearly as well.</p> - -<p class='c005'>If brown paper is used, a rectangular piece about two -feet long, by one and a half feet wide, is a good-shaped -piece to use.</p> - -<p class='c005'>Mark off each of the edges which measure eighteen -inches into six equal parts, each division being of course -<span class='pageno' id='Page_326'>326</span>three inches long (see Fig. 1). Now double the paper on -the line at <i>x</i>, and you have a shape like Fig. 2. Fold the -uppermost half under at the line <i>a a</i>, and again outward -at the line <i>b b</i>; then fold the under half in precisely the -same manner, and your paper is like Fig. 3.</p> - -<div class='figcenter id069'> -<img src='images/i_326.png' alt='' class='ig001' /> -</div> - -<p class='c005'>Upon examining the edge <i>a a a</i>, two openings between -the folds will be seen; whereas at the edge <i>b b b</i>, three -openings will be found. The hand has next to be placed -in the middle of these three openings, and the paper -spread out toward the right and toward the left; that -middle fold lying flat or unfolded for the time being. -Another figure is now made like Fig. 4. Now commencing -at one end of this long strip, crinkle it the whole -length as you would a lamplighter top, making the -folds even, about a quarter or half an inch wide. Be -careful not to make these folds wider than this, as the -<span class='pageno' id='Page_327'>327</span>fan does not work as well when they are wide. Yon have -now a figure like that seen in Fig. 5; and if your folds -have been carefully and firmly creased, your paper is prepared -to make all sorts of strange shapes. I think Edith -told me her nurse could make sixty-five different forms -from a similarly folded bit, and most of these she was -able to reproduce; but as it is some time since the children -left us to visit other friends, and I have not given -the subject a second thought till now, I find I have forgotten -how many of the more intricate ones were formed. -Perhaps with the directions for these my readers will -catch the <i>knack</i>, as we Yankees call it, and can improvise -some forms unlike any of these, for themselves. Whatever -you succeed in making, you may be quite certain -that the Nagasakian nurse, away off on the other side of -the earth, is ahead of you, and has made the same form -before; for his sixty-five must include about everything -one could possibly fashion from its folds.</p> - -<p class='c005'>In Fig. 6, the lower edge of Fig. 5 is held between the -thumb and forefinger of the left hand, while the top is -spread out like a fan. For Fig. 7, take Fig. 6, insert the -fingers at <i>a</i>, and pass them round to <i>b</i>, raising the paper -outward. Fig. 8 is a continuation of 6 and 7, as the -upper layer of the overhanging edge in Fig. 7 is raised by -passing the finger under it at <i>c</i>, and bringing it out at <i>d</i>.</p> - -<p class='c005'>Fig. 9 is a reverse of Fig. 8. Catch the paper by the -<span class='pageno' id='Page_328'>328</span>part now uppermost, pinch that part well together, and -loosen the part which was confined in Fig. 8.</p> - -<div class='figcenter id056'> -<img src='images/i_328.png' alt='' class='ig001' /> -</div> - -<p class='c005'>It must be remembered that every time the fan is -changed, the paper must be pinched into its original -form, Fig. 5. It will now be necessary to make that -change. After creasing the folds firmly in place (Fig. 5), -lift up the upper part <i>a</i>, bring the lower plaits <i>b</i> well -together, and hold them for the handle. With the disengaged -hand, arrange the upper part in the form of a -sunshade. Another form may be got by raising the upper -layer of the sunshade cover, a species of cup or goblet. -By drawing out <i>b</i> until it is at right angles with the upright, -the goblet form is nearer correct.</p> - -<p class='c005'>Now reverse the paper, and spread out the lower part -<span class='pageno' id='Page_329'>329</span>so that it may represent the body of a wine-glass; that -which in Fig. 10 was the top of the sunshade, is now the -foot of the glass, as seen in Fig. 11.</p> - -<div class='figcenter id070'> -<img src='images/i_329.png' alt='' class='ig001' /> -</div> - -<p class='c005'>The Chinese lantern (Fig. 12) is as easily made. Open -out all the paper, and twist it around; catch it now by -the central part, and by compressing the central folds -well together, these wheels are produced (Fig. 13).</p> - -<p class='c005'>The hat, or cup and saucer (Fig. 14), is readily made by -opening the paper out again, and catching it at the two ends.</p> - -<p class='c005'>We now come to a new form of subjects, so the original -form (Fig. 5), must once more be reverted to. If the -paper is caught at both ends, it can easily be folded so as -<span class='pageno' id='Page_330'>330</span>to form Fig. 15, and a table-mat may be made by drawing -it out like Fig. 16.</p> - -<div class='figcenter id025'> -<img src='images/i_330.png' alt='' class='ig001' /> -</div> - -<p class='c005'>A “nappie” dish, oval in form, and resembling Fig. -17, may be made from Fig. 16, by simply raising up the -sides <i>a</i> and <i>b</i>. By pressing the paper inward, Fig. 18 is -obtained. Fig. 19 is made by drawing the paper out -again, and letting it loose at the end. Thus you see, by -pulling out some parts and drawing in others, a quantity -of things could be made other than these I have shown. -It would be quite interesting if every boy and girl who -reads this, would try on some rainy day to see how near -to the sixty-five he or she could come. If two or three -friends in the same neighborhood should unite their -<span class='pageno' id='Page_331'>331</span>forces, and count all which are unlike, without reference -to the maker, they might not fall so far short of the illustrious -Japanese—I wish I could remember his name—after -all.</p> - -<div class='nf-center-c1'> -<div class='nf-center c007'> - <div>―――――◀▶―――――</div> - </div> -</div> - -<h3 class='c009'>THE MINIATURE YACHT AND HOW TO RIG HER.</h3> - -<p class='c010'>Boat making and sailing are most fascinating pursuits, -and we do not know but the old saying, “When a man -has taken to boat-sailing, he is a sailor to the end of his -days,” is to a certain degree applicable to the boy who -intelligently fits out his tiny craft, and sends her on little -voyages across the neighboring pond.</p> - -<p class='c005'>If the sailing is to be done on water of any depth, there -is one caution we should like to give at the very outset: -<i>Learn to swim before you sail her</i>. No mere pleasure is -worth risking one’s life for, and accidents will happen -even to the most careful boys.</p> - -<p class='c005'>After this, you may play on or near the water with as -much safety as on the land.</p> - -<p class='c005'>Aside from the pleasure, one learns an extremely useful -lesson in making a miniature model yacht, and in sailing -her. A certain familiarity with the rigging, and the looks -of the thing, will thus be obtained, and if your fingers -have patiently set up shrouds and stays, and rove the -mimic halyards, they will be less at sea with the ropes -and stays of a real vessel.</p> - -<p class='c005'><span class='pageno' id='Page_332'>332</span>Many boys living near the sea, and accustomed every -day to see vessels lying at anchor, or sailing in and out -of the harbor, have very hazy ideas concerning the rigging -of any kind of craft. Well I remember in my early days -of being obliged to run down to the wharf to see where to -attach my topmast. Whether it belonged forward or aft -of my mast I had not the slightest remembrance, and yet -scarcely a day went by without my seeing a vessel in -some form or other.</p> - -<p class='c005'>Boys are not the only persons, however, who look at -things and do not see them. The power of minute and -careful observation is a rare quality, and the majority of -people go through life without forming the habit, or indeed -dreaming they have not made the best use of their -sight.</p> - -<p class='c005'>For the benefit of the boys who belong to this class, -and those less fortunate ones living inland where yachts -are unknown, I write this chapter.</p> - -<p class='c005'>In several of our large cities, ponds are set apart for -the especial purpose of sailing toy vessels. They are the -exclusive property of the boys, and any fine afternoon in -season, and frequently out of season, if the ice does not -interfere, crowds of boys may be seen sitting on the edges -of these “lakes,” intently watching the graceful fleet as -it skims lightly over the water. The sixty-acre lake in -Prospect Park, Brooklyn, and Conservatory Lake, Central -<span class='pageno' id='Page_334'>334</span>Park, New York, are both set apart for the owners -of these miniature yachts; and it is wonderful how many -older people, as well as the boys themselves, take interest -in this amusement.</p> - -<div class='figcenter id026'> -<img src='images/i_333.png' alt='' class='ig001' /> -</div> -<div class='lg-container-b'> - <div class='linegroup'> - <div class='group'> - <div class='line'><i>a</i> Keel.</div> - <div class='line'><i>b</i> Bowsprit.</div> - <div class='line'><i>c</i> Stern.</div> - <div class='line'><i>d</i> Mast.</div> - <div class='line'><i>e</i> Topmast.</div> - <div class='line'><i>f</i> Boom.</div> - <div class='line'><i>g</i> Gaff.</div> - <div class='line'><i>h</i> Forestay.</div> - <div class='line'><i>i</i> Shrouds.</div> - <div class='line'><i>j</i> Jib-stay.</div> - <div class='line'><i>k</i> Topmast-stay.</div> - <div class='line'><i>l</i> Topping lift.</div> - <div class='line'><i>m</i> Main-sheet.</div> - <div class='line'><i>n</i> Ensign.</div> - <div class='line'><i>o</i> Throat halyards.</div> - <div class='line'><i>p</i> Peak halyards.</div> - <div class='line'><i>q</i> Burgee.</div> - <div class='line'><i>r</i> Reef points.</div> - </div> - </div> -</div> - -<p class='c005'>The building and sailing of tiny yachts is carried to a -much greater extent in England than in this country. -There the Prince of Wales is deeply interested in the -sport, and has instituted a “Royal Yacht Club,” presided -over by himself, which has regular yacht regattas. -These regattas take place on Serpentine Lake, in Hyde -Park, every summer, and are considered quite important -events. The yachts belonging to this club are very elegant -affairs, one of them being valued at $5,000, yet none -of them are over five feet in length.</p> - -<p class='c005'>We do not expect our boy readers to emulate their -British cousins, but with the following simple directions -we feel confident they can, with a fair amount of skill in -the use of tools, and careful labor, make a very respectable -miniature yacht, which shall be correct as far as she -goes in both form and rigging.</p> - -<p class='c005'>In the fashioning of a miniature boat, the hull is the first -thing which claims our attention; and in making this, two -elements are to be considered, rapidity and stability.</p> - -<p class='c005'>The rapidity or ease with which a vessel moves through -water, is gained by a narrow hull—that is, narrow in proportion -to its length—which, to be sure, renders the vessel -<span class='pageno' id='Page_335'>335</span>somewhat unstable; but this instability may be overcome -by loading the keel with lead. There is danger, -however, of carrying this to too great an extent, by lowering -the vessel so much that the friction against her -sides more than counteracts the fine proportions of her -build. Hence a skillful designer reconciles these two -points.</p> - -<p class='c005'>There are two types of model recognized in yacht -building: First, the English cutter model, which is narrow, -and quite deep in proportion to width, with its keel -heavily weighted to secure the necessary stability. This -model is best adapted to rough cruising in strong winds -and heavy seas, such as prevail on the English coasts.</p> - -<p class='c005'>Second, the American: This, our model, is much wider, -or, in nautical phrase, has much more beam in proportion -to length and depth. Indeed, it is often so shallow as to -merit the term “skimming-dish,” ofttimes applied to this -class of vessels.</p> - -<p class='c005'>These boats are usually fitted with center-boards, which -can be lowered or raised according to the need of the -moment, instead of the deep keel of the English model, -American vessels having the advantage of smoother water -in which to make their cruises. The sheltered surface of -Long Island Sound and the bays which adjoin it at either -end, afford excellent sailing grounds for those owned in -New York and the vicinity.</p> - -<p class='c005'><span class='pageno' id='Page_336'>336</span>For the toy boats our boys may desire to make, a -medium between these two types will probably be found -preferable in practice.</p> - -<p class='c005'>The center-board may be ruled out at once, as both -itself and the well in which it plays would require more -time and patience in their construction than most boys -would care to give.</p> - -<p class='c005'>It is much better to have your boat too wide than too -narrow, as a capsize is far more disconcerting to the average -young yachtsman, than a slight inferiority of speed.</p> - -<p class='c005'>For a sloop yacht, the greatest width should be about -one-third the length; and the point of greatest width, or -beam, should be somewhat nearer the stern than bow.</p> - -<p class='c005'>Probably the best way to make a toy yacht is to procure -a piece of wood, which is about three times as long -as it is wide and deep, and whittle out your hull as your -judgment or fancy may dictate; keeping in mind a few -essential points, however, to insure ultimate success.</p> - -<p class='c005'>First, draw a line from the middle point of one end to -the middle point of the other end of the top of the block; -this will serve as a guide to the bow and the center of the -stern. Care should be taken not to make your vessel too -blunt at the bow; as a sailor would say, “the lines at the -bow should be <i>fine</i> when they meet the water.”</p> - -<p class='c005'>The elegant appearance of the boat is increased by giving -an overhang to the stern, instead of running it up -<span class='pageno' id='Page_337'>337</span>vertically; and if the young builder is confident in the -use of his tools, a sheer, as it is called, of the lines at the -top, or the gunwale, will add greatly to the grace of its -appearance. For the benefit of those who do not understand -the meaning of the word sheer, it may be explained -that it is the gradual and graceful downward curve from -bow to stern, noticeable in the bulwarks of vessels when -seen from one side.</p> - -<p class='c005'>It is perhaps superfluous to add that great care should -be taken to have each side of the craft alike, for if a preponderance -of weight is on one side, the vessel will tip; -while if the curve is unequal, she will not sail evenly.</p> - -<p class='c005'>The hollowing out of the inside is most conveniently -accomplished with a sharp gouge and mallet, while the -hull is secured firmly in a vise. When this is finished, a -hole should be made in the bottom to receive the lower -end of the mast, and care should be taken not to bore -<i>through</i> the hull, as it would be difficult to stop the ingress -of water through it.</p> - -<p class='c005'>We have now come to the keel, which must be firmly -attached to the hull. The best way to do this is to drive -three slender brass screws through the bottom of the boat, -with ends projecting from one-fourth to one-half an inch -along the line of the proposed keel. Make a temporary -box around these, inclosing a space equal to the length -and breadth of the keel, with strips of thin wood, such as -<span class='pageno' id='Page_338'>338</span>cigar-box wood; strips of heavy pasteboard may answer -the purpose sufficiently well. In either case this mold -should be firmly attached to the hull, in such a manner -that after casting the keel it may be readily removed. -Perhaps the best way to accomplish this is to paste it in -place by means of narrow bands of stout paper. The inside -of the mold must be rubbed with oil or lard to prevent -the lead from adhering to its sides. This lead must -be melted over a very hot fire, so that it will not cool too -rapidly upon entering the mold, in which case it would -not hold together as well. When cold, the mold may be -detached, and the keel will be held firmly in place by the -three screws.</p> - -<p class='c005'>The deck should be made of thin board, cut so as to -accurately fit the top of your hull. If a sheer has been -given to the bulwarks, it is of course much more difficult -to fit the deck accurately, as it should follow the curve. -It will very likely be found necessary to <i>steam</i> the board -used, to make it sufficiently flexible. It will be possible -to use stout pasteboard for the purpose, if both sides and -edges are given a couple of coats of paint, which treatment -should also be applied to the inside of the hole for -the mast.</p> - -<p class='c005'>This hole should be placed very slightly farther astern -than the hole already mentioned, made in the bottom of -the vessel. The effect of this will be to give the mast a -<span class='pageno' id='Page_339'>339</span>slight <i>rake</i>. This is always the case with the masts of -a schooner yacht, but builders of sloop yachts occasionally -omit the rake and “step” the mast in a vertical -position.</p> - -<p class='c005'>The <i>bowsprit</i> may be fastened by two staples made of -small wire, and driven down over it. One is driven down -into the stem, or extreme forward point of the hull, and -corresponds to what is called the “gammon iron” in a -full-sized craft; the other secures the “inboard” end of -the bowsprit, or that which is nearer the stern. This end -is called the heel, and should nearly reach the mast. The -outer end should project beyond the hull to a distance of -nearly one-third the latter’s length.</p> - -<p class='c005'>The rudder can be whittled from a thin piece of wood, -in the shape shown in the figure; the upper part or head -is round, and passes up through a hole in the overhang. -The top of this rudder-head is squared off to fit the hole -in the end of the tiller or helm. The rudder is “shipped” -very much as a barn-door or window-blind is set in place. -Suitable hinges for the rudder of a toy boat can be made -of pins from which the heads have been filed. Two pins -may be bent double for staples, and inserted into the -“stern-post” of the vessel; while two others bent at -right angles may be driven into the rudder, the projecting -ends hanging down through the staples. The rudder -should turn with sufficient friction to hold its place, at -<span class='pageno' id='Page_340'>340</span>whatever angle it may be set. The hollow of the boat -should not extend back into the overhang, as water might -enter it through the rudder-hole.</p> - -<p class='c005'>The mast is composed of two parts or pieces; the lower -part is what is always understood when the “mast” is -spoken of. The smaller piece, fastened to the upper end -of the mast, is called the topmast.</p> - -<p class='c005'>The “mast,” which extends above the deck to a distance -equal to about three-fourths the length of the hull, -passes through the hole in the deck already mentioned, -and rests firmly in the hole made for it in the bottom of -the hull.</p> - -<p class='c005'>The lower end of the topmast is lapped on in front of -the upper end of the mast, as seen in the figure, and may -be secured in place by two loops of fine brass wire.</p> - -<p class='c005'>The spars of next importance are those which stretch -the mainsail. The larger is called the “boom,” and extends -along the lower edge or “foot” of the mainsail; -while the other, which is called the “gaff,” is secured to -its upper edge or “head.” The boom is equal in length -to the mast; the usual meaning of the word is here intended, -<i>i. e.</i>, the lower part. The gaff is a little over one-half -the length of the boom.</p> - -<p class='c005'>The mast and topmast taper slightly toward their -upper ends, while the gaff is nearly the same size -throughout its entire length. The boom generally -<span class='pageno' id='Page_341'>341</span>swells a little, being somewhat larger in the middle -than at either end.</p> - -<p class='c005'>The boom and gaff are adjusted to the mast by a -“jaw” on either side, forming a crotch, which keeps -them from slipping off. Builders of miniature yachts -will, however, probably find it more convenient to whittle -the ends of the spars in the form of a crotch than to -attach jaws as separate pieces.</p> - -<p class='c005'>Other smaller spars which enter into the equipment of -racing craft, will be mentioned in speaking of the sails.</p> - -<p class='c005'>The <i>standing rigging</i> is now to be considered; this -consists of stays and shrouds. “Shrouds” are ropes -which lead from near the head of the mast to either side -of the vessel, where they are fastened into the <i>chain-plates</i>. -These are strong iron bands firmly bolted to the -timbers. The shrouds of the model yacht, however, can -be attached to copper tacks driven into the sides. They—the -shrouds—are tied around the mast just below the -point where the lower end of the topmast ends.</p> - -<p class='c005'>In “real” yachts these shrouds end in loops which encircle -the mast, and rest upon, or are held in place by -blocks called “hounds” attached to either side. But -young ship-builders will probably find it will answer all -purposes to make a slight notch on either side of the -mast, at the point indicated.</p> - -<p class='c005'>A sloop yacht has usually two shrouds on either side, -<span class='pageno' id='Page_342'>342</span>while in a large ship there are four or five, making, as is -known, a good-sized ladder.</p> - -<p class='c005'>The “fore-stay” runs from the same point on the mast -to the top of stem.</p> - -<p class='c005'>In case the reader may be ignorant of the meaning of -nautical terms, it may be well to say here that by -“stem” is meant the piece of timber in the hull placed -farthest forward, also called “forefoot” and “cutwater.” -The “fore-stay” may be passed through the staple already -mentioned, which fastens the bowsprit to the hull. -The jib-stay passes from mast-head to outer end of -bowsprit.</p> - -<p class='c005'>The topmast-stay runs from the top of the topmast to -the forward end of the bowsprit; here it is sometimes -passed through a hole in the end, and brought down to -the forefoot, near the water line.</p> - -<p class='c005'>The bob-stay runs from the end of the bowsprit to the -stem, and acts as a brace to offset the strain of the “headsails,” -or the sails in front of the mast. In a large yacht -it is necessary that this stay be very strong; and in such -cases it is often a substantial strip of iron or steel.</p> - -<p class='c005'>A yacht has, also, what are called “backstays,” which -run on either side from head of “topmast” to points on -the sides somewhat abaft, or back of the places where the -shrouds are attached.</p> - -<p class='c005'>There are also “cross-trees,” with “topmast shrouds” -<span class='pageno' id='Page_343'>343</span>leading from them to the top of the topmast; but these, -as well as the backstays, may as well be dispensed with -by our juvenile naval architect, as a complication of unnecessary -cords is to be avoided on a miniature craft.</p> - -<p class='c005'>We must now take up the sails, the most important of -which is the mainsail. The shape of this may be sufficiently -well understood from the figure. The edge next -the mast is called the “luff,” while the outer or longer -side opposite to this is called the “leech.” The upper -and lower edges are called respectively the “head” and -“foot.” The lower after corner of this sail is called the -“clew,” the lower fore corner the “tack,” while the -upper after corner is called the “peak.”</p> - -<p class='c005'>The “mast-hoops” are attached to the “luff” and run -up and down the mast as the sail is raised or lowered. In -vessels of miniature size, these may be supplied by small -brass curtain rings. The “foresail” also runs on small -rings or loops which slide on the forestay. The jib, in -like manner, is attached to the “jib-stay”; the “jib-topsail” -or “flying-jib” to topmast-stay.</p> - -<p class='c005'>It may be well to dispense with the forestay, and to enlarge -the jib so as to occupy the additional space thus -given, as the work will be less, and the appearance quite -as good.</p> - -<p class='c005'>It now remains to consider the “gaff-topsail,” which -occupies the space between the topmast and the gaff. -<span class='pageno' id='Page_344'>344</span>This sail is set in quite a number of ways; in a sloop -yacht it is usual to stretch it on two light spars, which are -contiguous to mast and gaff.</p> - -<p class='c005'>Beside these, racing yachts in light winds carry a “balloon -jib,” which is simply an extremely large jib-topsail; -and a “spinnaker,” which is used in going before the -wind. It is shaped like a large jib, and is spread by -means of a small spar extending along its foot, called the -“spinnaker boom,” so that it may take the wind on the -side opposite the mainsail.</p> - -<p class='c005'>These sails are spread by means of <i>running</i> rigging. -First, the <i>halyards</i>, by means of which the sails are -hoisted. The mainsail usually has two halyards, one line -being attached to the gaff near where it touches the mast, -which is called the “throat halyards.” The other is -smaller, encountering less strain, and is termed “peak -halyards,” as it raises that part of the sail after the luff -has been hoisted.</p> - -<p class='c005'>The gaff-topsail of a regular yacht also has two halyards, -one of which raises the edge next the mast, and -the other draws its foot out to end of gaff.</p> - -<p class='c005'>The “jibs” are each raised by one “halyard” attached -to head or upper corner.</p> - -<p class='c005'>In a small boat like that we are considering, one halyard -for each sail will be amply sufficient. In fact it is a -frequent practice to keep the sails permanently spread; -<span class='pageno' id='Page_345'>345</span>which has this in its favor, that they are much smoother, -much less wrinkled, than when furled between cruises.</p> - -<p class='c005'>The “topping lift” is a line which leads from the head -of the “mast” to the outer end of the “boom,” which it -keeps from falling on deck when sail is lowered.</p> - -<p class='c005'>The <i>sheets</i> are not sails, as the reader not conversant -with nautical expressions would suppose, but ropes, or -lines, which keep the sails in their proper position in -respect to the wind. The <i>main-sheet</i>, which controls the -mainsail, is attached to the boom at a point just above the -stern, to which the other end is led. Here it is fastened -to a cleat.</p> - -<p class='c005'>The sheets of the headsails are fastened to their -“clews” or lower aft corners, and led to cleats near foot -of mast. In large craft the sheets are passed through a -number of pulleys in order to secure sufficient purchase.</p> - -<p class='c005'>In addition to the rigging already mentioned, many -other ropes might be enumerated, such as the “downhauls,” -“outhauls,” “spinnaker brace and guy,” “bowsprit -shrouds,” etc., but as has already been said, the less -confusion of cords in a miniature craft, the better.</p> - -<div class='nf-center-c1'> -<div class='nf-center c007'> - <div>―――――◀▶―――――</div> - </div> -</div> - -<h3 class='c009'>A SCHOONER YACHT.</h3> - -<div class='figcenter id071'> -<img src='images/i_347.png' alt='' class='ig001' /> -</div> - -<p class='c010'>In this the length should be greater in proportion to its -other dimensions than in the sloop yacht. The mainmast -<span class='pageno' id='Page_346'>346</span>should be stepped a little abaft the middle point of the -hull. The foremast is stepped about midway between -the mainmast and the stem, and should be very nearly as -high as the mainmast. The foretop-mast, however, should -be decidedly shorter than the maintop-mast.</p> - -<p class='c005'>The bowsprit of the schooner yacht should be somewhat -thicker and shorter in proportion than that of the -sloop yacht, and is lengthened to the desired extent by -means of a small spar resting on its top, which is called -the jib-boom.</p> - -<p class='c005'>The forestay comes down to the bowsprit head, instead -of to the stem. The jib-stay runs from the mast-head to -the jib-boom, through which it passes a short distance -from the end of the latter. The topmast stay extends -from the upper part of the topmast to the end of the jib-boom. -The two latter stays pass from the jib-boom to the -“martingale,” a short spar, which has a hook at its -upper end. This hook passes through an iron ring on -the under side of the head of the bowsprit.</p> - -<p class='c005'>The martingale extends downward toward the water, -while the stays pass through it, or through iron loops -affixed to either side, and are fastened to the stem or the -upper part of the bows.</p> - -<p class='c005'>As in the sloop, one or more stout bobstays connect the -bowsprit head with the stem.</p> - -<p class='c005'>The two masts are braced together by means of certain -<span class='pageno' id='Page_349'>349</span>stays, of which the most important is the <i>spring-stay</i>, -which connects the mast-heads. Two other stays extend -from the maintop-mast to the foremast head. (See figure.)</p> - -<div class='figcenter id058'> -<img src='images/i_349.png' alt='' class='ig001' /> -</div> -<div class='lg-container-b'> - <div class='linegroup'> - <div class='group'> - <div class='line'><i>a</i> Mainmast.</div> - <div class='line'><i>b</i> Foremast.</div> - <div class='line'><i>c</i> Bowsprit.</div> - <div class='line'><i>d</i> Jib-boom.</div> - <div class='line'><i>e</i> Martingale.</div> - <div class='line'><i>f</i> Spring-stay.</div> - </div> - </div> -</div> - -<p class='c005'>The mainsail and its gaff-topsail are similar to those of -the sloop, but the foresail is much smaller, as it must -pass between the masts in tacking, and varies little in -breadth from head to foot.</p> - -<p class='c005'>A schooner yacht has a maintop-mast staysail, which is -used in racing, and comes down nearly to the deck. Its -sheet is rove through a block at the after end of the boom, -<span class='pageno' id='Page_350'>350</span>whence it is brought back to the stern and “belayed” to -a cleat.</p> - -<p class='c005'>“Belaying” is the nautical term for winding a rope on -a cleat or belaying pin; which is done as a boy winds his -kite string, on each end alternately, in figure-eight style.</p> - -<p class='c005'>The fore gaff-topsail is not provided with spars or -booms at its edges, but has rings along its luff, like those -of the lower sails, which run on the foretop-mast.</p> - -<p class='c005'>The sails of a large vessel have ropes called bolt-ropes, -sewed entirely around their edges, which may, of course, -be dispensed with in the sails of the miniature yacht, as -they will be sufficiently strong without such aid.</p> - -<p class='c005'>The reef-points are short lengths of small rope, arranged -at equal distances from each other, in rows parallel to the -booms; they pass through the sail and hang down on -either side. There are usually two rows of these on the -foresail, and three on the mainsail, while the larger -headsails are also provided with them.</p> - -<p class='c005'>Before the sails are put on or <i>bent</i>, it will be advisable -to paint the yacht. A coat of paint should have been -given to the inside of hull as well as under side of deck, -to prevent the wood from becoming water-soaked in case -of leakage.</p> - -<p class='c005'>Custom has rigidly prescribed the colors for the exterior -of a yacht, above the water line; either black or white, -with a narrow gold line below the gunwale, being universally -<span class='pageno' id='Page_351'>351</span>employed. Below the water line greater latitude -may be given to individual taste; either dark green, -brown, or black, may be used, according to the preference -of the owner.</p> - -<p class='c005'>The greatest pains are taken to keep the bottom of a -racing yacht in the smoothest possible condition. It is -usually covered with black-lead and polished to the utmost -degree. This treatment is often renewed three or -four times in the course of a season.</p> - -<p class='c005'>The mast should not be painted, but stained a bright -yellow, with a little raw sienna in oil. When dry it -should be shellacked; in fact, the latter will form a good -coating for the painted surface of the hull as well. If the -shellac be thick, it may of itself stain the mast to a sufficient -extent, but in that case—if thick—it should not be -used on the white hull. The short space where the mainmast -and topmast overlap each other should be painted -the color of the hull. The bowsprit should be the color -of the hull, and the jib-boom stained like the masts. -The deck may be painted with white, to which enough -sienna has been added to give it a buff tint.</p> - -<p class='c005'>The prow, or upper portion of stem just below the bowsprit, -is usually carved and gilded; and the stem is occasionally -decorated in like manner; but although there -seems to be no limit to the increasing richness and elegance -of the interior of our American yachts, the tendency -<span class='pageno' id='Page_352'>352</span>of the time leads more and more toward a severely -plain and quiet treatment of the exterior.</p> - -<p class='c005'>A yacht always carries a little triangular flag at the -topmast-head called the “burgee.”</p> - -<p class='c005'>A schooner yacht, of course, flies two of them, one at -each mast-head. These are simultaneously hauled down -at the moment of sunset. A national flag, called the “ensign,” -is generally hoisted at the peak of the mainsail.</p> - -<p class='c005'>These instructions apply equally well to the papier-maché -boats described at page 90, which have the advantages -of lightness and ease of construction.</p> - -<div class='pbb'> - <hr class='pb c001' /> -</div> - -<div class='nf-center-c1'> - <div class='nf-center'> - <div>Transcriber’s note:</div> - </div> -</div> - -<p class='c022'>Formats of index and Notes have been regularised.</p> - -<p class='c022'>Index, full stop inserted after ‘ib.,’ “plants for fresh-water aquarium, ib.;”</p> - -<p class='c022'>Index, ‘3’ changed to ‘320,’ “Cross puzzle, the, <a href='#Page_320'>320</a>”</p> - -<p class='c022'>Index, ‘miscroscope’ changed to ‘microscope,’ “Objects, some, for solar microscope, 225”</p> - -<p class='c022'>Page 266, full stop inserted after ‘book,’ “in this book.) Balance”</p> - - - - - - - - -<pre> - - - - - -End of the Project Gutenberg EBook of How?, by Kennedy Holbrook - -*** END OF THIS PROJECT GUTENBERG EBOOK HOW? *** - -***** This file should be named 51315-h.htm or 51315-h.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/5/1/3/1/51315/ - -Produced by Chris Curnow and the Online Distributed -Proofreading Team at http://www.pgdp.net (This file was -produced from images generously made available by The -Internet Archive) - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. 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