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font-size:1.2em; font-weight:bold'>The Project Gutenberg eBook of Handicraft for boys, by A. Frederick Collins</p> -<div style='display:block; margin:1em 0'> -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 <a href="https://www.gutenberg.org">www.gutenberg.org</a>. If you -are not located in the United States, you will have to check the laws of the -country where you are located before using this eBook. -</div> - -<p style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Title: Handicraft for boys</p> -<p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em'>Author: A. Frederick Collins</p> -<p style='display:block; text-indent:0; margin:1em 0'>Release Date: February 8, 2023 [eBook #69989]</p> -<p style='display:block; text-indent:0; margin:1em 0'>Language: English</p> - <p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em; text-align:left'>Produced by: Charlene Taylor, Harry Lamé and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive/American Libraries.)</p> -<div style='margin-top:2em; margin-bottom:4em'>*** START OF THE PROJECT GUTENBERG EBOOK HANDICRAFT FOR BOYS ***</div> - -<div class="tnbox"> -<p class="center">Please see the <a href="#TN">Transcriber’s Notes</a> -at the end of this text.</p> -</div> - -<hr class="chap"> - -<div class="x-ebookmaker-drop"> - -<div class="container w35emmax"> -<img src="images/cover.jpg" alt="Cover image"> -</div> - -<hr class="chap"> - -</div><!--ebookmaker drop--> - -<h1>HANDICRAFT FOR BOYS</h1> - -<hr class="chap"> - -<div class="container"> - -<img src="images/illo004.jpg" alt="" class="bordered" id="Fig0"> - -<p class="caption">A MODEL ENGINE CONSTRUCTED FROM DIAGRAMS SHOWN IN THIS BOOK</p> - -</div><!--container--> - -<hr class="chap"> - -<div class="titlepage outside"> - -<div class="titlepage inside"> - -<p class="center highline15 fsize250 gesp2">HANDICRAFT<br> -FOR BOYS</p> - -<p class="center highline15 blankbefore2"><span class="fsize60">BY</span><br> -<span class="fsize150">A. FREDERICK COLLINS</span></p> - -<p class="center highline15 blankbefore1 fsize80">INVENTOR OF THE WIRELESS TELEPHONE<br> -<i>Author of “Inventing for Boys,” “The<br> -Boys’ Book of Submarines,” etc.</i></p> - -<p class="center highline4"><i>WITH 185 ILLUSTRATIONS AND DIAGRAMS</i></p> - -<div class="container w30pc"> -<img src="images/illo005.jpg" alt="FREDERICK A STOKES’ COMPANY NEW YORK ESTABLISHED EIGHTEEN EIGHTY ONE"> -</div> - -<p class="center highline15 blankbefore2 blankafter75"><span class="fsize90">NEW YORK</span><br> -<span class="fsize110">FREDERICK A. STOKES COMPANY</span><br> -<span class="fsize90">PUBLISHERS</span></p> - -</div><!--inside--> - -</div><!--outside--> - -<hr class="chap"> - -<p class="center highline15 fsize90 blankbefore6"><i>Copyright, 1918, by</i><br> -<span class="smcap">Frederick A. Stokes Company</span></p> - -<hr class="short"> - -<p class="center highline15 fsize90 blankafter6"><i>All rights reserved</i></p> - -<hr class="chap"> - -<p class="center highline15 blankbefore6 blankafter6"><span class="fsize110">TO</span><br> -<span class="fsize90">MY NEPHEW AND NIECE</span><br> -<span class="fsize110">CLARENCE AND MAY ZEITLER</span></p> - -<hr class="chap"> - -<div class="chapter"> - -<p><span class="pagenum" id="Pagevii">[vii]</span></p> - -<h2 class="nobreak frontmatter">A WORD TO THE BOY</h2> - -</div><!--chapter--> - - -<p>Your life, if you live it like the average boy, is -split up into four parts and these are (1) eating, (2) -sleeping, (3) working and (4) playing.</p> - -<p>Now I haven’t a word to say about the first three -phases of your existence for you will attend pretty -well to the eating and sleeping ends, and your elders -will quite likely see to it that you get enough work to -do in and out of school.</p> - -<p>But when it comes to playing I want to edge in, for -this is a very important and often a sadly neglected -part of your daily routine. There are three kinds of -playing, namely (a) where your mind only is engaged -as for instance at dominoes, checkers or chess, (b) -where your body is chiefly in action as in gymnastics -and outdoor games, and (c) where your mind and -body are doing something more or less constructive.</p> - -<p>This book which I have written for you deals -with playing of the latter kind and while I don’t want -you to get so interested in any of the various arts and -crafts described to the extent of using all your spare -hours doing it, still it is a great mistake not to have -a hobby such as jig-sawing, printing, die-sinking or -the like. There is something tremendously fascinating -about visualizing things in your brain and then<span class="pagenum" id="Pageviii">[viii]</span> -fashioning them with your hands and you ought to -do it.</p> - -<p>Different from other kinds of playing the by-products -of these arts and crafts last a long time after -your efforts have been spent upon them and it is a -source of great pleasure to look at them once in a while -and know that you made them with your own hands.</p> - -<p>Not only is there the fun of planning and doing -the things I have described, but you will at the same -time pick up a lot of information and, what is of far -more value, your brain and eyes and hands will learn -to work together like a dynamo direct connected to -an engine, and then you can depend on them to serve -you well whenever the occasion may arise.</p> - -<p class="right highline2 padr2"><span class="smcap">A. Frederick Collins.</span></p> - -<p>“The Antlers,”<br> -<span class="padl3">Congers, N. Y.</span></p> - -<hr class="chap"> - -<div class="chapter"> - -<p><span class="pagenum" id="Pageix">[ix]</span></p> - -<h2 class="nobreak frontmatter">CONTENTS</h2> - -</div><!--chapter--> - -<table class="toc"> - -<colgroup> -<col class="wauto"> -<col span="3" class="w02em"> -<col span="2" class="wauto"> -</colgroup> - -<tr> -<th colspan="2" class="left fsize80">CHAPTER</th> -<th colspan="2"> </th> -<th colspan="2" class="right fsize80">PAGE</th> -</tr> - -<tr> -<td class="chapno">I.</td> -<td colspan="4" class="chaptitle">CARPENTRY WORK AND CABINET MAKING</td> -<td class="pagno"><a href="#Page1">1</a></td> -</tr> - -<tr> -<td colspan="2"> </td> -<td colspan="3" class="subjects"><span class="smcap">The Tools You Need — The Kinds of Tools — Some Hints on Using -Tools</span></td> -<td> </td> -</tr> - -<tr> -<td colspan="3"> </td> -<td colspan="2" class="details">How to Hold a Hammer — How to Use a Saw — How to Use a Plane — How to Use Chisels and -Gouges — How to Use a Brace and Bit — How to Use a Rule — How to Use a Marking Gauge — How to Use Hand Screws and Clamps — -How to Use a Nail Set — How to Use a Gimlet — How to Drive Nails and Screws — How to Make a Glue-Pot — How to Make Good -Glue and How to Use It</td> -<td> </td> -</tr> - -<tr> -<td colspan="2"> </td> -<td colspan="3" class="subjects"><span class="smcap">How to Sharpen Your Tools</span></td> -<td> </td> -</tr> - -<tr> -<td colspan="3"> </td> -<td colspan="2" class="details">About Sharpening Saws — About Sharpening Chisels and Plane Bits — About Sharpening Auger -Bits</td> -<td> </td> -</tr> - -<tr> -<td colspan="2"> </td> -<td colspan="3" class="subjects"><span class="smcap">How to Take Care of Your Tools — Removing Rust from Tools — To Etch -Your Name on Tools — Kinds of Wood to Use</span></td> -<td> </td> -</tr> - -<tr> -<td colspan="3"> </td> -<td colspan="2" class="details">Pine; Cedar; Mahogany; Oak; Birch; Walnut</td> -<td> </td> -</tr> - -<tr> -<td colspan="2"> </td> -<td colspan="3" class="subjects"><span class="smcap">How to Make Joints</span></td> -<td> </td> -</tr> - -<tr> -<td colspan="3"> </td> -<td colspan="2" class="details">Edge Joints — Corner Joints</td> -<td> </td> -</tr> - -<tr> -<td colspan="2"> </td> -<td colspan="3" class="subjects"><span class="smcap">About Working Drawings — Things for You to Make</span></td> -<td> </td> -</tr> - -<tr> -<td colspan="3"> </td> -<td colspan="2" class="details">How to Make a Work Bench — How to Make a Tool Chest</td> -<td> </td> -</tr> - -<tr> -<td class="chapno">II.</td> -<td colspan="4" class="chaptitle">SCROLL SAWING, WOOD TURNING, WOOD CARVING, ETC.</td> -<td class="pagno"><a href="#Page24">24</a></td> -</tr> - -<tr> -<td colspan="2"> </td> -<td colspan="3" class="subjects"><span class="smcap">All About Scroll Sawing</span></td> -<td> </td> -</tr> - -<tr> -<td colspan="2"> </td> -<td colspan="3" class="subjects"><span class="smcap">Scroll Sawing Outfits — A Cheap Scroll Sawing Outfit</span></td> -<td> </td> -</tr> - -<tr> -<td colspan="3"> </td> -<td colspan="2" class="details">How to Use the Scroll Saw</td> -<td> </td> -</tr> - -<tr> -<td colspan="2"> </td> -<td colspan="3" class="subjects"><span class="smcap">A Few Other Helpful -Things</span><span class="pagenum" id="Pagex">[x]</span></td> -<td> </td> -</tr> - -<tr> -<td colspan="3"> </td> -<td colspan="2" class="details">A Hand Saw-Table — Files for Scroll Work — A Twist Drill Stock — A Pair of Pliers — A -Small Hammer — Scroll Saw Blades</td> -<td> </td> -</tr> - -<tr> -<td colspan="2"> </td> -<td colspan="3" class="subjects"><span class="smcap">How to Trace a Design on Wood — Designs for Scroll Sawing — Foot-Power -Scroll Saws</span></td> -<td> </td> -</tr> - -<tr> -<td colspan="3"> </td> -<td colspan="2" class="details">The Cricket Scroll Saw — The Lester Scroll saw — The Fleetwood Scroll Saw</td> -<td> </td> -</tr> - -<tr> -<td colspan="2"> </td> -<td colspan="3" class="subjects"><span class="smcap">How a Foot-Power Scroll Saw Works — How to Saw on a Foot-Power Scroll -Saw — Fancy Woods for Scroll Saw Outfits — Table of Scroll Saw Woods — Trimmings for Boxes, Etc.</span></td> -<td> </td> -</tr> - -<tr> -<td colspan="2"> </td> -<td colspan="3" class="subjects"><span class="smcap">Turning in Wood</span></td> -<td> </td> -</tr> - -<tr> -<td colspan="2"> </td> -<td colspan="3" class="subjects"><span class="smcap">Get a Lathe First</span></td> -<td> </td> -</tr> - -<tr> -<td colspan="3"> </td> -<td colspan="2" class="details">How a Lathe is Made</td> -<td> </td> -</tr> - -<tr> -<td colspan="2"> </td> -<td colspan="3" class="subjects"><span class="smcap">The Cheapest Lathe You Can Buy</span></td> -<td> </td> -</tr> - -<tr> -<td colspan="3"> </td> -<td colspan="2" class="details">Attachments for the Companion Lathe</td> -<td> </td> -</tr> - -<tr> -<td colspan="2"> </td> -<td colspan="3" class="subjects"><span class="smcap">Turning Tools for Wood — How to Turn Wood</span></td> -<td> </td> -</tr> - -<tr> -<td colspan="2"> </td> -<td colspan="3" class="subjects"><span class="smcap">The Art of Wood Carving</span></td> -<td> </td> -</tr> - -<tr> -<td colspan="2"> </td> -<td colspan="3" class="subjects"><span class="smcap">Your Set of Carving Tools — The Best Woods for Carving — Kinds of -Wood Carving</span></td> -<td> </td> -</tr> - -<tr> -<td colspan="3"> </td> -<td colspan="2" class="details">Chip Carving — Panel Carving — Carving in Solid Wood</td> -<td> </td> -</tr> - -<tr> -<td colspan="2"> </td> -<td colspan="3" class="subjects"><span class="smcap">Pyrography, or Wood Burning</span></td> -<td> </td> -</tr> - -<tr> -<td colspan="2"> </td> -<td colspan="3" class="subjects"><span class="smcap">The Necessary Tools</span></td> -<td> </td> -</tr> - -<tr> -<td colspan="3"> </td> -<td colspan="2" class="details">How to Make an Etching Tool — How to Make an Alcohol Lamp — A Better Outfit — About the -Designs — How to Burn in the Designs</td> -<td> </td> -</tr> - -<tr> -<td colspan="2"> </td> -<td colspan="3" class="subjects"><span class="smcap">Coloring and Staining Wood</span></td> -<td> </td> -</tr> - -<tr> -<td colspan="3"> </td> -<td colspan="2" class="details">Where to Buy Stains — Ebony Stain — Fumed Oak</td> -<td> </td> -</tr> - -<tr> -<td class="chapno">III.</td> -<td colspan="4" class="chaptitle">METALS AND METAL WORKING</td> -<td class="pagno"><a href="#Page56">56</a></td> -</tr> - -<tr> -<td colspan="2"> </td> -<td colspan="3" class="subjects"><span class="smcap">Your Kit of Tools — The Various Kinds of Tools — Some Hints on Using -the Tools</span></td> -<td> </td> -</tr> - -<tr> -<td colspan="3"> </td> -<td colspan="2" class="details">About Sharpening Tools</td> -<td> </td> -</tr> - -<tr> -<td colspan="2"> </td> -<td colspan="3" class="subjects"><span class="smcap">Metals and Their -Uses</span><span class="pagenum" id="Pagexi">[xi]</span></td> -<td> </td> -</tr> - -<tr> -<td colspan="3"> </td> -<td colspan="2" class="details">Iron Wrought Iron Steel Tin Zinc Lead Copper Aluminum</td> -<td> </td> -</tr> - -<tr> -<td colspan="2"> </td> -<td colspan="3" class="subjects"><span class="smcap">A Few Useful Alloys</span></td> -<td> </td> -</tr> - -<tr> -<td colspan="3"> </td> -<td colspan="2" class="details">Brass Type-Metal Pewter</td> -<td> </td> -</tr> - -<tr> -<td colspan="2"> </td> -<td colspan="3" class="subjects"><span class="smcap">How to Do Metal Work — First Sketch Your Ideas — Sheet Metal -Work</span></td> -<td> </td> -</tr> - -<tr> -<td colspan="3"> </td> -<td colspan="2" class="details">Cutting and Sawing — Making Seams and Joints</td> -<td> </td> -</tr> - -<tr> -<td colspan="2"> </td> -<td colspan="3" class="subjects"><span class="smcap">How to Solder Metals</span></td> -<td> </td> -</tr> - -<tr> -<td colspan="3"> </td> -<td colspan="2" class="details">Fluxes Solders</td> -<td> </td> -</tr> - -<tr> -<td colspan="2"> </td> -<td colspan="3" class="subjects"><span class="smcap">Bolts and Rivets — Bending Sheet Metal — Finishing Up Metals — Coloring -Metals</span></td> -<td> </td> -</tr> - -<tr> -<td colspan="3"> </td> -<td colspan="2" class="details">Bluing Steel — Bluing Brass — Giving Brass a Green Color — Giving Brass a Dull Look — -Frosting Brass Articles — Lacquering Brass and Copper — How to Make the Lacquer</td> -<td> </td> -</tr> - -<tr> -<td class="chapno">IV.</td> -<td colspan="4" class="chaptitle">VENETIAN IRON, REPOUSSÉ, PIERCED BRASS AND PEWTER WORK</td> -<td class="pagno"><a href="#Page76">76</a></td> -</tr> - -<tr> -<td colspan="2"> </td> -<td colspan="3" class="subjects"><span class="smcap">Venetian Bent Iron Work</span></td> -<td> </td> -</tr> - -<tr> -<td colspan="2"> </td> -<td colspan="3" class="subjects"><span class="smcap">The Tools You Must Have — The Materials You Need — What to Do -First</span></td> -<td> </td> -</tr> - -<tr> -<td colspan="3"> </td> -<td colspan="2" class="details">Making a Simple Design</td> -<td> </td> -</tr> - -<tr> -<td colspan="2"> </td> -<td colspan="3" class="subjects"><span class="smcap">How to Make a Toaster — How to Make an Egg Boiler — How to Make a -Venetian Plate Holder</span></td> -<td> </td> -</tr> - -<tr> -<td colspan="3"> </td> -<td colspan="2" class="details">A Dead Black Finish for Iron Work</td> -<td> </td> -</tr> - -<tr> -<td colspan="2"> </td> -<td colspan="3" class="subjects"><span class="smcap">Doing Repoussé Work</span></td> -<td> </td> -</tr> - -<tr> -<td colspan="2"> </td> -<td colspan="3" class="subjects"><span class="smcap">Tools Needed for Repoussé Work — How -to</span><span class="pagenum" id="Pagexii">[xii]</span> <span class="smcap">Prepare the Work — Tracing the Design — -Bossing the Work — How to Make a Flat Candlestick — How to Make a Photo Frame</span></td> -<td> </td> -</tr> - -<tr> -<td colspan="3"> </td> -<td colspan="2" class="details">Cleaning and Polishing Metal Work — Finishing, Coloring and Lacquering Metals</td> -<td> </td> -</tr> - -<tr> -<td colspan="2"> </td> -<td colspan="3" class="subjects"><span class="smcap">Pierced Metal Work</span></td> -<td> </td> -</tr> - -<tr> -<td colspan="2"> </td> -<td colspan="3" class="subjects"><span class="smcap">The Outfit to Do it With — How to Do the Work</span></td> -<td> </td> -</tr> - -<tr> -<td colspan="2"> </td> -<td colspan="3" class="subjects"><span class="smcap">Casting and Working Pewter</span></td> -<td> </td> -</tr> - -<tr> -<td colspan="2"> </td> -<td colspan="3" class="subjects"><span class="smcap">Something About Pewter — How to Make Pewter — About Working Pewter — -How to Cast Pewter — The Patterns Necessary — Making the Mold — Finishing the Ware</span></td> -<td> </td> -</tr> - -<tr> -<td colspan="2"> </td> -<td colspan="3" class="subjects"><span class="smcap">Engraving on Metal</span></td> -<td> </td> -</tr> - -<tr> -<td colspan="2"> </td> -<td colspan="3" class="subjects"><span class="smcap">The Tools that are Used — How to Engrave on Metal</span></td> -<td> </td> -</tr> - -<tr> -<td class="chapno">V.</td> -<td colspan="4" class="chaptitle">DRAWING SIMPLY EXPLAINED</td> -<td class="pagno"><a href="#Page103">103</a></td> -</tr> - -<tr> -<td colspan="2"> </td> -<td colspan="3" class="subjects"><span class="smcap">Free-Hand Drawing</span></td> -<td> </td> -</tr> - -<tr> -<td colspan="2"> </td> -<td colspan="3" class="subjects"><span class="smcap">Talent versus Practice — Pictures for You to Draw — Simple Line -Sketches — Sketching Simple Outline Figures — The Proportions of the Human Figure — How to Draw Faces — Sketching Still -Life Objects — Drawing in Perspective</span></td> -<td> </td> -</tr> - -<tr> -<td colspan="3"> </td> -<td colspan="2" class="details">The Vanishing Point</td> -<td> </td> -</tr> - -<tr> -<td colspan="2"> </td> -<td colspan="3" class="subjects"><span class="smcap">How to Shade a Drawing</span></td> -<td> </td> -</tr> - -<tr> -<td colspan="2"> </td> -<td colspan="3" class="subjects"><span class="smcap">Working Drawings</span></td> -<td> </td> -</tr> - -<tr> -<td colspan="2"> </td> -<td colspan="3" class="subjects"><span class="smcap">Drawing Tools You Should Have — Simple Working Drawings</span></td> -<td> </td> -</tr> - -<tr> -<td colspan="3"> </td> -<td colspan="2" class="details">Making Plain Drawings — Isometric Perspective Drawings</td> -<td> </td> -</tr> - -<tr> -<td colspan="2"> </td> -<td colspan="3" class="subjects"><span class="smcap">Some Simple Aids to Drawing</span></td> -<td> </td> -</tr> - -<tr> -<td colspan="2"> </td> -<td colspan="3" class="subjects"><span class="smcap">How to Draw a Circle — How to Draw a Spiral — How to Draw an Ellipse — -How to Make and Use a Pantagraph — How</span><span class="pagenum" id="Pagexiii">[xiii]</span> <span class="smcap">to Make -a Reflecting Drawing Board — How to Make Tracings — To Make Lasting Impressions — The Ancient and Honored Art of Cutting -Silhouettes — Transfer Pictures of Decalcomania</span></td> -<td> </td> -</tr> - -<tr> -<td colspan="3"> </td> -<td colspan="2" class="details">How to Transfer the Pictures</td> -<td> </td> -</tr> - -<tr> -<td class="chapno">VI.</td> -<td colspan="4" class="chaptitle">SOME KINKS IN PHOTOGRAPHY</td> -<td class="pagno"><a href="#Page131">131</a></td> -</tr> - -<tr> -<td colspan="2"> </td> -<td colspan="3" class="subjects"><span class="smcap">How to Make Blue Prints</span></td> -<td> </td> -</tr> - -<tr> -<td colspan="3"> </td> -<td colspan="2" class="details">The Materials Required</td> -<td> </td> -</tr> - -<tr> -<td colspan="2"> </td> -<td colspan="3" class="subjects"><span class="smcap">Another Kind of Contact Printing</span></td> -<td> </td> -</tr> - -<tr> -<td colspan="3"> </td> -<td colspan="2" class="details">To Tone and Fix the Pictures — Receipt for a Combined Toning and Fixing Solution</td> -<td> </td> -</tr> - -<tr> -<td colspan="2"> </td> -<td colspan="3" class="subjects"><span class="smcap">The Simplest Kind of a Camera — How to Develop a Dry Plate</span></td> -<td> </td> -</tr> - -<tr> -<td colspan="3"> </td> -<td colspan="2" class="details">How to Make the Developer — How to Make a Fixing Bath</td> -<td> </td> -</tr> - -<tr> -<td colspan="2"> </td> -<td colspan="3" class="subjects"><span class="smcap">A Good and Cheap Camera — How to Make an Enlarging Apparatus — How to -Make an Enlargement</span></td> -<td> </td> -</tr> - -<tr> -<td colspan="3"> </td> -<td colspan="2" class="details">A Developer for Bromide Paper</td> -<td> </td> -</tr> - -<tr> -<td colspan="2"> </td> -<td colspan="3" class="subjects"><span class="smcap">How to Make a Reflectoscope</span></td> -<td> </td> -</tr> - -<tr> -<td colspan="3"> </td> -<td colspan="2" class="details">How to Use the Reflectoscope</td> -<td> </td> -</tr> - -<tr> -<td colspan="2"> </td> -<td colspan="3" class="subjects"><span class="smcap">How to Make a Magic Lantern</span></td> -<td> </td> -</tr> - -<tr> -<td colspan="3"> </td> -<td colspan="2" class="details">How to Work the Lantern</td> -<td> </td> -</tr> - -<tr> -<td colspan="2"> </td> -<td colspan="3" class="subjects"><span class="smcap">How to Make Lantern Slides — How to Make Radium Photographs</span></td> -<td> </td> -</tr> - -<tr> -<td colspan="2"> </td> -<td colspan="3" class="subjects"><span class="smcap">Trick Photography</span></td> -<td> </td> -</tr> - -<tr> -<td colspan="2"> </td> -<td colspan="3" class="subjects"><span class="smcap">Spirit Photographs — One Way to Catch Big Fish — Taking Caricature -Photographs</span></td> -<td> </td> -</tr> - -<tr> -<td class="chapno">VII.</td> -<td colspan="4" class="chaptitle">PRINTING AND ITS ALLIED ARTS</td> -<td class="pagno"><a href="#Page157">157</a></td> -</tr> - -<tr> -<td colspan="2"> </td> -<td colspan="3" class="subjects"><span class="smcap">Kinds of Printing Presses — The Parts of a Self-Inking Press — How the -Press Works — Sizes and Prices of Presses — The Outfit You Need</span></td> -<td> </td> -</tr> - -<tr> -<td colspan="3"> </td> -<td colspan="2" class="details">Outfit for a 3 × 5 Press — Outfit for a 5 × 8 Press — Outfit for an 8 × 10 Press</td> -<td> </td> -</tr> - -<tr> -<td colspan="2"> </td> -<td colspan="3" class="subjects"><span class="smcap">About Type and Type Setting</span></td> -<td> </td> -</tr> - -<tr> -<td colspan="3"> </td> -<td colspan="2" class="details">Relative Number of Type Letters — Styles<span class="pagenum" id="Pagexiv">[xiv]</span> of -Type — The Parts of a Type — The Sizes of Type — Table of Type Sizes — Your Type Cases — Setting the Type</td> -<td> </td> -</tr> - -<tr> -<td colspan="2"> </td> -<td colspan="3" class="subjects"><span class="smcap">Making Ready — Printing the Job — How to Clean Type — About -Distributing Type — The Ink and Rollers — Printing in Colors — Printing in Gold — And Finally Your Stock Supply</span></td> -<td> </td> -</tr> - -<tr> -<td colspan="2"> </td> -<td colspan="3" class="subjects"><span class="smcap">The Art of Paper Making</span></td> -<td> </td> -</tr> - -<tr> -<td colspan="2"> </td> -<td colspan="3" class="subjects"><span class="smcap">What Paper Is — How to Make Paper</span></td> -<td> </td> -</tr> - -<tr> -<td colspan="3"> </td> -<td colspan="2" class="details">Making the Pulp — The Molds You Need — Laying the Paper</td> -<td> </td> -</tr> - -<tr> -<td colspan="2"> </td> -<td colspan="3" class="subjects"><span class="smcap">Sizing and Finishing</span></td> -<td> </td> -</tr> - -<tr> -<td colspan="2"> </td> -<td colspan="3" class="subjects"><span class="smcap">How to Bind Books</span></td> -<td> </td> -</tr> - -<tr> -<td colspan="3"> </td> -<td colspan="2" class="details">Making the Cover — Sewing the Book — Putting on the title</td> -<td> </td> -</tr> - -<tr> -<td class="chapno">VIII.</td> -<td colspan="4" class="chaptitle">RUBBER STAMPS, DIE SINKING, BURNING BRANDS AND STENCILS</td> -<td class="pagno"><a href="#Page183">183</a></td> -</tr> - -<tr> -<td colspan="2"> </td> -<td colspan="3" class="subjects"><span class="smcap">Rubber Stamps</span></td> -<td> </td> -</tr> - -<tr> -<td colspan="2"> </td> -<td colspan="3" class="subjects"><span class="smcap">How to Make Rubber Stamps</span></td> -<td> </td> -</tr> - -<tr> -<td colspan="3"> </td> -<td colspan="2" class="details">The Materials Needed</td> -<td> </td> -</tr> - -<tr> -<td colspan="2"> </td> -<td colspan="3" class="subjects"><span class="smcap">Making the Mold — Vulcanizing the Rubber — Mounting the Rubber — How -to Use a Rubber Stamp</span></td> -<td> </td> -</tr> - -<tr> -<td colspan="3"> </td> -<td colspan="2" class="details">How to Make an Ink Pad</td> -<td> </td> -</tr> - -<tr> -<td colspan="2"> </td> -<td colspan="3" class="subjects"><span class="smcap">How to Make Rubber Stamp Ink — How to Make a Copygraph Pad — How to -Copy a Letter — How to Make Hectograph Inks</span></td> -<td> </td> -</tr> - -<tr> -<td colspan="2"> </td> -<td colspan="3" class="subjects"><span class="smcap">Die Sinking</span></td> -<td> </td> -</tr> - -<tr> -<td colspan="2"> </td> -<td colspan="3" class="subjects"><span class="smcap">How to Make Badges, Name Plates, Etc. — How to Sink the Letters — -Finishing Up the Badge</span></td> -<td> </td> -</tr> - -<tr> -<td colspan="2"> </td> -<td colspan="3" class="subjects"><span class="smcap">Burning Brands</span></td> -<td> </td> -</tr> - -<tr> -<td colspan="2"> </td> -<td colspan="3" class="subjects"><span class="smcap">How to Make a Burning Brand</span></td> -<td> </td> -</tr> - -<tr> -<td colspan="3"> </td> -<td colspan="2" class="details">How to Use the Burning Brand</td> -<td> </td> -</tr> - -<tr> -<td colspan="2"> </td> -<td colspan="3" class="subjects"><span class="smcap">Stencils</span></td> -<td> </td> -</tr> - -<tr> -<td colspan="2"> </td> -<td colspan="3" class="subjects"><span class="smcap">How to Cut Stencils</span></td> -<td> </td> -</tr> - -<tr> -<td colspan="3"> </td> -<td colspan="2" class="details">Cutting Paper Stencils — Cutting Brass Stencils — -How<span class="pagenum" id="Pagexv">[xv]</span> to Use Practical Stencils — How to Make Stencil Ink — How to Use -Decorative Stencils — Mixing Colors for Stenciling Borders</td> -<td> </td> -</tr> - -<tr> -<td class="chapno">IX.</td> -<td colspan="4" class="chaptitle">THE ART OF WORKING GLASS</td> -<td class="pagno"><a href="#Page202">202</a></td> -</tr> - -<tr> -<td colspan="2"> </td> -<td colspan="3" class="subjects"><span class="smcap">What Glass Is — How to Cut Glass — How to Use a Glass Cutter — How -to Finish off Glass Edges — How to Drill Holes in Glass — A Couple of Ways to Cut Glass Tubing — How to Cut Glass Disks — -How to Bend Glass Tubing</span></td> -<td> </td> -</tr> - -<tr> -<td colspan="3"> </td> -<td colspan="2" class="details">What a Bunsen Burner Is</td> -<td> </td> -</tr> - -<tr> -<td colspan="2"> </td> -<td colspan="3" class="subjects"><span class="smcap">How to Blow Glass — To Round the Ends of Tubes — To Border the -Ends of Tubes — To Seal One End of a Tube — To Make a Glass Nozzle — To Make a Hole in a Tube — To Join Two Tubes of the -Same Size — To Join a Tube to the Side of Another Tube — To Blow a Bulb on the End of a Tube</span></td> -<td> </td> -</tr> - -<tr> -<td colspan="3"> </td> -<td colspan="2" class="details">How to Make a Blowpipe — How to Blow a Bulb</td> -<td> </td> -</tr> - -<tr> -<td colspan="2"> </td> -<td colspan="3" class="subjects"><span class="smcap">How to Etch Glass</span></td> -<td> </td> -</tr> - -<tr> -<td colspan="3"> </td> -<td colspan="2" class="details">The Sand Blast Process — How to Make Ground Glass — The Acid Process</td> -<td> </td> -</tr> - -<tr> -<td colspan="2"> </td> -<td colspan="3" class="subjects"><span class="smcap">How to Cement Glass — A Simple Way to Frost Glass</span></td> -<td> </td> -</tr> - -<tr> -<td colspan="2"> </td> -<td colspan="3" class="subjects"><span class="smcap">Substitutes for Glass</span></td> -<td> </td> -</tr> - -<tr> -<td colspan="3"> </td> -<td colspan="2" class="details">Mica Gelatine</td> -<td> </td> -</tr> - -<tr> -<td colspan="2"> </td> -<td colspan="3" class="subjects"><span class="smcap">How to Silver a Mirror</span></td> -<td> </td> -</tr> - -<tr> -<td class="chapno">X.</td> -<td colspan="4" class="chaptitle">TOYS FOR THE KIDDIES</td> -<td class="pagno"><a href="#Page227">227</a></td> -</tr> - -<tr> -<td colspan="2"> </td> -<td colspan="3" class="subjects"><span class="smcap">How to Make a Policeman’s Puzzle — How to Make an Automobile Truck — -How to Make a Swell Coaster — How to Make A Nifty Wheelbarrow — How to Make a High-Low Swing — How to Make a Stick Horse — -How to Make a Pony and</span><span class="pagenum" id="Pagexvi">[xvi]</span> <span class="smcap">Cart — How to Make a -Life-Like Goose — How to Make a Dancing Sambo — How to Make a Wireless Pup</span></td> -<td> </td> -</tr> - -<tr> -<td class="chapno">XI.</td> -<td colspan="4" class="chaptitle">HOME MADE MUSICAL INSTRUMENTS</td> -<td class="pagno"><a href="#Page252">252</a></td> -</tr> - -<tr> -<td colspan="2"> </td> -<td colspan="3" class="subjects"><span class="smcap">The Musical Coins</span></td> -<td> </td> -</tr> - -<tr> -<td colspan="2"> </td> -<td colspan="3" class="details">How to Make Them — How to Play Them</td> -<td> </td> -</tr> - -<tr> -<td colspan="2"> </td> -<td colspan="3" class="subjects"><span class="smcap">The Musical Tomato Cans</span></td> -<td> </td> -</tr> - -<tr> -<td colspan="3"> </td> -<td colspan="2" class="details">How to Make Them — To Play the Musical Tomato Cans</td> -<td> </td> -</tr> - -<tr> -<td colspan="2"> </td> -<td colspan="3" class="subjects"><span class="smcap">The Musical Glasses</span></td> -<td> </td> -</tr> - -<tr> -<td colspan="3"> </td> -<td colspan="2" class="details">How to Make Them — How to Play the Glasses</td> -<td> </td> -</tr> - -<tr> -<td colspan="2"> </td> -<td colspan="3" class="subjects"><span class="smcap">The Tubular Harp</span></td> -<td> </td> -</tr> - -<tr> -<td colspan="3"> </td> -<td colspan="2" class="details">How to Make It — How to Play the Harp</td> -<td> </td> -</tr> - -<tr> -<td colspan="2"> </td> -<td colspan="3" class="subjects"><span class="smcap">The Musical Push Pipe</span></td> -<td> </td> -</tr> - -<tr> -<td colspan="3"> </td> -<td colspan="2" class="details">How to Make It — How to Play the Push Pipe</td> -<td> </td> -</tr> - -<tr> -<td colspan="2"> </td> -<td colspan="3" class="subjects"><span class="smcap">The Curious Xylophone</span></td> -<td> </td> -</tr> - -<tr> -<td colspan="3"> </td> -<td colspan="2" class="details">How to Make It — How to Play the Xylophone</td> -<td> </td> -</tr> - -<tr> -<td colspan="2"> </td> -<td colspan="3" class="subjects"><span class="smcap">The Peculiar Tubaphone</span></td> -<td> </td> -</tr> - -<tr> -<td colspan="3"> </td> -<td colspan="2" class="details">How to Make It — How to Play the Tubaphone</td> -<td> </td> -</tr> - -<tr> -<td colspan="2"> </td> -<td colspan="3" class="subjects"><span class="smcap">The Cathedral Chimes</span></td> -<td> </td> -</tr> - -<tr> -<td colspan="3"> </td> -<td colspan="2" class="details">How to Make Them — How to Play the Cathedral Chimes</td> -<td> </td> -</tr> - -<tr> -<td colspan="2"> </td> -<td colspan="3" class="subjects"><span class="smcap">The Aeolian Harp</span></td> -<td> </td> -</tr> - -<tr> -<td colspan="3"> </td> -<td colspan="2" class="details">How to Make It — How the Wind Plays It</td> -<td> </td> -</tr> - -<tr> -<td colspan="2"> </td> -<td colspan="3" class="subjects"><span class="smcap">An Egyptian Fiddle</span></td> -<td> </td> -</tr> - -<tr> -<td colspan="3"> </td> -<td colspan="2" class="details">How to Make It — How to Make the Bow</td> -<td> </td> -</tr> - -<tr> -<td class="chapno">XII.</td> -<td colspan="4" class="chaptitle">SOME EVENING ENTERTAINMENTS</td> -<td class="pagno"><a href="#Page274">274</a></td> -</tr> - -<tr> -<td colspan="2"> </td> -<td colspan="3" class="subjects"><span class="smcap">Cartoons While You Wait</span></td> -<td> </td> -</tr> - -<tr> -<td colspan="3"> </td> -<td colspan="2" class="details">Drawing the Cartoons</td> -<td> </td> -</tr> - -<tr> -<td colspan="2"> </td> -<td colspan="3" class="subjects"><span class="smcap">Thirty Minutes of Chemistry — The Mystic Glass of Milk — The Magic -Fountain — The Vicious Soap Bubbles — The Uncanny</span><span class="pagenum" id="Pagexvii">[xvii]</span> -<span class="smcap">Wheel — Giving a Travelogue — An Electrical Soirée — Demonstrating Electricity Without -Apparatus</span></td> -<td> </td> -</tr> - -<tr> -<td colspan="3"> </td> -<td colspan="2" class="details">The Electrified Papers — How to Electrify a Person — How Like Repels Like</td> -<td> </td> -</tr> - -<tr> -<td colspan="2"> </td> -<td colspan="3" class="subjects"><span class="smcap">Making Experiments With Apparatus</span></td> -<td> </td> -</tr> - -<tr> -<td colspan="3"> </td> -<td colspan="2" class="details">The Induction, or Spark Coil — Demonstrating Wireless Telegraphy</td> -<td> </td> -</tr> - -<tr> -<td colspan="2"> </td> -<td colspan="3" class="subjects"><span class="smcap">Reading Palms for Fun</span></td> -<td> </td> -</tr> - -<tr> -<td colspan="3"> </td> -<td colspan="2" class="details">How to Read Palms</td> -<td> </td> -</tr> - -<tr> -<td colspan="2"> </td> -<td colspan="3" class="subjects"><span class="smcap">A Talk on the Steam Engine</span></td> -<td> </td> -</tr> - -<tr> -<td colspan="3"> </td> -<td colspan="2" class="details">Making the Model Engine</td> -<td> </td> -</tr> - -<tr> -<td colspan="2"> </td> -<td colspan="3" class="subjects"><span class="smcap">How the Engine Works</span></td> -<td> </td> -</tr> - -</table> - -<p><span class="pagenum" id="Pagexviii">[xviii]</span></p> - -<hr class="chap"> - -<div class="chapter"> - -<p><span class="pagenum" id="Pagexix">[xix]</span></p> - -<h2 class="nobreak frontmatter">ILLUSTRATIONS</h2> - -</div><!--chapter--> - -<table class="loi"> - -<tr> -<th colspan="2" class="right fsize80">PAGE</th> -</tr> - -<tr> -<td class="subject">A Model Engine, Showing the Principal Working Parts</td> -<td class="pagno"><a href="#Fig0"><i>Frontispiece</i></a></td> -</tr> - -<tr> -<td class="subject">Some Useful Wood Working Tools</td> -<td class="pagno"><a href="#Page3">3</a></td> -</tr> - -<tr> -<td class="subject">A Few More Common Wood Working Tools</td> -<td class="pagno"><a href="#Page5">5</a></td> -</tr> - -<tr> -<td class="subject">A Clamp Often Comes in Handy</td> -<td class="pagno"><a href="#Page7">7</a></td> -</tr> - -<tr> -<td class="subject">How Edge Joints Are Made</td> -<td class="pagno"><a href="#Page17">17</a></td> -</tr> - -<tr> -<td class="subject">How Corner Joints Are Made</td> -<td class="pagno"><a href="#Page19">19</a></td> -</tr> - -<tr> -<td class="subject">An Easily Made Work Bench</td> -<td class="pagno"><a href="#Page20">20</a></td> -</tr> - -<tr> -<td class="subject">A Wood Vise for Your Work Bench</td> -<td class="pagno"><a href="#Page21">21</a></td> -</tr> - -<tr> -<td class="subject">A Carpenter’s Tool Chest</td> -<td class="pagno"><a href="#Page22">22</a></td> -</tr> - -<tr> -<td class="subject">The Tray for Your Tool Chest</td> -<td class="pagno"><a href="#Page23">23</a></td> -</tr> - -<tr> -<td class="subject">A Simple and Cheap Sawing Outfit</td> -<td class="pagno"><a href="#Page25">25</a></td> -</tr> - -<tr> -<td class="subject">The Right Way to Use a Hand Scroll Saw</td> -<td class="pagno"><a href="#Page27">27</a></td> -</tr> - -<tr> -<td class="subject">A Hand Scroll Saw Table</td> -<td class="pagno"><a href="#Page28">28</a></td> -</tr> - -<tr> -<td class="subject">Some Necessary Scroll Sawing Tools</td> -<td class="pagno"><a href="#Page29">29</a></td> -</tr> - -<tr> -<td class="subject">Mechanical Masterpieces Made With a Scroll Saw</td> -<td class="pagno"><a href="#Page31">31</a></td> -</tr> - -<tr> -<td class="subject">The Cheapest Foot-power Scroll Saw Made</td> -<td class="pagno"><a href="#Page32">32</a></td> -</tr> - -<tr> -<td class="subject">The Lester Scroll Saw with Turning Lathe Attachment</td> -<td class="pagno"><a href="#Page33">33</a></td> -</tr> - -<tr> -<td class="subject">The Fleetwood Scroll Saw</td> -<td class="pagno"><a href="#Page34">34</a></td> -</tr> - -<tr> -<td class="subject">The Chief Parts of a Turning Lathe</td> -<td class="pagno"><a href="#Page37">37</a></td> -</tr> - -<tr> -<td class="subject">The Cheapest Wood Turning Lathe Made</td> -<td class="pagno"><a href="#Page39">39</a></td> -</tr> - -<tr> -<td class="subject">A Set of Wood Turning Tools</td> -<td class="pagno"><a href="#Page41">41</a></td> -</tr> - -<tr> -<td class="subject">Putting the Rough Wood in the Lathe</td> -<td class="pagno"><a href="#Page42">42</a></td> -</tr> - -<tr> -<td class="subject">The Right Way to Hold a Wood Working Tool</td> -<td class="pagno"><a href="#Page42">42</a></td> -</tr> - -<tr> -<td class="subject">Sizing the Turned Work</td> -<td class="pagno"><a href="#Page43">43</a></td> -</tr> - -<tr> -<td class="subject">Kinds and Sweeps of Carving Tools</td> -<td class="pagno"><a href="#Page45">45</a></td> -</tr> - -<tr> -<td class="subject">Markers for Stamping in Backgrounds</td> -<td class="pagno"><a href="#Page46">46</a></td> -</tr> - -<tr> -<td class="subject">Schemes for Holding Work When Carving</td> -<td class="pagno"><a href="#Page46">46</a></td> -</tr> - -<tr> -<td class="subject">Kinds of Carving</td> -<td class="pagno"><a href="#Page48">48</a></td> -</tr> - -<tr> -<td class="subject">A Carved Watch Case Holder</td> -<td class="pagno"><a href="#Page49">49</a></td> -</tr> - -<tr> -<td class="subject">The Tool Used for Pyrography</td> -<td class="pagno"><a href="#Page52">52</a></td> -</tr> - -<tr> -<td class="subject">An Outfit that Burns Benzine Vapor<span class="pagenum" id="Pagexx">[xx]</span></td> -<td class="pagno"><a href="#Page53">53</a></td> -</tr> - -<tr> -<td class="subject">How the Tool is Heated</td> -<td class="pagno"><a href="#Page54">54</a></td> -</tr> - -<tr> -<td class="subject">Burning in the Design</td> -<td class="pagno"><a href="#Page54">54</a></td> -</tr> - -<tr> -<td class="subject">The Chief Metal Working Tools</td> -<td class="pagno"><a href="#Page58">58</a></td> -</tr> - -<tr> -<td class="subject">Some Other Metal Working Tools</td> -<td class="pagno"><a href="#Page59">59</a></td> -</tr> - -<tr> -<td class="subject">How Metal Seams and Joints are Made</td> -<td class="pagno"><a href="#Page70">70</a></td> -</tr> - -<tr> -<td class="subject">Materials You Need for Venetian Iron Work</td> -<td class="pagno"><a href="#Page77">77</a></td> -</tr> - -<tr> -<td class="subject">A Useful Bent Iron Toaster</td> -<td class="pagno"><a href="#Page79">79</a></td> -</tr> - -<tr> -<td class="subject">How to Make an Egg Boiler</td> -<td class="pagno"><a href="#Page80">80</a></td> -</tr> - -<tr> -<td class="subject">An Artistic Venetian Plate Holder</td> -<td class="pagno"><a href="#Page81">81</a></td> -</tr> - -<tr> -<td class="subject">A Sconce for a Candle</td> -<td class="pagno"><a href="#Page83">83</a></td> -</tr> - -<tr> -<td class="subject">How to Hold a Repoussé Hammer</td> -<td class="pagno"><a href="#Page84">84</a></td> -</tr> - -<tr> -<td class="subject">A Punch and Punch Designs for Repoussé Work</td> -<td class="pagno"><a href="#Page85">85</a></td> -</tr> - -<tr> -<td class="subject">How to Hold a Repoussé Punch</td> -<td class="pagno"><a href="#Page85">85</a></td> -</tr> - -<tr> -<td class="subject">A Repoussé Candlestick</td> -<td class="pagno"><a href="#Page87">87</a></td> -</tr> - -<tr> -<td class="subject">A Repoussé Photo Frame</td> -<td class="pagno"><a href="#Page89">89</a></td> -</tr> - -<tr> -<td class="subject">The Tools You Need for Pierced Brass Work</td> -<td class="pagno"><a href="#Page90">90</a></td> -</tr> - -<tr> -<td class="subject">A Pierced Brass Candle Shade</td> -<td class="pagno"><a href="#Page91">91</a></td> -</tr> - -<tr> -<td class="subject">A Pierced Brass Toast Sign</td> -<td class="pagno"><a href="#Page93">93</a></td> -</tr> - -<tr> -<td class="subject">Iron Ladle for Melting Pewter</td> -<td class="pagno"><a href="#Page95">95</a></td> -</tr> - -<tr> -<td class="subject">How a Pewter Casting is Made</td> -<td class="pagno"><a href="#Page96">96</a></td> -</tr> - -<tr> -<td class="subject">Home Made Pewter Ware</td> -<td class="pagno"><a href="#Page98">98</a></td> -</tr> - -<tr> -<td class="subject">Tools for Engraving on Metal</td> -<td class="pagno"><a href="#Page99">99</a></td> -</tr> - -<tr> -<td class="subject">How to Hold a Graver</td> -<td class="pagno"><a href="#Page100">100</a></td> -</tr> - -<tr> -<td class="subject">An Engraving on a Sheet of Copper</td> -<td class="pagno"><a href="#Page101">101</a></td> -</tr> - -<tr> -<td class="subject">A Simple Line Drawing of a Man and a Horse</td> -<td class="pagno"><a href="#Page104">104</a></td> -</tr> - -<tr> -<td class="subject">A Simple Outline Drawing of a Boxer and a Race Horse</td> -<td class="pagno"><a href="#Page105">105</a></td> -</tr> - -<tr> -<td class="subject">The Proportions of the Human Body</td> -<td class="pagno"><a href="#Page106">106</a></td> -</tr> - -<tr> -<td class="subject">A Full View of the Face</td> -<td class="pagno"><a href="#Page107">107</a></td> -</tr> - -<tr> -<td class="subject">A Profile View of the Face</td> -<td class="pagno"><a href="#Page108">108</a></td> -</tr> - -<tr> -<td class="subject">The Vanishing Points of a Perspective Drawing</td> -<td class="pagno"><a href="#Page109">109</a></td> -</tr> - -<tr> -<td class="subject">How to Find the Vanishing Point</td> -<td class="pagno"><a href="#Page110">110</a></td> -</tr> - -<tr> -<td class="subject">The Vanishing Points Put to Use</td> -<td class="pagno"><a href="#Page111">111</a></td> -</tr> - -<tr> -<td class="subject">The Drawing Tools You Need</td> -<td class="pagno"><a href="#Page112">112</a></td> -</tr> - -<tr> -<td class="subject">The T Square and Triangle on the Drawing Board</td> -<td class="pagno"><a href="#Page114">114</a></td> -</tr> - -<tr> -<td class="subject">The Plan Drawing for a Box</td> -<td class="pagno"><a href="#Page115">115</a></td> -</tr> - -<tr> -<td class="subject">The Box Drawn in Isometric Perspective</td> -<td class="pagno"><a href="#Page116">116</a></td> -</tr> - -<tr> -<td class="subject">How the Lines for Isometric Drawings are Made</td> -<td class="pagno"><a href="#Page117">117</a></td> -</tr> - -<tr> -<td class="subject">A Sheet of Isometric Drawing Paper<span class="pagenum" id="Pagexxi">[xxi]</span></td> -<td class="pagno"><a href="#Page118">118</a></td> -</tr> - -<tr> -<td class="subject">The Proportions of an Isometric Ellipse</td> -<td class="pagno"><a href="#Page119">119</a></td> -</tr> - -<tr> -<td class="subject">How to Draw a Circle with a Thread</td> -<td class="pagno"><a href="#Page120">120</a></td> -</tr> - -<tr> -<td class="subject">How to Draw a Spiral with a Thread</td> -<td class="pagno"><a href="#Page121">121</a></td> -</tr> - -<tr> -<td class="subject">How to Draw an Ellipse with a Thread</td> -<td class="pagno"><a href="#Page122">122</a></td> -</tr> - -<tr> -<td class="subject">How a Pantagraph is Made and Used</td> -<td class="pagno"><a href="#Page122">122</a></td> -</tr> - -<tr> -<td class="subject">How a Reflecting Drawing Board is Made and Used</td> -<td class="pagno"><a href="#Page123">123</a></td> -</tr> - -<tr> -<td class="subject">A Lasting Carbon (Soot) Impression of Your Hand</td> -<td class="pagno"><a href="#Page125">125</a></td> -</tr> - -<tr> -<td class="subject">Silhouettes of Your Great-Grand-pa and Great-Grand-ma (When They Were Young)</td> -<td class="pagno"><a href="#Page127">127</a></td> -</tr> - -<tr> -<td class="subject">A Photo Printing Frame</td> -<td class="pagno"><a href="#Page131">131</a></td> -</tr> - -<tr> -<td class="subject">An Easily Made Pin-hole Camera</td> -<td class="pagno"><a href="#Page135">135</a></td> -</tr> - -<tr> -<td class="subject">The Pin-hole Camera Complete with Cloth and Rubber Bands</td> -<td class="pagno"><a href="#Page137">137</a></td> -</tr> - -<tr> -<td class="subject">Two Cheap and Good Cameras</td> -<td class="pagno"><a href="#Page139">139</a></td> -</tr> - -<tr> -<td class="subject">A Home-made Enlarging Apparatus</td> -<td class="pagno"><a href="#Page141">141</a></td> -</tr> - -<tr> -<td class="subject">A Home-made Enlarging Apparatus</td> -<td class="pagno"><a href="#Page143">143</a></td> -</tr> - -<tr> -<td class="subject">A Home-made Enlarging Apparatus</td> -<td class="pagno"><a href="#Page144">144</a></td> -</tr> - -<tr> -<td class="subject">A Cheaply Made Reflectoscope</td> -<td class="pagno"><a href="#Page145">145</a></td> -</tr> - -<tr> -<td class="subject">A Cross Section Top View of the Reflectoscope</td> -<td class="pagno"><a href="#Page146">146</a></td> -</tr> - -<tr> -<td class="subject">The Reflectoscope Ready for Use</td> -<td class="pagno"><a href="#Page147">147</a></td> -</tr> - -<tr> -<td class="subject">The Parts of a Home-made Magic Lantern</td> -<td class="pagno"><a href="#Page149">149</a></td> -</tr> - -<tr> -<td class="subject">The Magic Lantern Ready for Use</td> -<td class="pagno"><a href="#Page150">150</a></td> -</tr> - -<tr> -<td class="subject">A Photograph of a Coin Made with Radium</td> -<td class="pagno"><a href="#Page152">152</a></td> -</tr> - -<tr> -<td class="subject">One Way to Catch a Cod</td> -<td class="pagno"><a href="#Page155">155</a></td> -</tr> - -<tr> -<td class="subject">How Caricatures are Made</td> -<td class="pagno"><a href="#Page156">156</a></td> -</tr> - -<tr> -<td class="subject">A Model Self-inking Printing Press</td> -<td class="pagno"><a href="#Page159">159</a></td> -</tr> - -<tr> -<td class="subject">An Outfit for a Model Press</td> -<td class="pagno"><a href="#Page162">162</a></td> -</tr> - -<tr> -<td class="subject">The Parts of a Type</td> -<td class="pagno"><a href="#Page165">165</a></td> -</tr> - -<tr> -<td class="subject">How the Type Cases are Arranged</td> -<td class="pagno"><a href="#Page167">167</a></td> -</tr> - -<tr> -<td class="subject">The Upper Case</td> -<td class="pagno"><a href="#Page168">168</a></td> -</tr> - -<tr> -<td class="subject">The Lower Case</td> -<td class="pagno"><a href="#Page168">168</a></td> -</tr> - -<tr> -<td class="subject">How to Hold a Composing Stick</td> -<td class="pagno"><a href="#Page169">169</a></td> -</tr> - -<tr> -<td class="subject">Putting a Stick of Type in the Chase</td> -<td class="pagno"><a href="#Page170">170</a></td> -</tr> - -<tr> -<td class="subject">Tools for Locking Up a Chase</td> -<td class="pagno"><a href="#Page171">171</a></td> -</tr> - -<tr> -<td class="subject">A Frame for Paper Making</td> -<td class="pagno"><a href="#Page177">177</a></td> -</tr> - -<tr> -<td class="subject">How to Cut Boards and Cloth for Book Binding</td> -<td class="pagno"><a href="#Page179">179</a></td> -</tr> - -<tr> -<td class="subject">Sewing on the Muslin Flap</td> -<td class="pagno"><a href="#Page180">180</a></td> -</tr> - -<tr> -<td class="subject">The Bound Book Complete</td> -<td class="pagno"><a href="#Page181">181</a></td> -</tr> - -<tr> -<td class="subject">The Matrix Frame, Chase and Boards for Making Rubber -Stamps<span class="pagenum" id="Pagexxii">[xxii]</span></td> -<td class="pagno"><a href="#Page184">184</a></td> -</tr> - -<tr> -<td class="subject">The Type in the Chase. Plaster of Paris Impression in the Matrix Frame</td> -<td class="pagno"><a href="#Page186">186</a></td> -</tr> - -<tr> -<td class="subject">The Matrix with the Rubber Gum in Place Ready to Vulcanize</td> -<td class="pagno"><a href="#Page187">187</a></td> -</tr> - -<tr> -<td class="subject">The Rubber Stamp Ready to Use</td> -<td class="pagno"><a href="#Page188">188</a></td> -</tr> - -<tr> -<td class="subject">Pulling an Impression from the Copygraph</td> -<td class="pagno"><a href="#Page191">191</a></td> -</tr> - -<tr> -<td class="subject">First Steps in Making a Badge</td> -<td class="pagno"><a href="#Page192">192</a></td> -</tr> - -<tr> -<td class="subject">The Badge on a Flat-iron in a Vise. Sinking in the Letters</td> -<td class="pagno"><a href="#Page193">193</a></td> -</tr> - -<tr> -<td class="subject">Steel Letters and Figures for Die Sinking</td> -<td class="pagno"><a href="#Page194">194</a></td> -</tr> - -<tr> -<td class="subject">Last Steps in Making a Badge</td> -<td class="pagno"><a href="#Page195">195</a></td> -</tr> - -<tr> -<td class="subject">A Burning Brand of Iron or Copper</td> -<td class="pagno"><a href="#Page197">197</a></td> -</tr> - -<tr> -<td class="subject">Stencil Letters and Stencils</td> -<td class="pagno"><a href="#Page199">199</a></td> -</tr> - -<tr> -<td class="subject">Glass Cutters</td> -<td class="pagno"><a href="#Page204">204</a></td> -</tr> - -<tr> -<td class="subject">The Right Way to Hold a Diamond Point Glass Cutter</td> -<td class="pagno"><a href="#Page205">205</a></td> -</tr> - -<tr> -<td class="subject">How to Cut a Pane of Glass</td> -<td class="pagno"><a href="#Page205">205</a></td> -</tr> - -<tr> -<td class="subject">A Cutter for Glass Tubes</td> -<td class="pagno"><a href="#Page207">207</a></td> -</tr> - -<tr> -<td class="subject">A Circular Glass Cutter</td> -<td class="pagno"><a href="#Page208">208</a></td> -</tr> - -<tr> -<td class="subject">Kinds of Bunsen Burners</td> -<td class="pagno"><a href="#Page210">210</a></td> -</tr> - -<tr> -<td class="subject">Bordering the End of a Tube</td> -<td class="pagno"><a href="#Page211">211</a></td> -</tr> - -<tr> -<td class="subject">Sealing Off the End of a Tube</td> -<td class="pagno"><a href="#Page212">212</a></td> -</tr> - -<tr> -<td class="subject">How to Make a Hole in a Tube</td> -<td class="pagno"><a href="#Page212">212</a></td> -</tr> - -<tr> -<td class="subject">Welding Two Tubes Together. Making a T Tube</td> -<td class="pagno"><a href="#Page213">213</a></td> -</tr> - -<tr> -<td class="subject">A Regular Blow-Pipe</td> -<td class="pagno"><a href="#Page214">214</a></td> -</tr> - -<tr> -<td class="subject">Cross Section of a Home-made Blow-pipe</td> -<td class="pagno"><a href="#Page215">215</a></td> -</tr> - -<tr> -<td class="subject">The Glass Blowing Arrangement Ready to Use</td> -<td class="pagno"><a href="#Page216">216</a></td> -</tr> - -<tr> -<td class="subject">A Regular Foot Bellows</td> -<td class="pagno"><a href="#Page217">217</a></td> -</tr> - -<tr> -<td class="subject">First Steps in Blowing a Glass Bulb</td> -<td class="pagno"><a href="#Page218">218</a></td> -</tr> - -<tr> -<td class="subject">Making a Thick Ring of Glass</td> -<td class="pagno"><a href="#Page218">218</a></td> -</tr> - -<tr> -<td class="subject">Last Step in Blowing a Glass Bulb</td> -<td class="pagno"><a href="#Page219">219</a></td> -</tr> - -<tr> -<td class="subject">Part of the Apparatus for Sand Blast Etching</td> -<td class="pagno"><a href="#Page220">220</a></td> -</tr> - -<tr> -<td class="subject">Sand Blast Apparatus Put Together Ready for Etching</td> -<td class="pagno"><a href="#Page221">221</a></td> -</tr> - -<tr> -<td class="subject">Etching Glass with Acid</td> -<td class="pagno"><a href="#Page223">223</a></td> -</tr> - -<tr> -<td class="subject">A Policeman’s Puzzle, or Now Will You Be Good</td> -<td class="pagno"><a href="#Page228">228</a></td> -</tr> - -<tr> -<td class="subject">Plans for the Automobile Truck</td> -<td class="pagno"><a href="#Page229">229</a></td> -</tr> - -<tr> -<td class="subject">The Automobile Truck Ready to Run</td> -<td class="pagno"><a href="#Page230">230</a></td> -</tr> - -<tr> -<td class="subject">Plans for a Swell Coaster</td> -<td class="pagno"><a href="#Page231">231</a></td> -</tr> - -<tr> -<td class="subject">The Coaster Ready to Ride On</td> -<td class="pagno"><a href="#Page232">232</a></td> -</tr> - -<tr> -<td class="subject">Plans for the Nifty Wheelbarrow. The Barrow Ready to -Wheel<span class="pagenum" id="Pagexxiii">[xxiii]</span></td> -<td class="pagno"><a href="#Page234">234</a></td> -</tr> - -<tr> -<td class="subject">Plans for the High-low Swing</td> -<td class="pagno"><a href="#Page236">236</a></td> -</tr> - -<tr> -<td class="subject">The Swing Ready to Swing Low, Swing High</td> -<td class="pagno"><a href="#Page237">237</a></td> -</tr> - -<tr> -<td class="subject">Ride a Stick Horse to Banbury Cross</td> -<td class="pagno"><a href="#Page238">238</a></td> -</tr> - -<tr> -<td class="subject">Plans for a Pony and Cart. The Pony and Cart When Done</td> -<td class="pagno"><a href="#Page240">240</a></td> -</tr> - -<tr> -<td class="subject">How the Life-like Goose is Made</td> -<td class="pagno"><a href="#Page241">241</a></td> -</tr> - -<tr> -<td class="subject">Goosie, Goosie Gander, Where Shall I Wander</td> -<td class="pagno"><a href="#Page242">242</a></td> -</tr> - -<tr> -<td class="subject">The Dancing Sambo</td> -<td class="pagno"><a href="#Page243">243</a></td> -</tr> - -<tr> -<td class="subject">The Mechanism of the Dancing Sambo</td> -<td class="pagno"><a href="#Page244">244</a></td> -</tr> - -<tr> -<td class="subject">The Wireless Pup, the Slot in the Floor of the Dog House</td> -<td class="pagno"><a href="#Page245">245</a></td> -</tr> - -<tr> -<td class="subject">The Back End of the Dog House</td> -<td class="pagno"><a href="#Page246">246</a></td> -</tr> - -<tr> -<td class="subject">The Spanker with Electric Solenoid Control</td> -<td class="pagno"><a href="#Page247">247</a></td> -</tr> - -<tr> -<td class="subject">Cross Section Side View of the Wireless Pup Ready for Action</td> -<td class="pagno"><a href="#Page248">248</a></td> -</tr> - -<tr> -<td class="subject">The Front End View of the Wireless Pup House</td> -<td class="pagno"><a href="#Page249">249</a></td> -</tr> - -<tr> -<td class="subject">When You Call the Wireless Pup or Clap Your Hands He Comes Out of His Dog House in a Hurry</td> -<td class="pagno"><a href="#Page250">250</a></td> -</tr> - -<tr> -<td class="subject">The Musical Coin</td> -<td class="pagno"><a href="#Page253">253</a></td> -</tr> - -<tr> -<td class="subject">How to Hold the Musical Coin to Spin It</td> -<td class="pagno"><a href="#Page254">254</a></td> -</tr> - -<tr> -<td class="subject">The Chopin Tomato Can</td> -<td class="pagno"><a href="#Page255">255</a></td> -</tr> - -<tr> -<td class="subject">The Musical Glasses</td> -<td class="pagno"><a href="#Page257">257</a></td> -</tr> - -<tr> -<td class="subject">The Harp of a Thousand Thrills</td> -<td class="pagno"><a href="#Page258">258</a></td> -</tr> - -<tr> -<td class="subject">How to Play the Harp</td> -<td class="pagno"><a href="#Page259">259</a></td> -</tr> - -<tr> -<td class="subject">Parts of a Musical Push Pipe</td> -<td class="pagno"><a href="#Page261">261</a></td> -</tr> - -<tr> -<td class="subject">How the Push Pipe is Played</td> -<td class="pagno"><a href="#Page263">263</a></td> -</tr> - -<tr> -<td class="subject">A Xylophone. The Bars are Made of Wood</td> -<td class="pagno"><a href="#Page264">264</a></td> -</tr> - -<tr> -<td class="subject">A Tubaphone. The Bars are Made of Metal Tubes</td> -<td class="pagno"><a href="#Page265">265</a></td> -</tr> - -<tr> -<td class="subject">The Cathedral Chimes</td> -<td class="pagno"><a href="#Page266">266</a></td> -</tr> - -<tr> -<td class="subject">The Harp of Aeolus</td> -<td class="pagno"><a href="#Page268">268</a></td> -</tr> - -<tr> -<td class="subject">Plans for an Egyptian Fiddle</td> -<td class="pagno"><a href="#Page271">271</a></td> -</tr> - -<tr> -<td class="subject">How the Bow is Made</td> -<td class="pagno"><a href="#Page272">272</a></td> -</tr> - -<tr> -<td class="subject">How the Fiddle is Played</td> -<td class="pagno"><a href="#Page273">273</a></td> -</tr> - -<tr> -<td class="subject">How an Easel is Made</td> -<td class="pagno"><a href="#Page276">276</a></td> -</tr> - -<tr> -<td class="subject">First Principles of Cartooning</td> -<td class="pagno"><a href="#Page278">278</a></td> -</tr> - -<tr> -<td class="subject">Three Simple Cartoons that You Can Do</td> -<td class="pagno"><a href="#Page279">279</a></td> -</tr> - -<tr> -<td class="subject">The Oracle of Amor, or Are You in Love?</td> -<td class="pagno"><a href="#Page280">280</a></td> -</tr> - -<tr> -<td class="subject">The Mystic Fountain</td> -<td class="pagno"><a href="#Page282">282</a></td> -</tr> - -<tr> -<td class="subject">Making Hydrogen Chloride Gas<span class="pagenum" id="Pagexxiv">[xxiv]</span></td> -<td class="pagno"><a href="#Page283">283</a></td> -</tr> - -<tr> -<td class="subject">The Vicious Soap Bubbles</td> -<td class="pagno"><a href="#Page285">285</a></td> -</tr> - -<tr> -<td class="subject">The Uncanny Wheel</td> -<td class="pagno"><a href="#Page287">287</a></td> -</tr> - -<tr> -<td class="subject">The Electrified Papers</td> -<td class="pagno"><a href="#Page291">291</a></td> -</tr> - -<tr> -<td class="subject">A Simple Wireless Demonstration Set</td> -<td class="pagno"><a href="#Page294">294</a></td> -</tr> - -<tr> -<td class="subject">Cross Section of the Coherer Showing Its Construction</td> -<td class="pagno"><a href="#Page295">295</a></td> -</tr> - -<tr> -<td class="subject">The Parts of the Hand Named According to Science</td> -<td class="pagno"><a href="#Page296">296</a></td> -</tr> - -<tr> -<td class="subject">The Parts of the Hand Named According to Palmistry</td> -<td class="pagno"><a href="#Page298">298</a></td> -</tr> - -<tr> -<td class="subject">Working Drawings for the Demonstration Steam Engine. Cross Section Side View of the Engine</td> -<td class="pagno"><a href="#Page302">302</a></td> -</tr> - -<tr> -<td class="subject">End View of the Engine. The Crank Shaft. The Rocker Arm</td> -<td class="pagno"><a href="#Page304">304</a></td> -</tr> - -<tr> -<td class="subject">Top View of the Engine</td> -<td class="pagno"><a href="#Page306">306</a></td> -</tr> - -<tr> -<td class="subject">The Steam Engine Ready to Demonstrate</td> -<td class="pagno"><a href="#Page309">309</a></td> -</tr> - -</table> - -<hr class="chap"> - -<div class="chapter"> - -<p><span class="pagenum" id="Page1">[1]</span></p> - -<p class="fauxh1">HANDICRAFT FOR BOYS</p> - -<h2 class="nobreak">CHAPTER I<br> -<span class="chaptitle">CARPENTRY WORK AND CABINET -MAKING</span></h2> - -</div><!--chapter--> - -<p>Did you ever think about what you’d do if you were -shipwrecked on a tropical island like Robinson Crusoe?</p> - -<p>Well, if you had a good, strong pocket-knife with you -it wouldn’t be so terribly bad and in a few months’ -time you’d have fashioned all the things you’d need to -furnish a three-room palmetto bungalow.</p> - -<p>To be sure your furniture wouldn’t be very highly -finished but it would be awfully artistic and while in -a civilized community it might be looked upon as a -rare exhibit of savage workmanship, it would serve -you nobly and well in your island home.</p> - -<p>But you don’t have to be marooned on a lonely isle -or limited to the use of a jack-knife to show your -prowess as a worker in wood. All you need to do -is to get some out of the way room where there is -plenty of light for a workshop and buy a few <i>good</i> -tools to work with and you’ll take as keen a pleasure -in making useful things with your own hands as -Robinson Crusoe did.</p> - -<p><span class="pagenum" id="Page2">[2]</span></p> - -<h3 class="inline"><b>The Tools You Need.</b></h3> - -<p class="hinline">—It is a great mistake to go -out and buy a cheap chest of tools of whatever size -for while there is always a large number of tools in -it they are usually of a very poor quality.</p> - -<p>If you can afford to buy a chest of good tools and -will get them of a regular tool supply house you can -then buy a chest of tools safely. Now to make any -ordinary piece of woodwork you don’t need many tools -but each one should be the very best, for therein half -the pleasure lies.</p> - -<h3 class="inline"><b>The Kind of Tools.</b></h3> - -<p class="hinline">—The tools used for <i>cabinet -making</i>, as the finer kinds of joinery are called, are exactly -the same as those used for carpentry though they -are usually kept a little sharper and there should be a -few more of them.</p> - -<p>All the tools you will need at first are shown in <a href="#Fig1">Figs. -1</a> and <a href="#Fig2">2</a> and these are (1) a cast-steel, adze-eye, bell-faced -<i>hammer</i><a id="FNanchor1" href="#Footnote1" class="fnanchor">[1]</a> weighing about 9 ounces, which is a -regular carpenter’s hammer. (2) A <i>mallet</i>, made of -hickory, with a 2¹⁄₂ inch face and try to get one in -which the handle goes clear through the head and is -wedged in.</p> - -<div class="footnote"> - -<p><a id="Footnote1" href="#FNanchor1" class="label">[1]</a> The Ohio Tool Company makes good hammers.</p> - -</div><!--footnote--> - -<p>(3) Four saws,<a id="FNanchor2" href="#Footnote2" class="fnanchor">[2]</a> namely (a) a 16 inch <i>crosscut saw</i>—usually -called a <i>handsaw</i>—which is used for sawing -off boards across the grain, (b) a 20 inch <i>rip-saw</i>, -for sawing with the grain so that a board can be sawed -lengthwise, (c) a <i>back saw</i> or <i>miter saw</i> as it is sometimes -called; it is about 12 inches long and has about -20 teeth to the inch so that it makes a very fine and -smooth cut. (d) A <i>compass saw</i>; it has a narrow, -tapering blade about 10 inches long and is used to cut -out holes in boards, and to cut <i>disks</i>, or wheels of -wood. The blade of a <i>keyhole saw</i> is thinner and -narrower than a compass saw and, hence, smaller holes -and shorter curves can be cut with it than with a compass -saw.</p> - -<div class="footnote"> - -<p><a id="Footnote2" href="#FNanchor2" class="label">[2]</a> Disston saws are the kind to get.</p> - -</div><!--footnote--> - -<p><span class="pagenum" id="Page3">[3]</span></p> - -<table class="images" id="Fig1"> - -<colgroup> -<col span="2" class="w50pc"> -</colgroup> - -<tr> -<td class="image bt2 br2 bl2"><img src="images/illo029a.jpg" alt=""></td> -<td class="image bt2 br2 bl2"><img src="images/illo029b.jpg" alt=""></td> -</tr> - -<tr> -<td class="caption br2 bb2 bl2"><i>THE WAY TO SAW A BOARD</i></td> -<td class="caption br2 bb2 bl2"><i>A CARPENTER’S HAMMER AND HOW TO HOLD IT</i></td> -</tr> - -<tr> -<td class="image bt2 br2 bl2"><img src="images/illo029c.jpg" alt=""></td> -<td class="image bt2 br2 bl2"><img src="images/illo029d.jpg" alt=""></td> -</tr> - -<tr> -<td class="caption br2 bb2 bl2"><i>SAWING OFF A STRIP WITH A BACK SAW AND MITER BOX</i></td> -<td class="caption br2 bb2 bl2"><i>WHERE A COMPASS SAW COMES IN HANDY</i></td> -</tr> - -<tr> -<td class="image bt2 br2 bl2"><img src="images/illo029e.jpg" alt=""></td> -<td class="image bt2 br2 bl2"><img src="images/illo029f.jpg" alt=""></td> -</tr> - -<tr> -<td class="caption br2 bb2 bl2"><i>HOW TO HOLD A SMOOTHING PLANE</i></td> -<td class="caption br2 bb2 bl2"><i>A FIRMER CHISEL IN USE</i></td> -</tr> - -</table> - -<p class="caption"><span class="smcap">Fig. 1. some useful wood working tools</span></p> - -<p><span class="pagenum" id="Page4">[4]</span></p> - -<p>(4) A <i>miter box</i> (pronounced mi′-ter) is a little -trough of wood formed of a bottom with two sides -screwed to it but without a top or ends. The sides of -the box have saw-cuts in them, or <i>kerfs</i> as they are -called, at angles of 45 and 90 degrees so that strips of -wood, molding and the like can be sawed accurately -across, or <i>mitered</i>, to make a corner joint.</p> - -<p>(5) Three planes<a id="FNanchor3" href="#Footnote3" class="fnanchor">[3]</a> and these are (a) a <i>block plane</i> -for small light work; (b) a <i>smoothing plane</i> which is -a little longer and has a handle and is <i>set fine</i>, that is -the <i>bit</i>, or blade is finely adjusted for finishing work; -and (c) a <i>jack-plane</i>, which is a large plane used for -planing off rough surfaces.</p> - -<div class="footnote"> - -<p><a id="Footnote3" href="#FNanchor3" class="label">[3]</a> I like Stanley planes the best.</p> - -</div><!--footnote--> - -<p>(6) Three chisels,<a id="FNanchor4" href="#Footnote4" class="fnanchor">[4]</a> or <i>firmer chisels</i> as they are -called. These are regular flat, bevel-edged carpenter’s -chisels and the blades should be ¹⁄₈, ¹⁄₄, and ¹⁄₂ inch -wide, respectively.</p> - -<div class="footnote"> - -<p><a id="Footnote4" href="#FNanchor4" class="label">[4]</a> Buck Brothers are noted for their chisels.</p> - -</div><!--footnote--> - -<p>(7) Three gouges,<a id="FNanchor5" href="#Footnote5" class="fnanchor">[5]</a> or <i>firmer gouges</i>, to give -them their full name. These gouges are simply -chisels with curved cutting edges so that a rounded -groove can be cut in a board. Get them with blades -having ¹⁄₄, ³⁄₈ and ¹⁄₂ inch regular <i>sweep</i>, as the curve -of the cutting edge is called.</p> - -<div class="footnote"> - -<p><a id="Footnote5" href="#FNanchor5" class="label">[5]</a> Buck Brothers’ gouges are also good.</p> - -</div><!--footnote--> - -<p><span class="pagenum" id="Page5">[5]</span></p> - -<table class="images" id="Fig2"> - -<colgroup> -<col span="2" class="w50pc"> -</colgroup> - -<tr> -<td class="image bl2 bt2 br2"><img src="images/illo031a.jpg" alt=""></td> -<td class="image bl2 bt2 br2"><img src="images/illo031b.jpg" alt=""></td> -</tr> - -<tr> -<td class="caption br2 bb2 bl2"><i>BORING A HOLE WITH A BRACE AND BIT</i></td> -<td class="caption br2 bb2 bl2"><i>THE SCREW DRIVER AND HOW TO USE IT</i></td> -</tr> - -<tr> -<td class="image bl2 bt2 br2"><img src="images/illo031c.jpg" alt=""></td> -<td class="image bl2 bt2 br2"><img src="images/illo031d.jpg" alt=""></td> -</tr> - -<tr> -<td class="caption br2 bb2 bl2"><i>HOW THE TRY SQUARE IS USED</i></td> -<td class="caption br2 bb2 bl2"><i>A NAIL SET AND HOW TO HOLD IT</i></td> -</tr> - -<tr> -<td class="image bl2 bt2 br2"><img src="images/illo031e.jpg" alt=""></td> -<td class="image bl2 bt2 br2"><img src="images/illo031f.jpg" alt=""></td> -</tr> - -<tr> -<td class="caption br2 bb2 bl2"><i>USING A MARKING GAUGE</i></td> -<td class="caption br2 bb2 bl2"><i>THE RIGHT WAY TO SHARPEN A CHISEL</i></td> -</tr> - -</table> - -<p class="caption"><span class="smcap">Fig. 2. a few more common wood working tools</span></p> - -<p><span class="pagenum" id="Page6">[6]</span></p> - -<p>(8) A <i>brace</i> and five <i>auger bits</i>.<a id="FNanchor6" href="#Footnote6" class="fnanchor">[6]</a> -A brace and bit, -as you know, is a tool to <i>bore</i> holes in wood with. -You ought to have five bits and get them ¹⁄₄, ⁵⁄₁₆, ³⁄₈, -⁷⁄₁₆ and ¹⁄₂ an inch in diameter.</p> - -<div class="footnote"> - -<p><a id="Footnote6" href="#FNanchor6" class="label">[6]</a> When you buy auger bits get the genuine Russel Jennings.</p> - -</div><!--footnote--> - -<p>(9) A <i>maple</i> or a <i>boxwood rule</i>; this should be a -regular, 2-foot, four fold carpenter’s rule. (10) A -<i>marking gauge</i>; the <i>bar</i> of the gauge is graduated in -16ths of an inch and the <i>adjustable</i> head of one good -enough to work with is fitted with a brass thumb screw.</p> - -<p>(11) An iron bound <i>try-square</i> with a 6, or better, -a 9-inch blade. This is used not only to make measurements -with but to <i>try</i> whether a thing is <i>square</i> or -not, hence its name.</p> - -<p>(12) Two <i>screw drivers</i>, one for small and the -other for large screws. (13) Two <i>double cut gimlets</i>, -one ¹⁄₈ and the other ³⁄₁₆ inch in diameter; these are useful -for making holes for starting screws and the like.</p> - -<p id="Ref11">(14) Four <i>hand screws</i>, or <i>clamps</i> as they are more -often called; these are made of wood and are used to -clamp two or more pieces of wood together when they -are being bored or after they are glued. The jaws -should be about 7 inches long and they should open -at least 4 inches wide. They only cost a quarter -apiece.</p> - -<p>(15) A <i>nail set</i>; this is a steel punch for driving the<span class="pagenum" id="Page7">[7]</span> -head of a nail below the surface of the wood without -denting it.</p> - -<p>(16) A <i>Washita oil-stone</i> is the right kind to -sharpen wood-working tools on; a stone ¹⁄₂ or ³⁄₄ inch -thick, 2 inches wide and 4 or 5 inches long will be -large enough and you should make a box with a cover -to keep it in and so protect it from the dust.</p> - -<div class="container w50pc" id="Fig2M"> -<img src="images/illo033.jpg" alt="" class="bt2 br2 bb2 bl2"> -</div> - -<p class="caption"><span class="smcap">Fig. 2m. a clamp often comes in handy</span></p> - -<p>(17) A sewing machine <i>oil can</i> filled with sewing -machine oil, or any other good, light lubricating oil, -is needed for sharpening your tools.</p> - -<p>(18) A small can of Le Page’s <i>liquid glue</i>, or if you -want to make your own glue then get a <i>glue-pot</i> and -<i>brush</i>. You can buy a ¹⁄₂ pint can of liquid glue for a -quarter or less, or you can buy a cast iron, water-jacketed -glue pot which holds a pint for about 40 -cents. Get a small round <i>bristle brush</i> for a glue -brush.</p> - -<p><span class="pagenum" id="Page8">[8]</span></p> - -<h3 class="inline"><b>Some Hints on Using Tools.</b></h3> - -<p class="hinline">—Since I have used -tools ever since I was old enough to hold a hammer I -can easily tell you just how you should handle them -but to become a skilled workman you must be willing -to do the rest and that is to practice.</p> - -<h4 class="inline"><i>How to Hold a Hammer.</i></h4> - -<p class="hinline">—When you use a hammer, -grasp the handle a couple of inches from the free -end and hold it so that it will swing freely and easily -in your hand and keep your hand and wrist above the -level of the nail or whatever it is you are pounding; -this takes the jar off of your arm and makes the work -of using it surer and less tiresome. Never use a hammer -on wood-work of any kind.</p> - -<p>When you use a mallet as for driving chisels hold it -rather close to its head, and need I tell you never to -use a wooden mallet to drive nails with.</p> - -<h4 class="inline"><i>How to Use a Saw.</i></h4> - -<p class="hinline">—Hold the wood to be sawed -with your left hand—I am taking it for granted that -you are righthanded; put all of the fingers of your -right hand through the hole in the handle of the saw -with your thumb on the other side and grip the handle -firmly.</p> - -<p>To start the saw put it on the mark where you want -to saw the board and rest your thumb against the side -of it to guide and steady it. Stand so that your eye -will look down the back of the saw and don’t hold it -too straight but at an angle of 45 degrees, that is half -way between the horizontal and the vertical. Of -course this does not apply to a back saw or a keyhole -saw.</p> - -<p><span class="pagenum" id="Page9">[9]</span></p> - -<h4 class="inline"><i>How to Use a Plane.</i></h4> - -<p class="hinline">—Since a smooth plane has -no handle lay your right hand over the tail of it and -rest your left hand on the nose of it. Make short, -quick strokes, pressing down on the plane as it goes -forward and letting up on it a little as you draw it -back.</p> - -<p>A jack-plane has a handle on it something like a -saw-handle and it is held like a saw with your right -hand. If there is no knob on the nose of it hold it -by laying your left hand across it. When using a -jack plane give it a long stroke with even pressure and -you will take off the same thickness of shaving all the -way along.</p> - -<h4 class="inline"><i>How to Use Chisels and Gouges.</i></h4> - -<p class="hinline">—To hold a chisel -properly when cutting a groove grip it a couple of -inches below the top of the handle with your left hand. -Hold it with the beveled edge down from you and at -a slight angle from the horizontal when making -grooves, and at a slight angle from the vertical when -cutting a mortise. Gouges are used in the same way -as chisels.</p> - -<h4 class="inline"><i>How to Use a Brace and Bit.</i></h4> - -<p class="hinline">—Set the sharp -pointed end of the bit on the exact spot which is to -be the center of the hole you are to bore. Hold the -top handle of the brace with your left hand and the -crank handle with your right hand. Have the top of -the brace and the bit in a line with your eye and after -you start to bore <i>sight</i> the bit on both sides of the hole -you are boring to see that it is <i>plumb</i>—that is straight -up and down.</p> - -<p><span class="pagenum" id="Page10">[10]</span></p> - -<h4 class="inline"><i>How to Use a Rule.</i></h4> - -<p class="hinline">—A carpenter’s rule is two feet -long and divided into inches which are sub-divided -again into 8ths and 16ths of an inch. In making -measurements for joinery use the rule accurately or -you will have misfits.</p> - -<h4 class="inline"><i>How to Use a Marking Gauge.</i></h4> - -<p class="hinline">—This is a useful -device to mark off one or more parallel lines on a board -when one edge of it is straight.</p> - -<p>The head slides on a wooden bar near one end of -which is a steel point. The bar is <i>graduated</i>, that is, it -is spaced off in inches and fractions of an inch like a -rule and this makes it easy to set the head at any -distance from the steel point.</p> - -<p>When you have set the gauge hold the head against -the edge of the board you want to mark, press the -steel point against the <i>surface</i> and draw the gauge -along with both hands when the point will scratch a -line.</p> - -<h4 class="inline"><i>How to Use Hand Screws or Clamps.</i></h4> - -<p class="hinline">—Put the -pieces of wood that are to be held together between the -jaws of the clamp and screw each screw up a little at -a time so that the jaws are kept even, that is parallel.</p> - -<h4 class="inline"><i>How to Use a Nail Set.</i></h4> - -<p class="hinline">—A <i>finishing nail</i>, that is, a -nail having a head only a shade larger than the shank, -is used for the finer kinds of woodwork. After you -have driven in a nail until its head is within, say, ¹⁄₈ -inch of the surface put the small, hollow end of your -nail set on it, hold them together with your thumb -and forefinger and drive it in by hitting the nail set -with your hammer. After the head is sunk below the<span class="pagenum" id="Page11">[11]</span> -surface of the wood fill in the hole with a <i>wood filler</i><a id="FNanchor7" href="#Footnote7" class="fnanchor">[7]</a> -when neither the nail nor the hole can be seen.</p> - -<div class="footnote"> - -<p><a id="Footnote7" href="#FNanchor7" class="label">[7]</a> To make a wood-filler, melt 1 ounce of white resin and 1 -ounce of yellow wax in a pan and add enough <i>ochre</i>, which can -be had in any color, to give it the color of the wood you are -using. Stir it well and fill the dent while hot. This filler sticks -well to the wood and when dry is very hard.</p> - -</div><!--footnote--> - -<h4 class="inline"><i>How to Use a Gimlet.</i></h4> - -<p class="hinline">—After you have started a -hole with a gimlet give it a complete turn and then half -a turn back each time, for by so doing it will be far less -liable to split the wood. Moisten the point of the -gimlet and it will go in easier.</p> - -<h4 class="inline"><i>How to Drive Nails and Screws.</i></h4> - -<p class="hinline">—Put a little common -brown soap on the ends of nails and screws before -you drive them in and you will find that it greatly -lessens the friction.</p> - -<h4 class="inline"><i>How to Make a Glue-Pot.</i></h4> - -<p class="hinline">—In these days of preparedness -it is easier to buy ready made glue than it -is to make it yourself; moreover it is just about as -cheap, nearly as good and certainly far less trouble.</p> - -<p>If you insist on making your own glue though, you -must, first of all, have a glue-pot of the right kind to -make it in. As I have already mentioned a glue-pot is -made of two pots one inside the other. The outside -pot is half filled with water and the inside one contains -the glue.</p> - -<p>You can improvise a glue-pot by using a tomato -can for the outside pot and a pepper or mustard can -for the inside pot. While it won’t look quite as shop-like -as the kind you buy it will work just as well.</p> - -<h4 class="inline"><i>How to Make Good Glue and How to Use It.</i></h4> - -<p class="hinline">—To<span class="pagenum" id="Page12">[12]</span> -make good glue, put some small pieces of genuine -Peter Cooper or imported French Coignet glue into -the inside glue pot in enough water to cover it. The -outer pot is set on a fire and the water in it is brought -to a boil. Stir the glue until it is all melted, when it -should be about as thick as sewing machine oil. Skim -off the scum that forms when the glue is boiling.</p> - -<p>In using home-made glue have it very hot, for the -hotter it is the stronger the joint it will make; further -put it on both surfaces of the wood to be glued -together very thinly as this also tends to make it stick -tighter.</p> - -<h3 class="inline"><b>How to Sharpen Your Tools.</b></h3> - -<p class="hinline">—You must have -sharp tools if you expect to do a job like a carpenter -or a cabinet maker.</p> - -<h4 class="inline"><i>About Sharpening Saws.</i></h4> - -<p class="hinline">—This is done by filing -the teeth with a <i>hand saw taper file</i> and the saw must -be held in a <i>saw-vise</i>, that is a vise with long jaws -which keep the saw from vibrating.</p> - -<p>When the saw is filed the teeth must be <i>set</i>, which -means that one tooth is bent one way a trifle and the -next one to it is bent the other way and this is done -with a tool called a <i>saw set</i>.</p> - -<p>You ought to learn to file your own saws but it -would be just as well, or a little better, to let a man -who makes a business of filing saws do this job for -you at first. Keep your saws oiled when not in -use.</p> - -<h4 class="inline"><i>About Sharpening Chisels and Plane Bits.</i></h4> - -<p class="hinline">—To -sharpen a chisel or a plane bit put a few drops of oil<span class="pagenum" id="Page13">[13]</span> -on your Washita oil stone; hold the beveled edge of the -tool on it and toward you, and see to it that it rests -flat on the stone or you will make it rounding and the -edge uneven.</p> - -<p>When you get it at exactly the right angle grasp -it firmly with both hands and then move it on the -stone, forth and back, pressing down on it pretty hard -as it moves away from you, and easing up on it as you -draw it toward you.</p> - -<p>When a chisel or a plane-bit gets a nick in it it -must be ground out on a grind stone; if you haven’t -one get a carpenter to do it for you, and when you get -it back <i>hone</i> it, that is, sharpen it on your oil stone as -before.</p> - -<p>Get a Washita <i>slip stone</i> for the touching up gouges -and instead of rubbing the edge of the gouge on the -stone you rub the stone on the gouge. Never try to -grind a woodworking tool on an emery wheel.</p> - -<h4 class="inline"><i>About Sharpening Auger Bits.</i></h4> - -<p class="hinline">—An ordinary -auger-bit seldom needs sharpening but when it does -the <i>cutter</i> of it must be sharpened on the inside. A -very fine file can be used for this purpose and then -hone it with a slip of an oil stone.</p> - -<h3 class="inline"><b>How to Take Care of Your Tools.</b></h3> - -<p class="hinline">—If your workshop -is nice and dry you don’t need to put your tools -away in a chest or a cabinet after you get through using -them each time.</p> - -<p>But if you use them only once in awhile it is a good -plan to wipe them off with a piece of cheese-cloth -moistened with oil and then lock them up where neither<span class="pagenum" id="Page14">[14]</span> -the baby can get them nor the hired girl from across -the street can borrow them.</p> - -<h3 class="inline"><b>Removing Rust from Tools.</b></h3> - -<p class="hinline">—Should any of your -tools show signs of rusting you can get the rust off -by rubbing some sweet oil on the rusted part; let it -stand a couple of days and then rub it with very finely -powdered unslacked lime.</p> - -<h3 class="inline"><b>To Etch Your Name on Tools.</b></h3> - -<p class="hinline">—Clean the saw, -or whatever tool you want to <i>etch</i> your name on, with -a hot solution made by dissolving some <i>sodium carbonate</i>, -commonly called <i>soda</i>, in water and be careful -not to touch the cleaned surface with your fingers.</p> - -<p>Next cover the cleaned surface with a thin layer of -melted wax or paraffin and when it is cold scratch -your name clear through it with a darning needle or -some other sharp pointed tool so that the steel is exposed -and the acid solution can act on it.</p> - -<p>Put ¹⁄₂ an ounce of water into a glass stoppered -bottle and add ¹⁄₂ an ounce of <i>nitric acid</i>.<a id="FNanchor8" href="#Footnote8" class="fnanchor">[8]</a> Shake the -solution well to mix it, dip a splint of wood into it and -touch the scratched in letters with it until the acid -covers the exposed parts of the steel.</p> - -<div class="footnote"> - -<p><a id="Footnote8" href="#FNanchor8" class="label">[8]</a> Nitric -acid is a <i>poison</i> and you must so label the bottle containing -it. Do not pour the water into the acid as it will splash -about. Be careful not to get it on your clothes, but if you -should, brush some ammonia over it as this will neutralize it -and stop its action.</p> - -</div><!--footnote--> - -<p>Let the acid solution stay on for a half or an hour -and then wash it off with hot water, scrape off -the paraffin and you will find your name etched on the -steel exactly as you marked it.</p> - -<p><span class="pagenum" id="Page15">[15]</span></p> - -<h3 class="inline"><b>Kinds of Wood to Use.</b></h3> - -<p class="hinline">—There are many kinds of -woods and each one has its special use in the arts and -crafts. For carpentry and cabinet making you will -probably not use more than half-a-dozen woods and -these are, (1) <i>pine</i>; (2) <i>cedar</i>; (3) <i>mahogany</i>; (4) -<i>oak</i>; (5) <i>birch</i> and (6) <i>walnut</i>.</p> - -<h4 class="inline"><i>Pine.</i></h4> - -<p class="hinline">—This is a good wood for making things in -general. There are two kinds of pine and these are -(a) <i>white pine</i> and (b) <i>yellow pine</i>.</p> - -<p>White pine is very soft, light and straight grained -and it is a pleasure to use it even if it is only to sit on -a fence and whittle it with a pocket knife. (I wish I -could do it again.) You can make benches, boxes, -toys and a hundred and one other things out of it but -it is too soft for furniture and cabinet work.</p> - -<p>Yellow, or Georgia pine has a fine yellow color, -and a beautiful grain and together they are very -showy. It is harder than white pine and while it can -be used where the latter cannot, it is not nearly as -easy to work.</p> - -<h4 class="inline"><i>Cedar.</i></h4> - -<p class="hinline">—This fragrant wood belongs to the pine -family and it is nearly as soft as pine. There are two -kinds of cedar and these are (a) <i>red cedar</i> and (b) -<i>white cedar</i>.</p> - -<p>Red cedar is the kind you want to get to make things -of; it has a pastel red color and a fragrant odor and -it is this latter property that makes it a good wood -for wardrobe chests, for moths do not like it. Next -to white pine it is about the easiest wood to work -and it is especially nice for making all small articles,<span class="pagenum" id="Page16">[16]</span> -such as glove boxes, handkerchief boxes and the -like.</p> - -<h4 class="inline"><i>Mahogany.</i></h4> - -<p class="hinline">—Also and likewise there are two kinds -of mahogany and these are (a) <i>Honduras mahogany</i> -and (b) <i>Spanish mahogany</i>.</p> - -<p>Honduras mahogany is the kind that cigar boxes are -made of and it is much softer and lighter in both -weight and color than Spanish mahogany. You can -make all manner of nice things of the better grades of -Honduras mahogany and, curiously enough, it stays -glued better than any other wood. It is nearly as -easy to work as pine and it takes a fine polish.</p> - -<p>Spanish mahogany is like Honduras mahogany in -name only. It is a fine, close-grained dark-red-brown -or yellow-brown colored wood, takes a very high polish -and makes the finest kind of furniture.</p> - -<h4 class="inline"><i>Oak.</i></h4> - -<p class="hinline">—This is a strong, beautiful wood and is useful -in making all kinds of furniture the design of which -should be plain.</p> - -<p>It is not an easy wood to work and tools when used -on it soon lose their cutting edges. But after you -have made a piece of furniture you can depend on it -that it will last to the end of time, nearly.</p> - -<h4 class="inline"><i>Birch.</i></h4> - -<p class="hinline">—This wood belongs to the oak family but -different from oak it is quite easy to work. It is light -in color, fine grained, so tough and elastic it cannot be -easily broken, and it takes a fine polish. For these -reasons it makes nice furniture and it is a very good -wood for turning.</p> - -<p>It is from the bark of the birch that the Indians<span class="pagenum" id="Page17">[17]</span> -made their canoes, but this is a story of the long ago -and we must stick to the present.</p> - -<h4 class="inline"><i>Walnut.</i></h4> - -<p class="hinline">—This is a good old English wood; it is -the finest kind of wood that can be used for ornamental -furniture, gun stocks and wherever else a beautiful -color and a showy grain are wanted. It is easier -to work than oak and is a fine wood for carving.</p> - -<h3 class="inline"><b>How to Make Joints.</b></h3> - -<p class="hinline">—The word <i>joint</i> in woodworking -means the place where two or more pieces of -wood are fitted together, and hence the words <i>joiner</i> -and <i>joinery</i> in woodworking parlance.</p> - -<table class="images" id="Fig3"> - -<colgroup> -<col span="4" class="w25pc"> -</colgroup> - -<tr> -<td colspan="2" class="image up"><img src="images/illo043a.jpg" alt=""></td> -<td colspan="2" class="image up"><img src="images/illo043b.jpg" alt=""></td> -</tr> - -<tr> -<td colspan="2" class="caption">A· <i>THE SQUARE OR BUTT JOINT</i> -<td colspan="2" class="caption">B· <i>THE PLAIN LAP JOINT</i> -</tr> - -<tr> -<td rowspan="2"> </td> -<td colspan="2" class="image highline2 top"><img src="images/illo043c.jpg" alt=""></td> -<td rowspan="2"> </td> -</tr> - -<tr> -<td colspan="2" class="caption highline2 bot">C· <i>THE BEVELED LAP JOINT</i> -</tr> - -<tr> -<td colspan="2" class="image"><img src="images/illo043d.jpg" alt=""></td> -<td colspan="2" class="image"><img src="images/illo043e.jpg" alt=""></td> -</tr> - -<tr> -<td colspan="2" class="caption">D· <i>THE REBATED JOINT</i> -<td colspan="2" class="caption">E· <i>THE TONGUE AND GROOVE JOINT</i> -</tr> - -</table> - -<p class="caption"><span class="smcap">Fig. 3. how edge joints are made</span></p> - -<p>There are two chief kinds of joints and these are, -(1) where two flat surfaces are fixed to each other, -and (2) where the edges of two boards meet to form -a corner. Though there are many ways to make both -kinds of joints I shall only tell you about half-a-dozen -which you will find the most useful for your needs.</p> - -<p><span class="pagenum" id="Page18">[18]</span></p> - -<h4 class="inline"><i>Edge Joints.</i></h4> - -<p class="hinline">—There are three easy ways to make -flat, or edge joints and these are (a) the <i>square</i>, or -<i>butt joint</i>; (b) the <i>lap-joint</i> and (c) the <i>matched -joint</i>, all of which are shown in <a href="#Fig3">Fig. 3</a>.</p> - -<p>In the square joint the edges of the boards are -simply <i>butted</i> together and nailed, screwed or glued. -This joint is very weak unless the abutting ends are -fastened to something else.</p> - -<p>In the simplest form of lap-joint the edge of one -board is laid on top of the other board and these are -nailed or otherwise fastened together. A neater lap -joint is made by cutting away half of the edge of -each end of the boards so that when they are fitted and -fixed together the surfaces of the boards at the joints -are even and smooth.</p> - -<p>A better joint than the lap-joint is made by planing -a <i>tongue</i> on the edge of one board and a groove in the -other. To do this easily, neatly and quickly you need -a <i>rabbet plane</i> and as this is quite a costly tool, you can -get along very well without it by using the lap-joints.</p> - -<h4 class="inline"><i>Corner Joints.</i></h4> - -<p class="hinline">—There are five corner joints which -you should know about and these are (a) the <i>butt</i>, or -<i>square joint</i>; (b) the <i>lap</i>, or <i>rebated joint</i>; (c) the -<i>mitered corner pieced joint</i>; (d) the <i>common dove-tail -box joint</i>, and (e) the <i>regular dove-tail joint</i>, pictures -of all of which are shown in <a href="#Fig4">Fig. 4</a>.</p> - -<p>Now when you can saw a board off straight, plane -it true and make a good joint you will have small -trouble in making anything in wood that you want to -make.</p> - -<p><span class="pagenum" id="Page19">[19]</span></p> - -<table class="images" id="Fig4"> - -<colgroup> -<col span="3" class="w33pc"> -</colgroup> - -<tr> -<td class="caption">A· <i>THE BUTT OR SQUARE JOINT</i></td> -<td class="caption">B· <i>THE REBATED JOINT</i><br></td> -<td class="caption">C· <i>THE MITERED CORNER PIECE JOINT</i></td> -</tr> - -<tr> -<td class="image up"><img src="images/illo045a.jpg" alt=""></td> -<td class="image up"><img src="images/illo045b.jpg" alt=""></td> -<td class="image up"><img src="images/illo045c.jpg" alt=""></td> -</tr> - -</table> - -<table class="images notop"> - -<colgroup> -<col span="2" class="w50pc"> -</colgroup> - -<tr> -<td class="caption">D· <i>THE SIMPLE BOX DOVETAIL</i></td> -<td class="caption">E· <i>A BETTER FORM OF DOVETAIL</i></td> -</tr> - -<tr> -<td class="image up"><img src="images/illo045d.jpg" alt=""></td> -<td class="image up"><img src="images/illo045e.jpg" alt=""></td> -</tr> - -</table> - -<p class="caption"><span class="smcap">Fig. 4. how corner joints are made</span></p> - -<h3 class="inline"><b>About Working Drawings.</b></h3> - -<p class="hinline">—When most boys—to -say nothing of the majority of men—start to make -something they simply knit their eyebrows (not high-brows) -and think out how it will look in the <i>concrete</i>—that -is when it is all done and ready to use.</p> - -<p>Then they go ahead and begin to saw up the lumber -and put the pieces together. The result is that when -the object is finished it looks very different from the -thing they so proudly pictured in their mind’s eye. -Now the right way to build what you want and have it -look as it ought to is to make a <i>working drawing</i> of it.</p> - -<p>To do this draw a picture of it to a <i>scale</i>, of say 1 -inch to the foot; that is, if it is to be 4 feet long<span class="pagenum" id="Page20">[20]</span> -draw it 4 inches long. The drawings I have made of -the <a href="#Fig5">work-bench</a> and the <a href="#Fig7A">tool box</a> which follow will -show you how to make simple working drawings and -the last part of Chapter III explains it all in detail, so -read it carefully.</p> - -<h3 class="inline"><b>Things for You to Make.</b></h3> - -<p class="hinline">—When you have your -workshop ready, your tools at hand, the foregoing -ideas of woods in your mind and know about simple -working drawings you can go ahead and make things -and your first job will probably be to make a bench.</p> - -<div class="container" id="Fig5"> - -<img src="images/illo046.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 5. an easily made work bench</span></p> - -</div><!--container--> - -<h4 class="inline"><i>How to Make a Work Bench.</i></h4> - -<p class="hinline">—Go to a lumber -yard or a planing mill and get one 2 × 2 <i>scantling</i> 12 -feet long for the legs, and two 2 × 2 scantlings for the -cross bars and the side bars; the middle cross bar can -be any kind of a thick piece of wood. If you can’t<span class="pagenum" id="Page21">[21]</span> -get 2 × 2 scantlings get 2 × 4’s and have whichever -size you get planed smooth on all sides.</p> - -<p>At the same time get three boards 1 or 2 inches -thick, 10 inches wide and 6 feet long for the top of -the bench and two boards 1 inch thick, 10 inches wide -and 4 feet long for the tool board. Saw the scantlings -up so that you will have four pieces for the legs 2 feet -9 inches long; four cross-bars 2 feet 6 inches long, -and two side bars 3 feet 6 inches long.</p> - -<p>Build up the frame of the bench first as shown in -<a href="#Fig5">Fig. 5</a>; then nail, or better, screw a cross-bar to the -middle of the 6 foot boards, lay them on top of the -frame and nail or screw them to the end cross bars. -When you have the bench thus far along put on the -<i>vise</i>.</p> - -<div class="container" id="Fig6"> - -<img src="images/illo047.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 6. a wood vise for your work bench</span></p> - -</div><!--container--> - -<p>A wood-worker’s vise as shown at A and B in <a href="#Fig6">Fig. -6</a> can be bought for $3.50 on up to about $9.00. The -jaws are about 4 inches wide and 12 inches long and -they open nearly 12 inches. All you have to do to fix -it to your bench is to screw the rear jaw to the front -left hand edge of the top of the bench as shown in -<a href="#Fig5">Fig. 5</a>.</p> - -<p><span class="pagenum" id="Page22">[22]</span></p> - -<p>The tool board is not an absolute necessity but it is -a great convenience. To make it saw off two boards -4 feet long, nail them together with a couple of strips -of wood—these are called <i>cleats</i>—and round off one -end as shown in <a href="#Fig5">Fig. 5</a>. Screw the tool board to the -back of the bench and you are all ready to make things -in wood.</p> - -<div class="container" id="Fig7A"> - -<img src="images/illo048.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 7a. a carpenter’s tool chest</span></p> - -</div><!--container--> - -<h4 class="inline"><i>How to Make a Tool Chest.</i></h4> - -<p class="hinline">—Either birch or -chestnut are good woods to make your tool chest of. -Make the box, that is the lower part of the chest, and -the lid for it of ³⁄₄ inch thick stuff; have the box 9 -inches high, 12 inches wide and 30 inches long and -have the lid 3 inches high, 12 inches wide and 30 -inches long. Screw the boards together as nails will -not hold tight enough. See <a href="#Fig7A">A Fig. 7</a>.</p> - -<p>Screw a strip of wood inside the chest for the tray -to rest on; put two or three hinges on the box and<span class="pagenum" id="Page23">[23]</span> -lid and be particular how you do it or the lid will -not fit evenly on the chest. Fasten a <i>staple</i> on front -of the box in the middle near the top and a <i>hasp</i> on -the cover so that you can put on a padlock, or better -you can put on a regular chest lock which is handier -and makes a neater looking job. To keep the lid from -falling back when you open it, screw a piece of chain -about 8 inches long to it and the box and this will -serve as a check.</p> - -<div class="container" id="Fig7B"> - -<img src="images/illo049.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 7b. the tray for your tool chest</span></p> - -</div><!--container--> - -<p>Finally make a tray of ¹⁄₂ or ⁵⁄₈ inch thick wood as -shown at <a href="#Fig7B">B in Fig. 7</a>. Make the ends 6 inches high -and 6 inches long and saw out the handle grips with -your keyhole saw. Make the sides and partitions 4¹⁄₂ -inches high and 28¹⁄₂ inches long, screw them together -and put on the bottom. By making the tray narrower -than the chest you can slide it back and forth and so -get such tools out of the bottom as you may need without -lifting the tray each time you do so.</p> - -<p><i>Note.</i>—You can buy any tool I have described in -this chapter of any hardware dealer or tool supply -company in your town or if one is not at hand Hammacher, -Schlemmer and Company, corner of Fourth -Avenue and 13th Street, New York City, will supply -you with just what you want.</p> - -<hr class="chap"> - -<div class="chapter"> - -<p><span class="pagenum" id="Page24">[24]</span></p> - -<h2 class="nobreak">CHAPTER II<br> -<span class="chaptitle">SCROLL SAWING, WOOD TURNING, -WOOD CARVING, ETC.</span></h2> - -</div><!--chapter--> - -<p>As you may have observed, it takes a pretty good -sized room for a shop and quite a lot of tools to do -carpenter work and cabinet making.</p> - -<p>Now if you find it hard to get these things don’t be -discouraged because there are other kinds of woodwork -that take neither a whole room nor a chest of -tools, and the chief ones of these are (1) <i>scroll sawing</i>; -(2) <i>wood turning</i>; (3) <i>wood carving</i> and (4) -<i>pyrography</i>.</p> - -<p>Not only are the pursuits of these trades pleasant -but they are profitable because whether the art objects -you make are useful or not the work trains your -mind, your eyes and your hands at one and the same -time and when you get these three factors working -harmoniously together you have achieved something -that will be valuable to you as long as you live.</p> - -<h3>All About Scroll Sawing</h3> - -<p>Scroll sawing, fret sawing and jig sawing all mean -precisely the same thing and that is sawing interlaced -and ornamental designs out of wood, or <i>fretwork</i> as it -is called.</p> - -<p><span class="pagenum" id="Page25">[25]</span></p> - -<p>With a scroll saw frame costing 50 cents and a few -thin boards you can saw out the most exquisite patterns -and make the most dainty articles imaginable. -There is more pleasure, of course, in using a regular -foot power scroll saw, but you can do just as good -work with a hand frame and though it takes a little -longer you’ll enjoy it immensely.</p> - -<h4 class="inline"><b>Scroll Sawing Outfits.</b></h4> - -<p class="hinline">—A scroll saw is a very -simple piece of apparatus and it consists of a fine saw -fixed in a frame, or otherwise supported, so that it -can be moved up and down, and it is narrow enough -to turn sharp curves.</p> - -<p>Now scroll saws, as I shall call them, are of three -kinds and these are (1) those worked by hand; (2) -those run by foot-power, and (3) those operated by -other kinds of power.</p> - -<div class="container w40emmax" id="Fig8"> - -<img src="images/illo051.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 8. a simple and cheap scroll sawing outfit</span></p> - -</div><!--container--> - -<h4 class="inline"><b>A Cheap Scroll Sawing Outfit.</b></h4> - -<p class="hinline">—The simplest -and cheapest scroll sawing outfit consists of (a) a -<i>scroll saw frame</i>; (b) a dozen <i>saw blades</i>, and (c) an -<i>awl</i>, all of which are shown in <a href="#Fig8">Fig. 8</a>. If it is your<span class="pagenum" id="Page26">[26]</span> -idea to saw out brackets and other fancy knickknacks -you ought to have a sheet of (d) <i>impression paper</i>,<a id="FNanchor9" href="#Footnote9" class="fnanchor">[9]</a> -(e) some <a href="#Ref02"><i>sheet designs</i></a>,<a id="FNanchor10" href="#Footnote10" class="fnanchor">[10]</a> -and (f) some <i>fancy -wood</i>.</p> - -<div class="footnote"> - -<p><a id="Footnote9" href="#FNanchor9" class="label"> [9]</a> This is ordinary -carbon paper such as is used for typewriting.</p> - -<p><a id="Footnote10" href="#FNanchor10" class="label">[10]</a> See <a href="#Ref01">Fancy Woods</a> -for Scroll Sawing in this chapter.</p> - -</div><!--footnote--> - -<p>The scroll saw frame is a bent iron or steel bar, -usually nickel-plated, which forms a frame about 5 -inches wide and 12 inches long. A handle is fitted -to one end and a clamp to each end so that the saw -blade can be held tight in the frame.</p> - -<h5 class="inline"><i>How to Use the Scroll Saw.</i></h5> - -<p class="hinline">—The first thing to do -is to put a saw blade in the frame and be sure to have -the points of the teeth <i>down</i>, that is toward the -handle.</p> - -<p>Next mark the design you intend to saw out on a -thin piece of wood<a id="FNanchor11" href="#Footnote11" class="fnanchor">[11]</a> planed nice and smooth on -both sides, hold it flat on the edge of the table with -your left hand, grip the saw handle with your right -hand and hold it so that the saw blade is vertical as -shown in <a href="#Fig9">Fig. 9</a>.</p> - -<div class="footnote"> - -<p><a id="Footnote11" href="#FNanchor11" class="label">[11]</a> Both can be bought of L. H. Wild, 171 Avenue A, New -York City.</p> - -</div><!--footnote--> - -<p>You are ready now to begin to saw out the design; -set the sawblade on the line, jig the saw frame up -and down and be careful to give it even and smooth -strokes. You will be surprised to find how easily it -works. When you are sawing turn the wood and -not the saw frame—the latter can be turned a little -sometimes to advantage—and hold it so that the back<span class="pagenum" id="Page27">[27]</span> -of the frame is always toward you and the blade -should move forward but very slightly.</p> - -<div class="container w40emmax" id="Fig9"> - -<img src="images/illo053.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 9. the right way to use a hand scroll saw</span></p> - -</div><!--container--> - -<p>When you want to saw a piece out of the inside -of the board, take your awl and make a hole in it -by giving it a twisting motion to prevent it from -splitting the wood. Now unscrew one of the clamps -of your saw frame and put the free end of the saw -through the hole, clamp it in the frame and start to -saw again.</p> - -<h4 class="inline"><b>A Few Other Helpful Things.</b></h4> - -<p class="hinline">—A <i>Hand Saw-Table</i>.—You -can saw out your designs much more -easily and neatly if you use a hand saw table as shown -in <a href="#Fig10">Fig. 10</a>. This is a board about 4 × 6 inches on the<span class="pagenum" id="Page28">[28]</span> -sides with a V sawed out of one end and a clamp -screwed to the bottom of it.</p> - -<div class="container" id="Fig10"> - -<img src="images/illo054.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 10. a hand scroll saw table</span></p> - -</div><!--container--> - -<p>This makes the end of the board project out from -the table it is clamped to, raises the wood you are -sawing from the surface of it and gives you a firm -grip on it. You can easily make a saw table or you -can buy one for 50 cents.<a id="FNanchor12" href="#Footnote12" class="fnanchor">[12]</a></p> - -<div class="footnote"> - -<p><a id="Footnote12" href="#FNanchor12" class="label">[12]</a> The Millers Falls Company, Millers Falls, Mass., makes -them and nearly all tool companies sell them.</p> - -</div><!--footnote--> - -<h5 class="inline"><i>Files for Scroll Work.</i></h5> - -<p class="hinline">—To do a really neat job -at scroll sawing you should have a set of scroll saw -files. These files are long and thin and are made -round, oval, knife edge, half round and three cornered -as shown at <a href="#Fig11">A in Fig. 11</a>.</p> - -<h5 class="inline"><i>A Twist Drill Stock.</i></h5> - -<p class="hinline">—A twist drill stock and a -drill, see <a href="#Fig11">B, Fig. 11</a>, is far better for making holes -in wood than an awl and as they only cost 50 cents -you should have one. You can make a hole in a ¹⁄₈ -inch thick board in the ¹⁄₁₀₀th part of a minute.</p> - -<h5 class="inline"><i>A Pair of Pliers.</i></h5> - -<p class="hinline">—A pair of flat-nose, side cutting -pliers is a very useful tool which will go a long way<span class="pagenum" id="Page29">[29]</span> -toward making your scroll sawing efforts a success. -A pair is shown at <a href="#Fig11">C in Fig. 11</a>.</p> - -<h5 class="inline"><i>A Small Hammer.</i></h5> - -<p class="hinline">—And finally get a small hammer -to drive brads with as pictured at <a href="#Fig11">D</a>.</p> - -<h5 class="inline"><i>Scroll Saw Blades.</i></h5> - -<p class="hinline">—There are two kinds made and -these are known as (1) <i>Star saw blades</i> and (2) <i>German -saw blades</i>.</p> - -<div class="container" id="Fig11"> - -<table class="images"> - -<tr> -<td> </td> -<td colspan="2" class="caption"><i>A TWIST DRILL STOCK</i></td> -<td> </td> -<td rowspan="4" class="image"><img src="images/illo055f.jpg" alt=""></td> -</tr> - -<tr> -<td class="image"><img src="images/illo055a.jpg" alt=""></td> -<td rowspan="2" colspan="2" class="image"><img src="images/illo055b.jpg" alt=""></td> -<td class="image"><img src="images/illo055e.jpg" alt=""></td> -</tr> - -<tr> -<td class="caption"><i>SCROLL SAWYER’S FILES</i></td> -<td class="caption"><i>SAW BLADES (HALF SIZE)</i></td> -</tr> - -<tr> -<td colspan="2" class="image"><img src="images/illo055c.jpg" alt=""></td> -<td colspan="2" class="image"><img src="images/illo055d.jpg" alt=""></td> -</tr> - -<tr> -<td colspan="2" class="caption"><i>FLAT NOSE, SIDE CUTTING PLIERS</i></td> -<td colspan="2" class="caption"><i>A SMALL HAMMER</i></td> -<td class="caption"><i>THE TEETH OF A SAW ARE PLACED WIDE APART TO CUT CLEAN</i></td> -</tr> - -</table> - -<p class="caption"><span class="smcap">Fig. 11. some necessary scroll sawing tools</span></p> - -</div><!--continer--> - -<p>As one is as good as the other by all means buy -Star blades. The sizes from 1 to 10 are shown at -<a href="#Fig11">E in Fig. 11</a>, but three smaller and two larger sizes -are made. The smaller sizes cost 10 cents a dozen -and the larger sizes 15 cents a dozen. The spacing -of the teeth on the blade is shown at <a href="#Fig11">F</a>.</p> - -<h4 class="inline"><b>How to Trace a Design on Wood.</b></h4> - -<p class="hinline">—You can -draw your own designs or buy them printed ready to -use. In either case you must transfer the design to -the surface of the wood you are going to saw.</p> - -<p><span class="pagenum" id="Page30">[30]</span></p> - -<p>To do this lay a sheet of <i>carbon paper</i> as typists -call it, or <i>impression paper</i> as jig sawyers call it, with -the prepared side next to the wood; lay the design -sheet on top of it; and fasten the corners of the sheets -to the wood with glue, or, better, with <i>thumb -tacks</i>.<a id="FNanchor13" href="#Footnote13" class="fnanchor">[13]</a></p> - -<div class="footnote"> - -<p><a id="Footnote13" href="#FNanchor13" class="label">[13]</a> -Thumb tacks are short, flat headed tacks used by draughtsmen.</p> - -</div><!--footnote--> - -<p>Now take a sharp, hard lead pencil or a piece of -pointed bone and trace the outline of the design. -When you have it all done you will find that the design -is plainly marked in black lines on the wood—that -is except where you forgot to trace it.</p> - -<h4 class="inline" id="Ref02"><b>Designs for Scroll Sawing.</b></h4> - -<p class="hinline">—Designs in great -variety can be bought of H. L. Wild, Publisher, 171 -Avenue A, New York City. Besides glove boxes, -handkerchief boxes, bird cages, clock cases, thread -and thimble stands, photo frames and a thousand and -one other pretty and useful articles you can get patterns -for doll furniture, alphabets and mechanical designs -like the horizontal engine shown at <a href="#Fig12A">A in Fig. -12</a> and the fire engine shown at <a href="#Fig12B">B</a>.</p> - -<h4 class="inline"><b>Foot-Power Scroll Saws.</b></h4> - -<p class="hinline">—There are several -makes of foot-power scroll saws on the market and the -prices of these range from $4.50 to $25.</p> - -<h5 class="inline"><i>The Cricket Scroll Saw.</i></h5> - -<p class="hinline">—This is the cheapest foot-power -scroll saw that you can buy and is the one that -sells for $4.50. It has a <i>table</i> that tilts which permits -you to saw your work on a <i>bevel</i>—that is on a slant—so -that you can <i>inlay</i> it with some other kind of -wood or metal.</p> - -<p><span class="pagenum" id="Page31">[31]</span></p> - -<div class="container"> - -<img src="images/illo057a.jpg" alt="" id="Fig12A"> - -<p class="caption"><b>A</b>—<i>A HORIZONTAL STEAM ENGINE</i></p> - -<img src="images/illo057b.jpg" alt="" id="Fig12B"> - -<p class="caption"><b>B</b>—<i>A FIRE ENGINE</i></p> - -</div><!--container--> - -<p class="caption"><span class="smcap">Fig. 12. mechanical masterpieces made with a scroll saw</span></p> - -<p><span class="pagenum" id="Page32">[32]</span></p> - -<p>This little machine weighs 17 pounds and is 33 -inches high; it is made of lighter castings than the -machines which follow but it will do just about as -good work as the higher priced ones. <a href="#Fig13">Fig. 13</a> shows -what it looks like.</p> - -<div class="container w35emmax" id="Fig13"> - -<img src="images/illo058.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 13. the cheapest foot-power scroll saw made</span></p> - -</div><!--container--> - -<h5 class="inline"><i>The Lester Scroll Saw.</i></h5> - -<p class="hinline">—This is a well made saw, -has a cast iron frame and the <i>arms</i> of the saw frame -and the <i>pitman</i>—that is, the rod which connects the -crank wheel with the frame—are of ash.</p> - -<p>The Lester has several very handy attachments and<span class="pagenum" id="Page33">[33]</span> -these are (a) an <i>automatic dust blower</i>, which blows -the sawdust away from the line you are sawing on; -(b) an <i>adjustable lever saw clamp</i> with a hinged jaw -which prevents the saw blades from breaking; and -(c) a <i>drilling attachment</i>.</p> - -<div class="container w30emmax" id="Fig14"> - -<img src="images/illo059.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 14. the lester scroll saw with turning lathe -attachment</span></p> - -</div><!--container--> - -<p>This saw, which is shown in <a href="#Fig14">Fig. 14</a>, costs $10.00, -is 35 inches high and weighs in the neighborhood of -30 pounds. The lathe attachment costs $2.00 extra.</p> - -<h5 class="inline"><i>The Fleetwood Scroll Saw.</i></h5> - -<p class="hinline">—This is the best and -consequently the most expensive foot power scroll<span class="pagenum" id="Page34">[34]</span> -saw made. It has a swing of nearly 16 inches. It -is fitted with a tilting table, a vertical drill and a -blowing attachment. A scroll saw of this kind with -a plain stand can be bought for $21.00, or one with a -fancy stand, see <a href="#Fig15">Fig. 15</a>, can be had for $25.00.</p> - -<div class="container w30emmax" id="Fig15"> - -<img src="images/illo060.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 15. the fleetwood scroll saw</span></p> - -</div><!--container--> - -<h4 class="inline"><b>How a Foot-Power Scroll Saw Works.</b></h4> - -<p class="hinline">—If you -will look again at Figs. 13 and 14 you will see that the -scroll saws shown have saw frames very like a hand -saw frame. The lower part of the frame is connected -with a crank on the end of a spindle, which has -a small grooved wheel fixed to it, by a pitman or rod<span class="pagenum" id="Page35">[35]</span> -and the treadle is connected with the large drive -wheel by another pitman; finally the drive wheel is -belted to the small grooved wheel.</p> - -<p>Now when you work the treadle with your foot it -produces a <i>reciprocating motion</i> and this is changed -by the pitman into <i>rotary motion</i> which it imparts to -the drive wheel. Since the grooved, or driven, wheel is -smaller than the drive wheel it revolves faster and this -gives the pitman connected with it a very rapid -rotary motion on one end but as it is pivoted to the -frame which in turn is pivoted at the rear end it is -changed into an up and down or reciprocating motion -exactly like the treadle but many times faster.</p> - -<p>The Fleetwood works a little differently, in that instead -of a frame the pitman is connected with a metal -block that slides in a guide. The lower end of the -saw is fastened to the upper end of this sliding block -and the top of the saw blade is fixed to the end of a -long, curved spring whose elasticity tends to make it -fly up.</p> - -<p>This action keeps the saw blade always taut and -pulls it up except when the pitman pulls the block down -and the saw with it. This is the principle on which -large power jig saws used in shops are worked.</p> - -<h4 class="inline"><b>How to Saw on a Foot-Power Scroll Saw.</b></h4> - -<p class="hinline">—Lay -the board you are going to saw flat on the table of the -machine and put your finger tips of both hands on top -of the board; when possible keep one hand on one -side of the saw and the other hand on the opposite -side of it.</p> - -<p><span class="pagenum" id="Page36">[36]</span></p> - -<p>Press down hard enough on the work to keep it -on the table against the up strokes of the saw; as the -top of the table is polished it is easy to slide the work -around and keep the saw on the line. Run the saw at -an even speed and do not feed the wood against the -blade too fast.</p> - -<h4 id="Ref01">TABLE OF SCROLL SAW WOODS</h4> - -<table class="standard"> - -<colgroup> -<col class="wauto"> -<col span="3" class="w035em"> -</colgroup> - -<tr> -<th class="left"><i>Name</i></th> -<th colspan="3"><i>Price per foot</i><br> -<i>planed to a thickness of</i></th> -</tr> - -<tr> -<th> </th> -<th><i>¹⁄₁₆ to<br>¹⁄₈ in.</i></th> -<th><i>³⁄₁₆ in.</i></th> -<th><i>¹⁄₄ in.</i></th> -</tr> - -<tr> -<td class="text">Poplar, or White Wood or Bass</td> -<td class="numbers">$0.07</td> -<td class="numbers">$0.08</td> -<td class="numbers">$0.09</td> -</tr> - -<tr> -<td class="text">Spanish Cedar</td> -<td class="numbers">.10</td> -<td class="numbers">.12</td> -<td class="numbers">.14</td> -</tr> - -<tr> -<td class="text">White Maple</td> -<td class="numbers">.10</td> -<td class="numbers">.12</td> -<td class="numbers">.15</td> -</tr> - -<tr> -<td class="text">Sycamore</td> -<td class="numbers">.11</td> -<td class="numbers">.13</td> -<td class="numbers">.15</td> -</tr> - -<tr> -<td class="text">Hazel Wood</td> -<td class="numbers">.11</td> -<td class="numbers">.13</td> -<td class="numbers">.15</td> -</tr> - -<tr> -<td class="text">Oak or White Ash</td> -<td class="numbers">.11</td> -<td class="numbers">.13</td> -<td class="numbers">.15</td> -</tr> - -<tr> -<td class="text">White Holly</td> -<td class="numbers">.12</td> -<td class="numbers">.14</td> -<td class="numbers">.16</td> -</tr> - -<tr> -<td class="text">Black Walnut</td> -<td class="numbers">.14</td> -<td class="numbers">.16</td> -<td class="numbers">.18</td> -</tr> - -<tr> -<td class="text">Bird’s Eye Maple</td> -<td class="numbers">.14</td> -<td class="numbers">.16</td> -<td class="numbers">.18</td> -</tr> - -<tr> -<td class="text">Mahogany</td> -<td class="numbers">.14</td> -<td class="numbers">.16</td> -<td class="numbers">.18</td> -</tr> - -<tr> -<td class="text">Cocobola</td> -<td class="numbers">.20</td> -<td class="numbers">.25</td> -<td class="numbers">.30</td> -</tr> - -<tr> -<td class="text">Amaranth</td> -<td class="numbers">.20</td> -<td class="numbers">.25</td> -<td class="numbers">.30</td> -</tr> - -<tr> -<td class="text">Rosewood</td> -<td class="numbers">.25</td> -<td class="numbers">.30</td> -<td class="numbers">.40</td> -</tr> - -<tr> -<td class="text">Satin Wood</td> -<td class="numbers">.30</td> -<td class="numbers">.35</td> -<td class="numbers">.40</td> -</tr> - -<tr> -<td class="text">Tulip</td> -<td class="numbers">.50</td> -<td class="numbers">.60</td> -<td class="numbers">.75</td> -</tr> - -<tr> -<td class="text">Real Ebony</td> -<td class="numbers">.50</td> -<td class="numbers">.50</td> -<td class="numbers">.50</td> -</tr> - -</table> - -<p class="blankafter75">These woods can be bought of H. L. Wild, 171 Avenue -A, New York City, or of J. Gabriel and Company, 672 -Grand Street, Brooklyn, N. Y.</p> - -<h4 class="inline"><b>Fancy Woods for Scroll Saw Work.</b></h4> - -<p class="hinline">—Fancy<span class="pagenum" id="Page37">[37]</span> -woods that are planed on both sides for scroll sawing -can be bought in thicknesses of ¹⁄₁₆, ¹⁄₈, ³⁄₁₆ and ¹⁄₄ inch. -Wood that is ¹⁄₈ inch thick is the best to use for all -ordinary work.</p> - -<p>The foregoing <a href="#Ref01">list</a> gives the name, thickness and -price of the chief common and fancy woods that are -good for scroll sawing.</p> - -<h4 class="inline"><b>Trimmings for Boxes, Etc.</b></h4> - -<p class="hinline">—Brass hinges, knobs, -screws, drawer pulls, box hooks, French screws and -wire nails, that is brads, catches, metal legs, small -locks, escutcheons, turned moldings, etc., can be -bought of the above dealers who specialize in scroll -sawyer’s materials.</p> - -<h3>Turning in Wood</h3> - -<p>And now we come to another and highly fascinating -kind of wood-work and this is to spin a stick -of wood in a lathe and shape it with a chisel or gouge, -or <i>wood turning</i> as it is called.</p> - -<p>While the outfit you need to turn wood with costs -more than for scroll sawing you will never forget the -pleasure of rounding up of a bit of wood into a shapely -form, no, not if you were to live a thousand years.</p> - -<h4 class="inline"><b>Get a Lathe First.</b></h4> - -<p class="hinline">—It is far better to buy a lathe -than to try to make one, that is if you expect to turn -anything on it, for in the first place it is hard to get -the things to make one with and in the second you can -buy one for very little money.</p> - -<h5 class="inline"><i>How a Lathe is Made.</i></h5> - -<p class="hinline">—A wood turning lathe consists<span class="pagenum" id="Page38">[38]</span> -of four principal parts, and these are (1) the -<i>headstock</i>; (2) the <i>rest</i>; (3) the <i>tailstock</i>; (4) the -<i>bed</i> and (5) the <i>stand</i>, the first three parts of which -are shown in <a href="#Fig16">Fig. 16</a>.</p> - -<div class="container" id="Fig16"> - -<img src="images/illo064.jpg" alt=""> - -<table class="images notop w100pc"> - -<colgroup> -<col class="w45pc"> -<col class="w20pc"> -<col class="wauto"> -</colgroup> - -<tr> -<td class="caption rght"><span class="padr12pc"><i>SPUR</i></span></td> -<td colspan="2"> </td> -</tr> - -<tr> -<td class="caption"><i>HEAD STOCK</i></td> -<td class="caption"><i>REST</i></td> -<td class="caption"><span class="padl20pc"><i>TAIL STOCK</i></span></td> -</tr> - -</table> - -<p class="caption"><span class="smcap">Fig. 16. the chief parts of a turning lathe</span></p> - -</div><!--container--> - -<p>The head stock is fixed to the bed of the stand; it -is formed of a <i>cone pulley</i> mounted on a spindle in a -frame. A <i>spur center</i> is screwed to the spindle and -this holds the wood tightly in place while it is being -turned. The rest, which is adjustable, is used to lay -your turning tool on and so keep it in position. A -long and short rest usually go with the better lathes.</p> - -<p>The tailstock has two adjustments, the first of which -allows it to be slipped back and forth on the bed and -clamped at any point which gives a rough adjustment, -and the second is a spindle which is threaded on one -end and has a <i>taper center</i>, that is a sharp point on -the other end. This allows the piece of wood which -is to be turned to be set between the spur center of -the headstock and the taper center of the tailstock.</p> - -<p>These parts rest on the bed of the lathe and this in<span class="pagenum" id="Page39">[39]</span> -turn is mounted on a stand. The stand is fitted with -a drive wheel and this is driven by a treadle with which -it is connected by a pitman exactly like a foot-power -scroll saw.</p> - -<div class="container w35emmax" id="Fig17"> - -<img src="images/illo065.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 17. the cheapest wood turning lathe made</span></p> - -</div><!--container--> - -<h4 class="inline"><b>The Cheapest Lathe You Can Buy.</b></h4> - -<p class="hinline">—The cheapest -lathe you buy is called the <i>Companion</i>; it is made<span class="pagenum" id="Page40">[40]</span> -by the Millers Falls Company, Millers Falls, N. Y., -and it costs $10.50. It has a long and a short rest, -three turning tools and a 2 inch face plate and spur -center. When you get it uncrate it, set it up, oil it -well and you are ready to do some turning. The lathe -is shown complete in <a href="#Fig17">Fig. 17</a>.</p> - -<h5 class="inline"><i>Attachments for the Companion Lathe.</i></h5> - -<p class="hinline">—This lathe -is fitted with a 4 inch emery wheel without extra -charge. A very useful attachment is a circular saw -3 inches in diameter and a saw table 6 × 7 inches with -a straight edge guide; it costs $1.25 extra. A scroll -saw attachment that can be clamped on the lathe bed -may be bought for $3.00 extra. Both of these attachments -are shown in <a href="#Fig17">Fig. 17</a>. Of course better -and larger lathes can be had for more money.</p> - -<h4 class="inline"><b>Turning Tools for Wood.</b></h4> - -<p class="hinline">—The tools used for -turning wood<a id="FNanchor14" href="#Footnote14" class="fnanchor">[14]</a> are simply chisels and gouges. The -chisels are made with four kinds of points, namely, -(1) <i>skew point</i>; (2) <i>round point</i>; (3) <i>square point</i>, -and (4) <i>spear point</i>, and these are shown in <a href="#Fig18">Fig. 18</a>. -These chisels can be bought in all sizes from ¹⁄₄ inch -to 1 inch wide.</p> - -<div class="footnote"> - -<p><a id="Footnote14" href="#FNanchor14" class="label">[14]</a> Buck Bros.’ turning tools for wood are counted best.</p> - -</div><!--footnote--> - -<p>Gouges also come in sizes from ¹⁄₄ inch up to 1 inch, -and a <i>parting tool</i>, which is used to cut off a turned -piece and which is simply a V shaped chisel, can be had -in ¹⁄₂, ⁵⁄₈ and ³⁄₄ inch sizes. These turning tools are -also shown in <a href="#Fig18">Fig. 18</a>. You can buy them fitted with -applewood handles and sharpened ready for use for -about 50 cents apiece. You can buy them of hardware<span class="pagenum" id="Page41">[41]</span> -dealers or of Hammacher, Schlemmer and Co., -Fourth Ave. and 13th Street, New York.</p> - -<div class="container w40emmax" id="Fig18"> - -<table class="images"> - -<tr> -<td colspan="3" class="image"><img src="images/illo067a.jpg" alt=""> -</tr> - -<tr> -<td colspan="3" class="caption"><i>SKEW POINT</i></td> -</tr> - -<tr> -<td colspan="3" class="image"><img src="images/illo067b.jpg" alt=""> -</tr> - -<tr> -<td class="caption"><i>ROUND POINT</i></td> -<td class="caption"><i>SQUARE POINT</i></td> -<td class="caption"><i>SPEAR POINT</i></td> -</tr> - -<tr> -<td colspan="3" class="image"><img src="images/illo067c.jpg" alt=""> -</tr> - -<tr> -<td colspan="3" class="caption"><i>THE GOUGE</i></td> -</tr> - -<tr> -<td colspan="3" class="image"><img src="images/illo067d.jpg" alt=""> -</tr> - -<tr> -<td colspan="3" class="caption"><i>THE PARTING TOOL</i></td> -</tr> - -</table> - -<p class="caption"><span class="smcap">Fig. 18. a set of wood turning tools</span></p> - -</div><!--container--> - -<h4 class="inline"><b>How to Turn Wood.</b></h4> - -<p class="hinline">—Before you can turn out a -really good job on a lathe you must practice awhile. -A good thing to try your hand on is to make some tool -handles. The size of these will, of course, depend -on what you intend to use them for.</p> - -<p>Take a stick of wood, round or square, it doesn’t -in the least matter, a couple of inches longer and a -trifle larger than the largest diameter that the handle -is to be and drive one end against the spurs of the -face plate as shown in <a href="#Fig19">Fig. 19</a>.</p> - -<p>This done screw up the feed of the tailstock until -the back-center is forced into the end of the wood<span class="pagenum" id="Page42">[42]</span> -about ¹⁄₈ of an inch; clamp the rest so that it comes to -within ¹⁄₄ an inch of the wood you are going to turn -and you are ready for work.</p> - -<div class="container" id="Fig19"> - -<img src="images/illo068a.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 19. putting the rough wood in the lathe</span></p> - -</div><!--container--> - -<p>Now put your foot on the treadle and work it up -and down; very soon the speed of the drive wheel will -carry it round smoothly and it will deliver considerable -power to the pulley of the headstock. If the drive -wheel is 5 times as large as the pulley and you treadle -the drive wheel 100 times every minute, the stick of -wood which you want to turn will revolve 500 times a -minute.</p> - -<div class="container w45emmax" id="Fig20"> - -<img src="images/illo068b.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 20. the right way to hold a wood working tool</span></p> - -</div><!--container--> - -<p><span class="pagenum" id="Page43">[43]</span></p> - -<p>When you have the wood rotating at about this -speed grip the handle of it firmly with your right -hand, lay the back of the chisel on the rest and press -down on the blade with your left hand as shown in -<a href="#Fig20">Fig. 20</a>. Of course the top edge of the wood is turning -toward you.</p> - -<p>Whatever you do when you are roughing down a -stick of wood don’t try to take off too large a cut. -Go at it very gently with the point of your chisel and -as it begins to cut you can swing the tool around so -that the whole width of the blade is cutting.</p> - - -<p><i>Gouges</i> are used in the same way as chisels and with -them you can turn out hollow parts. A <i>parting tool</i> -is used for cutting off the ends of the wood after you -have finished turning it.</p> - -<div class="container w45emmax" id="Fig21"> - -<table class="images"> - -<colgroup> -<col class="w25pc"> -<col class="w40pc"> -<col class="wauto"> -</colgroup> - -<tr> -<td> </td> -<td colspan="2" class="image"><img src="images/illo069a.jpg" alt=""> -</tr> - -<tr> -<td colspan="2" class="image"><img src="images/illo069b.jpg" alt=""> -<td class="caption rght up"><i>SIZING WITH A PAIR<br> -OF CALIPERS</i></td> -</tr> - -<tr> -<td class="caption"><i>A REGULAR<br> -SIZING TOOL</i></td> -<td colspan="2"> </td> -</tr> - -</table> - -<p class="caption"><span class="smcap">Fig. 21. sizing the turned work</span></p> - -</div><!--container--> - -<p>When you want to turn a piece of wood down to a -given size you can do so by testing it with a pair of calipers,<span class="pagenum" id="Page44">[44]</span> -as shown in <a href="#Fig21">Fig. 21</a>, or you can size it with a -regular sizing tool. To size the work measure off the -distance between the points of the calipers with a -rule for whatever thickness you want the turned part; -then as you turn the wood you can try it from time -to time until the wood will just slip through between -the points.</p> - -<h3>The Art of Wood Carving</h3> - -<p>Carving is by all odds the hardest of all woodworking -processes to learn and yet there are some -simple forms of it that are at once easy to do and -pretty to look at. While carving is an art in itself -it can be used with fine effect in combination with -some kinds of scroll sawed and turned work.</p> - -<h4 class="inline"><b>Your Set of Carving Tools.</b></h4> - -<p class="hinline">—To begin with you -can get along very well with a set of six carving tools. -A set of this number is made up of a ³⁄₈ inch, a ¹⁄₄ -inch, a ¹⁄₂ inch and a ⁵⁄₁₆ inch <i>straight shank</i> carving -tools and two of these are <i>chisels</i> and four are <i>gouges</i>, -so you see that they are just about the same as carpenters’ -and turners’ chisels and gouges. Such a set -of tools costs about $3.00.</p> - -<p>A better set contains a dozen carving tools and this -includes the above tools as well as a couple of <i>bent -fluting gouges</i>, with ¹⁄₈ and ¹⁄₄ inch <i>sweeps</i>, a couple -of <i>front bent tools</i>, a <i>straight parting tool</i>, and a <i>veining -tool</i>, all of which is shown at <a href="#Fig22">A in Fig. 22</a>; the -sweeps, as the curved cutting edges are called, are -shown at <a href="#Fig22">B</a>.</p> - -<p><span class="pagenum" id="Page45">[45]</span></p> - -<p>The <i>tangs</i> of these tools, that is the sharp ends -which fit into the handles, have shoulders on them -to prevent the handles from creeping and splitting. -The best carving tools on the market are those made -by S. J. Addis of London, and you can’t go wrong if -you buy them.</p> - -<div class="container w40emmax" id="Fig22"> - -<table class="images"> - -<colgroup> -<col class="w45pc"> -<col class="wauto"> -<col class="w45pc"> -</colgroup> - -<tr> -<td class="image"><img src="images/illo071a.jpg" alt=""></td> -<td rowspan="10" class="caption mid"><b>A</b></td> -<td class="image"><img src="images/illo071b.jpg" alt=""></td> -</tr> - -<tr> -<td class="caption"><i>STRAIGHT CHISEL</i></td> -<td class="caption"><i>SHORT BEND GOUGE</i></td> -</tr> - -<tr> -<td class="image"><img src="images/illo071c.jpg" alt=""></td> -<td class="image"><img src="images/illo071d.jpg" alt=""></td> -</tr> - -<tr> -<td class="caption"><i>SKEW CHISEL</i></td> -<td class="caption"><i>STRAIGHT PARTING TOOL</i></td> -</tr> - -<tr> -<td class="image"><img src="images/illo071e.jpg" alt=""></td> -<td class="image"><img src="images/illo071f.jpg" alt=""></td> -</tr> - -<tr> -<td class="caption"><i>STRAIGHT GOUGE</i></td> -<td class="caption"><i>LONG BEND GOUGE</i></td> -</tr> - -<tr> -<td class="image"><img src="images/illo071g.jpg" alt=""></td> -<td class="image"><img src="images/illo071h.jpg" alt=""></td> -</tr> - -<tr> -<td class="caption"><i>FLUTING GOUGE</i></td> -<td class="caption"><i>FRONT BEND GOUGE</i></td> -</tr> - -<tr> -<td class="image"><img src="images/illo071i.jpg" alt=""></td> -<td class="image"><img src="images/illo071j.jpg" alt=""></td> -</tr> - -<tr> -<td> </td> -<td class="caption"><i>VEINING TOOL</i></td> -</tr> - -<tr> -<td class="image"><img src="images/illo071k.jpg" alt=""></td> -<td rowspan="2" colspan="2"> </td> -</tr> - -<tr> -<td class="caption"><i>BENT FILE</i></td> -</tr> - -<tr> -<td class="image"><img src="images/illo071l.jpg" alt=""></td> -<td rowspan="3"> </td> -<td class="image bot"><img src="images/illo071m.jpg" alt=""></td> -</tr> - -<tr> -<td class="caption"><b>B</b></td> -<td class="caption"><b>C</b></td> -</tr> - -<tr> -<td class="caption"><i>SWEEPS OF WOOD CARVING TOOLS</i></td> -<td class="caption"><i>CARVER’S MALLET</i></td> -</tr> - -</table> - -<p class="caption"><span class="smcap">Fig. 22. kinds and sweeps of carving tools</span></p> - -</div><!--container--> - -<p>Carving tools as they come from the makers are -sharpened but not <i>honed</i>, that is the tools are ground -sharp, but the <i>inside bevel</i> of the tools must be rubbed -up with an oil stone slip and most wood carvers like -to do this themselves.</p> - -<p>When you buy a set of carving tools you also want<span class="pagenum" id="Page46">[46]</span> -to get a carver’s mallet made of <i>lignum-vitæ</i><a id="FNanchor15" href="#Footnote15" class="fnanchor">[15]</a> with a -face 2¹⁄₂ inches in diameter and, as you will see in <a href="#Fig22">Fig. -22</a>, its shape is quite different from the ordinary kinds. -Also get a <i>Washita oil stone</i>, and an <i>Arkansas carving -tool slip</i>, which is a small wedge-shaped oil-stone.</p> - -<div class="footnote"> - -<p><a id="Footnote15" href="#FNanchor15" class="label">[15]</a> <i>Lignum-vitæ</i> is a greenish-brown wood and is very hard -and heavy. It grows in tropical America.</p> - -</div><!--footnote--> - -<div class="container" id="Fig23"> - -<img src="images/illo072a.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 23. markers for stamping in backgrounds</span></p> - -</div><!--container--> - -<p>Two or more <i>markers</i>, which are stamps made of -tool steel, are very useful for stamping in background -work. A number of different designs are shown in -<a href="#Fig23">Fig. 23</a> and they cost about a quarter apiece.</p> - -<div class="container" id="Fig24"> - -<table class="images"> - -<colgroup> -<col class="w20pc"> -<col class="w50pc"> -<col class="wauto"> -</colgroup> - -<tr> -<td colspan="3" class="image"><img src="images/illo072b.jpg" alt=""></td> -</tr> - -<tr> -<td class="caption"><i>A SNIB</i></td> -<td class="caption"><i>A HAND CLAMP</i></td> -<td class="caption"><i>A CARVER’S VISE</i></td> -</tr> - -</table> - -<p class="caption"><span class="smcap">Fig. 24. schemes for holding work when carving</span></p> - -</div><!--container--> - -<p>To hold the work while you are carving it you can -make two or more <i>snibs</i> as shown at <a href="#Fig24">A in Fig. 24</a>.<span class="pagenum" id="Page47">[47]</span> -These little clamps are sawed out pieces of wood with -an ordinary wood screw through the thick end, and -when you want to carve a flat piece of work clip it with -a couple of snibs and screw the latter to your bench. -A better scheme is to use a couple of hand screws as -shown at <a href="#Fig24">B</a>. For carving in relief you will need a -wood-carver’s vise as shown at <a href="#Fig24">C</a>.</p> - -<h4 class="inline"><b>The Best Woods for Carving.</b></h4> - -<p class="hinline">—A wood that is -suitable for carving must be tough, even grained and -free from knots. For a beginner, and I guess you are -one, <i>yellow pine</i> is a good wood to practice on as it -is soft and easy to work but you must be careful not -to splinter it along the grain.</p> - -<p>Oak is much tougher but it is a fine wood for carving -and you will not need to take the care to prevent -splintering as with pine. Black walnut and mahogany -are beautiful woods and are nice to carve, while for -finer work apple, pear, sycamore and California redwood -are largely used.</p> - -<h4 class="inline"><b>Kinds of Wood Carving.</b></h4> - -<p class="hinline">—There are three kinds -of wood carving in general and these are (1) <i>chip</i>, or -surface carving, (2) <i>panel</i> or relief carving, and (3) -<i>figure</i> carving, as shown in <a href="#Fig25">Fig. 25</a>.</p> - -<p>When you cut your initials in the top of your desk -at school you made a primitive attempt at what is -called chip carving. Most likely you got the birch -for it but it was only the savage instinct for decorative -art that was trying to find expression in you, and so -it’s not your fault. (But don’t do it again.) Any -kind of carving on a flat surface is called chip carving,<span class="pagenum" id="Page48">[48]</span> -and some of it is very beautiful. It is shown -at <a href="#Fig25">A</a>.</p> - -<div class="container w50emmax" id="Fig25"> - -<table class="images"> - -<colgroup> -<col span="4" class="w25pc"> -</colgroup> - -<tr> -<td colspan="2" class="image"><img src="images/illo074a.jpg" alt=""></td> -<td colspan="2" class="image"><img src="images/illo074b.jpg" alt=""></td> -</tr> - -<tr> -<td colspan="2" class="caption"><b>A</b>—<i>PLAIN PANEL</i></td> -<td colspan="2" class="caption"><b>B</b>—<i>FANCY PANEL</i></td> -</tr> - -<tr> -<td rowspan="2"> </td> -<td colspan="2" class="image"><img src="images/illo074c.jpg" alt=""></td> -<td rowspan="2"> </td> -</tr> - -<tr> -<td colspan="2" class="caption"><b>C</b>—<i>FIGURE CARVING</i></td> -</tr> - -</table> - -<p class="caption"><span class="smcap">Fig. 25. kinds of carving</span></p> - -</div><!--container--> - -<p>Panel carving is done on flat pieces of wood also -but the design is made by cutting out or <i>sinking</i> the -ground, as shown at <a href="#Fig25">B</a>. Sometimes when it is desirable -to make some part stand out in relief above the -surface it is carved out of a separate piece of wood -and <i>planted on</i>, that is glued on.</p> - -<p>To carve a lily of the valley or a deer’s head out of<span class="pagenum" id="Page49">[49]</span> -a solid block of wood is not as easy as the other kinds -of carving, but if you have a natural aptitude for -using tools and an eye for art you can succeed as well -as the next one.</p> - -<div class="container w30emmax" id="Fig25D"> - -<img src="images/illo075.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 25d. a carved watch case holder</span></p> - -</div><!--container--> - -<h5 class="inline"><i>Chip Carving.</i></h5> - -<p class="hinline">—You will need only three tools for -chip carving and these are (1) a ¹⁄₄ inch chisel; (2) -a parting tool and (3) a veining tool.</p> - -<p>The first thing is to get the design you want to -carve on the board. To do this you can either<span class="pagenum" id="Page50">[50]</span> -draw the design directly on the board, or, better, lay -a sheet of impression paper on the board and then -the design you want to transfer on top of it and trace -it with a lead pencil.</p> - -<p>Screw the board to your bench with two or more -snibs and you are ready for work. Carve out the -heavier lines with the parting tool and the lighter -lines with the veining tool. Use the chisel to cut -the corners sharp and make the lines clean and even. -In chip carving <i>grounds</i> are never put in.</p> - -<h5 class="inline"><i>Panel Carving.</i></h5> - -<p class="hinline">—In this kind of carving leaves, -berries, scrolls and the like are carved out of the surface -of the board and as the ground is sunk these objects -stand out in relief.</p> - -<p>Begin by drawing, or transferring, the pattern to -the board as before; then cut it out with gouges and -chisels as shown at <a href="#Fig25">A</a> and finally use the veining tool -for the radiating lines. The head can be carved out -of a separate piece of wood glued to the ground, or -<i>planted</i> on as it is called. The work can be oiled -and polished but never varnish it. It is shown finished -at <a href="#Fig25">C</a>.</p> - -<p>To make a watch case holder like the one shown -at <a href="#Fig25D">D</a> saw out a piece of walnut, or other wood, ¹⁄₄ -inch thick and draw on the design.</p> - -<p>Carve the cross and lower part of the case by -chipping it; carve the leaves in relief and put in the -veins with the veining tool. Now saw out another -piece for the pocket 1 inch thick and carve out the<span class="pagenum" id="Page51">[51]</span> -front and the back to the shape shown at <a href="#Fig25D">D</a> so that it -is only ¹⁄₈ inch thick when finished and glue it to the -other part when you will have a watch case holder of -the vintage of 1875.</p> - -<h5 class="inline"><i>Carving in Solid Wood.</i></h5> - -<p class="hinline">—This ranges all the way -from carving simple leaves as shown at <a href="#Fig25D">D</a> to the human -form divine.</p> - -<p>To carve out leaves on a flat surface draw the design -as before and carve them out with your gouge to -look as much like real leaves as you can and to -give them the final touch of beauty cut the veins in -with your veining tool.</p> - -<p>For carving out heads, as for example the one -shown at <a href="#Fig25">C</a>, mark the shape of the object which you -intend to carve on the sides of the block as it would -look if you cut it down through the middle. Now -screw up the block in your vise and cut away the sides -with your chisels and gouges, using the mallet to do -it with. All you want to do at first is to get the rough -shape of the figure.</p> - -<p>When you have done this you can go ahead and -finish up the work with your chisels and gouges. To -give the carving a life-like appearance do not use files -or sandpaper on it and do not varnish or polish it.</p> - -<h3>Pyrography, or Wood Burning</h3> - -<p>This is a simple and pleasing art and one that is -easy to practice. It gets its didactic name from the<span class="pagenum" id="Page52">[52]</span> -Greek word <i>pyro</i>, which means fire, and <i>graph</i>, to -write, that is writing with fire, only in pyrography -you draw with fire instead.</p> - -<h4 class="inline"><b>The Necessary Tools.</b></h4> - -<p class="hinline">—The chief tool you need -is called an <i>etching</i> tool. This is formed of a piece -of iron, copper or platinum with a curved point which -is heated in a flame until it is red or white hot. -When it is hot you press the curved point against the -wood upon which you have drawn the design and it -burns the lines into it.</p> - -<div class="container" id="Fig26"> - -<img src="images/illo078a.jpg" alt=""> - -<p class="caption"><i><b>A</b>—THE ETCHING TOOL</i></p> - -<img src="images/illo078b.jpg" alt=""> - -<p class="caption"><i><b>B</b>—COMPLETE WITH HANDLE</i></p> - -<p class="caption"><span class="smcap">Fig. 26. the tool used for pyrography</span></p> - -</div><!--container--> - -<h5 class="inline"><i>How to Make an Etching Tool.</i></h5> - -<p class="hinline">—Get a piece of -copper rod ¹⁄₄ inch in diameter and 3 inches long; file -one end down to a point to the shape shown at A and -B in <a href="#Fig26">Fig. 26</a> and put a file handle on the other end.</p> - -<h5 class="inline" id="Ref03"><i>How to Make an Alcohol Lamp.</i></h5> - -<p class="hinline">—The etching tool -must be heated in either an alcohol or a Bunsen flame. -You can make an alcohol lamp of an ink bottle that will -serve the purpose very well. Make a hole in the cork -about ¹⁄₄ inch in diameter and make a tin tube 1 inch -long that will fit it snugly. Braid a wick of string and -put it through the tin-tube; fill the bottle with alcohol -and your lamp is done. If you can get gas you<span class="pagenum" id="Page53">[53]</span> -can use a Bunsen burner<a id="FNanchor16" href="#Footnote16" class="fnanchor">[16]</a> which makes a hotter -flame and is less trouble.</p> - -<div class="footnote"> - -<p><a id="Footnote16" href="#FNanchor16" class="label">[16]</a> Can be bought of the L. E. Knott Apparatus Company, -Boston, Mass.</p> - -</div><!--footnote--> - -<h5 class="inline"><i>A Better Outfit.</i></h5> - -<p class="hinline">—A good outfit which has a platinum -pointed tool and burns alcohol vapor, see <a href="#Fig26C">C</a>, can -be bought for $3.00 and more.<a id="FNanchor17" href="#Footnote17" class="fnanchor">[17]</a> If you have gas in -your house you can buy a tool which uses it for 50 -cents or less.</p> - -<div class="footnote"> - -<p><a id="Footnote17" href="#FNanchor17" class="label">[17]</a> Everything needed for pyrography can be had of the Frost -and Adams Co., Cornhill, Boston.</p> - -</div><!--footnote--> - -<div class="container" id="Fig26C"> - -<img src="images/illo079.jpg" alt=""> - -<p class="caption"><i><b>C</b>—AN OUTFIT THAT BURNS -ALCOHOL VAPOR</i></p> - -<p class="caption"><span class="smcap">Fig. 26c. an outfit that burns benzine vapor</span></p> - -</div><!--container--> - -<h5 class="inline"><i>About the Designs.</i></h5> - -<p class="hinline">—If you are good at drawing -you can make your own designs, but if not you can buy -them ready to use. Draw your designs on soft white -pine or basswood with a soft lead pencil having a -blunt point. Photo frames, plaques, tie racks, collar -boxes and things which you can saw out on your -scroll saw are greatly improved by burning.</p> - -<h5 class="inline"><i>How to Burn in the Design.</i></h5> - -<p class="hinline">—Heat the tool until -it is red-hot, or if it is platinum until it is white hot -as shown at <a href="#Fig26D">D</a>. Hold the tool as shown at -<a href="#Fig26E">E</a> and<span class="pagenum" id="Page54">[54]</span> -without using too much pressure draw and push the -point along the lines until they are burnt in evenly.</p> - -<p>When you have burnt in the design burn in the -background by making a lot of closely spaced lines; -then burn in more parallel lines across the first set. -This produces a cross-hatched effect which at a distance -makes the design stand out in bold relief.</p> - -<div class="container"> - -<table class="images"> - -<colgroup> -<col span="2" class="w50pc"> -</colgroup> - -<tr> -<td class="image" id="Fig26D"><img src="images/illo080a.jpg" alt=""></td> -<td class="image" id="Fig26E"><img src="images/illo080b.jpg" alt=""></td> -</tr> - -<tr> -<td> </td> -<td class="caption"><i><b>E</b></i></td> -</tr> - -</table> - -<div class="split5050"> - -<div class="left5050"> -<p class="caption"><span class="smcap">Fig. 26d. how the tool is heated</span></p> -</div> - -<div class="right5050"> -<p class="caption"><span class="smcap">Fig. 26e. burning in the design</span></p> -</div> - -<p class="thinline allclear"> </p> - -</div><!--split--> - -</div><!--container--> - -<p>When you have become a little expert you can shade -the design but don’t try it until you can burn the lines -in evenly.</p> - -<h4 class="inline"><b>Coloring and Staining Wood.</b></h4> - -<p class="hinline">—Stains and dyes<span class="pagenum" id="Page55">[55]</span> -of all colors can be bought of the Devoe and Reynolds -Company, 101 Fulton Street, New York.</p> - -<h5 class="inline"><i>Ebony Stain.</i></h5> - -<p class="hinline">—Brush the wood with a saturated -solution of <i>ferrous-sulphate</i> and it will make it inky -black. When used on white holly, or any other close -grained wood, it gives it a real ebony look. Put the -solution on with a soft brush. After the ebony stain -has been used the wood should be polished with wax -to give it a dull finish.</p> - -<h5 class="inline"><i>Fumed Oak.</i></h5> - -<p class="hinline">—Oak can be colored a beautiful brown -by putting it in a box with a tight fitting lid in which -is a saucer of ammonia; paste up the cracks around the -lid tight and leave it for a couple of days when it will -take on a brown color which is known by the trade -name of <i>fumed oak</i>.</p> - -<hr class="chap"> - -<div class="chapter"> - -<p><span class="pagenum" id="Page56">[56]</span></p> - -<h2 class="nobreak">CHAPTER III<br> -<span class="chaptitle">METALS AND METAL WORKING</span></h2> - -</div><!--chapter--> - -<p>There is something about working metals that -makes a tremendously strong appeal to a fellow and yet -it is just as easy to fashion these elements as it is to -shape wood, that is, if you have the right kind of tools -to do it with.</p> - -<p>Then there is another good thing about working -metals and that is the tools you need don’t cost very -much and you can soon make enough useful things -to pay for them.</p> - -<p>Metal working, like wood working, can be divided -into two classes and these are (1) the strictly practical, -and (2) the purely ornamental, but you can often -combine them in an object which possesses both utility -and artistic merit.</p> - -<p>It is my intention to tell you in this chapter about -the tools that you need to do ordinary metal work, -such as sawing, drilling, bending, filing, etc. As in -working wood you ought to have a bench, or a good -strong table will do.</p> - -<h3 class="inline"><b>Your Kit of Tools.</b></h3> - -<p class="hinline">—To work metals you will need -certain tools according to the kind of work you intend -to do. If you get all of those I have listed below you<span class="pagenum" id="Page57">[57]</span> -will have nearly all the hand tools you need to do any -kind of a job that may come up. The following list -is quite a full one and a kit which includes all of them -will cost in the neighborhood of fifteen dollars. You -don’t need to buy all of them at once, however, but -just get a tool at a time as you must have it until your -kit is complete.</p> - -<h3 class="inline"><b>The Various Kinds of Tools.</b></h3> - -<p class="hinline">—Metal working -tools are tempered harder than wood working tools -and are made of what is known as <i>tool-steel</i>.</p> - -<p>For your kit of machinists’ tools get (1) a ball pein -hammer which weighs about 8 ounces—this is a -regular machinists’ hammer; (2) a pair of 4 inch side -cutting pliers; (3) a pair of 8 inch tinners’ snips -which makes a 2 inch cut; (4) a jeweler’s adjustable -saw frame; (5) a hack saw frame to hold an 8 inch -saw blade; (6) a hand drill stock with a chuck for -holding round shank drills from 0 to ³⁄₁₆ inch in diameter.</p> - -<p>(7) Four Morse twist drills ¹⁄₁₆, ³⁄₃₂, ¹⁄₈ and ³⁄₁₆ -inch in diameter; (8) a 6 inch steel rule, graduated -into 8ths, 16ths, 32nds and 64ths of an inch; (9) -a machinist’s steel square with a 2¹⁄₂ inch blade; (10) -a pair of 3 inch spring dividers; (11) a pair of 3 inch -inside spring calipers; (12) a pair of 3 inch outside -calipers; (13) a center punch; (14) a No. 1 set of -screw cutting taps and dies, this set contains a <i>stock</i> or -handle and five taps and five dies which cut ⁷⁄₆₄, ⁹⁄₆₄, -⁵⁄₃₂, ³⁄₁₆, and ⁷⁄₃₂ inch in diameter.</p> - -<p>(15) A few files—flat, hand, round and half-round -in shape and the <i>smooth</i> and <i>second cut</i> will be -the most useful; (16) several screw drivers, small and -large; (17) a soldering copper that weighs about ¹⁄₂ a -pound; (18) a can of soldering paste, or you can make -a soldering fluid yourself, and (19) an alcohol lamp, -which I told you how to make in the <a href="#Ref03">last chapter</a>, or -a Bunsen burner if you have a supply of gas, and (20) -a machinist’s vise. All of these tools are shown in -<a href="#Fig27">Figs. 27</a> and <a href="#Fig28">28</a>.</p> - -<p><span class="pagenum" id="Page58">[58]</span></p> - -<div class="container w30emmax" id="Fig27"> - -<table class="images"> - -<colgroup> -<col span="6" class="w16pc"> -</colgroup> - -<tr> -<td class="thinline"> </td> -<td class="thinline"> </td> -<td class="thinline"> </td> -<td class="thinline"> </td> -<td class="thinline"> </td> -<td class="thinline"> </td> -</tr> - -<tr> -<td colspan="3" class="image bt2 br2 bl2"><img src="images/illo084a.jpg" alt=""></td> -<td colspan="3" class="image bt2 br2 bl2"><img src="images/illo084b.jpg" alt=""></td> -</tr> - -<tr> -<td colspan="3" class="caption br2 bb2 bl2"><i>TINNER’S SNIPS</i></td> -<td colspan="3" class="caption br2 bb2 bl2"><i>SOLDERING COPPER AND ALCOHOL LAMP</i></td> -</tr> - -<tr> -<td colspan="2" class="image bt2 br2 bl2"><img src="images/illo084c.jpg" alt=""></td> -<td colspan="2" class="image bt2 br2 bl2"><img src="images/illo084d.jpg" alt=""></td> -<td colspan="2" class="image bt2 br2 bl2"><img src="images/illo084e.jpg" alt=""></td> -</tr> - -<tr> -<td colspan="2" class="caption br2 bb2 bl2"><i>FLAT NOSE SIDE CUTTING PLIERS</i></td> -<td colspan="2" class="caption br2 bb2 bl2"><i>FLAT NOSE PLIERS</i></td> -<td colspan="2" class="caption br2 bb2 bl2"><i>ROUND NOSE PLIERS</i></td> -</tr> - -<tr> -<td colspan="3" class="image bt2 br2 bl2"><img src="images/illo084f.jpg" alt=""></td> -<td colspan="3" class="image bt2 br2 bl2"><img src="images/illo084g.jpg" alt=""></td> -</tr> - -<tr> -<td colspan="3" class="caption br2 bb2 bl2"><i>A BENCH LEVEL</i></td> -<td colspan="3" class="caption br2 bb2 bl2"><i>A WIRE GUAGE</i></td> -</tr> - -<tr> -<td colspan="3" class="image bt2 br2 bl2"><img src="images/illo084h1.jpg" alt=""></td> -<td rowspan="3" colspan="3" class="image bt2 br2 bl2"><img src="images/illo084i.jpg" alt=""></td> -</tr> - -<tr> -<td colspan="3" class="caption br2 bl2"><i>A ROSE COUNTERSINK</i></td> -</tr> - -<tr> -<td colspan="3" class="image br2 bl2"><img src="images/illo084h2.jpg" alt=""></td> -</tr> - -<tr> -<td colspan="3" class="caption br2 bb2 bl2"><i>A TAPER REAMER</i></td> -<td colspan="3" class="caption br2 bb2 bl2"><i>OIL CAN AND OIL STONE</i></td> -</tr> - -<tr> -<td colspan="3" class="image bt2 br2 bl2"><img src="images/illo084j.jpg" alt=""></td> -<td colspan="3" class="image bt2 br2 bl2"><img src="images/illo084k.jpg" alt=""></td> -</tr> - -<tr> -<td colspan="3" class="caption br2 bb2 bl2"><i>SET OF SCREW CUTTING TAPS AND DIES</i></td> -<td colspan="3" class="caption br2 bb2 bl2"><i>MACHINIST’S VISE</i></td> -</tr> - -</table> - -<p class="caption"><span class="smcap">Fig. 27. the chief metal working tools</span></p> - -</div><!--container--> - -<p><span class="pagenum" id="Page59">[59]</span></p> - -<div class="container w30emmax" id="Fig28"> - -<table class="images"> - -<colgroup> -<col span="6" class="w16pc"> -</colgroup> - -<tr> -<td class="thinline"> </td> -<td class="thinline"> </td> -<td class="thinline"> </td> -<td class="thinline"> </td> -<td class="thinline"> </td> -<td class="thinline"> </td> -</tr> - -<tr> -<td colspan="3" class="image bt2 br2 bl2"><img src="images/illo085a.jpg" alt=""></td> -<td rowspan="3" colspan="3" class="image bt2 br2 bl2"><img src="images/illo085c.jpg" alt=""></td> -</tr> - -<tr> -<td colspan="3" class="caption br2 bb2 bl2"><i>JEWELLER’S HAMMER</i></td> -</tr> - -<tr> -<td colspan="3" class="image bt2 br2 bl2"><img src="images/illo085b.jpg" alt=""></td> -</tr> - -<tr> -<td colspan="3" class="caption br2 bb2 bl2"><i>BALL PEIN HAMMER</i></td> -<td colspan="3" class="caption br2 bb2 bl2"><i>HAND DRILL STOCK AND DRILL</i></td> -</tr> - -<tr> -<td colspan="2" class="image bt2 br2 bl2"><img src="images/illo085d.jpg" alt=""></td> -<td colspan="2" class="image bt2 br2 bl2"><img src="images/illo085e.jpg" alt=""></td> -<td colspan="2" class="image bt2 br2 bl2"><img src="images/illo085f.jpg" alt=""></td> -</tr> - -<tr> -<td colspan="2" class="caption br2 bb2 bl2"><i>SPRING DIVIDERS</i></td> -<td colspan="2" class="caption br2 bb2 bl2"><i>SPRING CALIPERS OUTSIDE</i></td> -<td colspan="2" class="caption br2 bb2 bl2"><i>SPRING CALIPERS INSIDE</i></td> -</tr> - -<tr> -<td colspan="3" class="image bt2 br2 bl2"><img src="images/illo085g.jpg" alt=""></td> -<td colspan="3" class="image bt2 br2 bl2"><img src="images/illo085h.jpg" alt=""></td> -</tr> - -<tr> -<td colspan="3" class="caption br2 bb2 bl2"><i>JEWELLER’S ADJUSTABLE SAW FRAME</i></td> -<td colspan="3" class="caption br2 bb2 bl2"><i>HACK SAW</i></td> -</tr> - -<tr> -<td colspan="3" class="image bt2 br2 bl2"><img src="images/illo085i.jpg" alt=""></td> -<td colspan="3" class="image bt2 br2 bl2"><img src="images/illo085j.jpg" alt=""></td> -</tr> - -<tr> -<td colspan="3" class="caption br2 bb2 bl2"><i>6″ STEEL RULE</i></td> -<td colspan="3" class="caption br2 bb2 bl2"><i>MACHINIST’S STEEL SQUARE</i></td> -</tr> - -<tr> -<td colspan="3" class="image bt2 br2 bl2"><img src="images/illo085k1.jpg" alt=""></td> -<td rowspan="2" colspan="3" class="image bt2 br2 bl2"><img src="images/illo085l.jpg" alt=""></td> -</tr> - -<tr> -<td colspan="3" class="caption br2 bl2"><i>CENTER PUNCH</i></td> -</tr> - -<tr> -<td colspan="3" class="image br2 bl2"><img src="images/illo085k2.jpg" alt=""></td> -<td rowspan="2" colspan="3" class="caption lft br2 bb2 bl2">1—<i>SHELL SQUARE TAPER</i><br> -2—<i>ROUND OR RAT TAIL</i><br> -3—<i>HAND OR FLAT</i><br> -<span class="padl6"><i>KINDS OF FILES</i></span></td> -</tr> - -<tr> -<td colspan="3" class="caption br2 bb2 bl2"><i>COLD CHISEL</i></td> -</tr> - -</table> - -<p class="caption"><span class="smcap">Fig. 28. some other metal working tools</span></p> - -</div><!--container--> - -<p><span class="pagenum" id="Page60">[60]</span></p> - -<h3 class="inline"><b>Some Hints on Using the Tools.</b></h3> - -<p class="hinline">—(1) When -you want to rivet something use the ball pein end of -the hammer to pound down the end of the rivet as this -will spread it out in every direction evenly and you -can make it nice and round. (2) Side cutting pliers -are useful to hold and bend bits of metal with and to -cut off pieces of wire as well. (3) Tinner’s snips are -simply large powerful shears and you can cut sheet -metal up to ³⁄₃₂ of an inch thick with an ordinary pair. -When you cut a sheet of heavy metal with them let -the lower blade and handle rest on your bench and you -can get a better leverage on it. Metals that are thicker -than ³⁄₃₂ inch must be sawed.</p> - -<p>(4) While metals can be sawed by using a special -saw blade in a scroll saw frame you should use a -jeweler’s saw frame with jeweler’s saws for metal—I -prefer the <i>Fish Brand</i> for fine work. (5) For -heavier work use a machinist’s hack saw; put the piece -of metal in a vise and have the part you want to saw -close to the jaws of the vise so that it will not vibrate; -use a little pressure on the outward, or cutting stroke,<span class="pagenum" id="Page61">[61]</span> -and let up on it as you draw the saw back or you will -dull the teeth.</p> - -<p>(6) In using twist drills, and these are the only satisfactory -kind for metal work, be mighty careful not to -press too hard on the drill stock and don’t try to -crowd the drill into cutting faster than it will cut at -the speed with which it is turning. In drilling iron -keep plenty of oil on the drill point.</p> - -<p>(7) You can measure much more accurately with -a steel rule than you can with a wood rule and whereas -measurements in cabinet work down to ¹⁄₁₆ inch are -close enough, for metal work it should not be more -than ¹⁄₃₂nd of an inch, and for machine work make -your measurements to ¹⁄₆₄th of an inch. (8) A small -steel square is better in every way for metal work -than a carpenters’ try square but you will find it quite -expensive.</p> - -<p>(9) The advantage of spring dividers over the -ordinary kind is that you can set them very accurately -and they will stay where you set them. In scribing a -circle with a pair of dividers mark the center with -your center punch first as this will prevent your dividers -from slipping.</p> - -<p>(10) Inside calipers are used for measuring the -inside diameters of cylinders and the like, and, conversely -(11), outside calipers are used for measuring -the outside of anything that is round. In either case -you measure the distance between the points of your -caliper with your rule to find the diameter of the -thing. (12) A center punch is always useful to make<span class="pagenum" id="Page62">[62]</span> -a starting point in metal with, for it can’t be rubbed -off or lost sight of.</p> - -<p>(13) A set of taps and dies to cut screw threads -with in metal of whatever kind is a joy forever. All -metal work becomes easy if you have a set of these -screw cutting tools and it is next to impossible to make -things if you haven’t got them.</p> - -<p>When you are cutting threads in a piece of metal -with the tap, the hole in the metal must of course -be a trifle smaller than the diameter of the tap; the -tap is put into a handle called a <i>stock</i> and as you cut -the threads in the metal don’t turn the stock continuously -around but give it one complete turn forward -and then half-a-turn backward and you will be less -apt to break the tap.</p> - -<p>The same method holds good when you are cutting -threads on a rod with a die; in this case the rod must -be a little larger than the hole in the die. In threading -iron use plenty of oil on the tap or die, but -for brass and the softer metals a lubricant is not -needed.</p> - -<p>(14) In filing work press down on the outward -or cutting stroke and ease up on the file on the return -stroke for the teeth of a file are set like the -teeth of a saw, that is, so that the cut is made on the -out stroke.</p> - -<p>A small file can be held in one hand and the work -you are filing in the other which can be rested on the -edge of the bench but heavier work must be put in a -vise and the file held firmly by the handle with one<span class="pagenum" id="Page63">[63]</span> -hand and the end steadied and guided by the fingers -of your other hand.</p> - -<p>(15) In putting in a screw always use the largest -size screw-driver whose blade will fit the slot in the -head of the screw; this will prevent the blade of the -screw-driver from twisting the edges of the slot out -of shape.</p> - -<p>(16) Before a soldering copper can be used, if it -is a new one, it must be <i>tinned</i>, that is the point of -it must be coated with solder. To tin it get a pine -board about 1 inch thick, 4 inches wide and 6 inches -long, and put some brown resin and bits of solder -on it.</p> - -<p>File off the copper until the point is sharp and it is -bright and smooth; heat the copper and then melt -the resin and solder on the board with it and rub the -copper in them on all sides until a film of solder is -formed on it.</p> - -<p>(17) It is cheaper to buy a stick of soldering paste -than it is to make it but you can easily and cheaply -make a good <i>soldering fluid</i> by dissolving a teaspoonful -of <i>zinc chloride</i> in an ink bottle full of clean water.</p> - -<p>In heating the soldering iron keep it near the tip -of the flame; if you use an alcohol lamp don’t have -the wick too high and if you use a Bunsen burner -adjust the openings in it until the flame is as nearly -invisible as you can get it.</p> - -<h4 class="inline"><i>About Sharpening Tools.</i></h4> - -<p class="hinline">—The only metal working -tools you will need to sharpen are the twist drills and -these can be sharpened on a <i>carborundum oil stone</i>.<span class="pagenum" id="Page64">[64]</span> -Hold the beveled edge of the drill point on the stone -and move it to and fro, being very careful to keep the -drill perfectly straight up and down while you are -sharpening it.</p> - -<h3 class="inline"><b>Metals and their Uses.</b></h3> - -<p class="hinline">—Like woods each metal -has its especial uses and it will depend largely on what -you are going to make as to the kind of metal you -should make it of.</p> - -<p>There are five chief metals and a couple of <i>alloys</i>, -which are formed by melting and mixing two or more -metals together, which you will find the most useful -and I shall describe these for you in detail.</p> - -<h4 class="inline"><i>Iron.</i></h4> - -<p class="hinline">—This is the most useful metal we have. -When it is pure it has a silvery color, is very <i>tenacious</i>, -which means that it is tough; it is <i>malleable</i>, that is it -can be hammered without cracking, and it is <i>ductile</i> in -that it can be drawn out into wire without breaking.</p> - -<p>It is hard to get pure iron for nearly all of it contains -a small percent of carbon, silica, phosphorus, -sulphur or other elements. These substances in iron -give it different properties. For instance <i>cast-iron</i> -has a large amount of carbon in it; this kind of iron -is good to cast into molds but it cannot be hammered -or drawn without danger of cracking or breaking.</p> - - -<p><i>Wrought iron</i> has very little carbon or other substances -in it and this makes it easy to work because it -can be hammered or drawn. <i>Steel</i> contains more carbon -than wrought iron but it has less carbon than cast -iron; steel can be cast, forged, tempered and hardened -by heating it red hot and then suddenly cooling it.</p> - -<p><span class="pagenum" id="Page65">[65]</span></p> - -<h4 class="inline"><i>Tin.</i></h4> - -<p class="hinline">—This is a white metal that looks very much -like silver, and it is so malleable that it can be hammered -out into very thin sheets and which you know -so well as <i>tin-foil</i>.</p> - -<p>It is not found in very many places but the ancients -called Britain the <i>Tin Islands</i> because they got it chiefly -from there. What we ordinarily call <i>tin</i> is really -<i>tin plate</i>, that is thin sheet iron coated with tin, and -it is used as a covering for other metals because it -does not rust or oxidize in air.</p> - -<p>Tin is largely used in making alloys such as soft -solder, type-metal, pewter, etc. It has a very low -melting point.</p> - -<h4 class="inline"><i>Zinc.</i></h4> - -<p class="hinline">—This is a bluish white metal and though it -is sometimes found in a pure state it is usually found in -combination with other elements.</p> - -<p>When it is heated to different temperatures it behaves -in various ways; for instance when it is cold it -is quite brittle, but at 100 to 150 degrees <i>Fahrenheit</i>,<a id="FNanchor18" href="#Footnote18" class="fnanchor">[18]</a> -it can be easily rolled into sheets and rods; curiously -though when it is heated to 200 degrees or over it gets -brittle again.</p> - -<div class="footnote"> - -<p><a id="Footnote18" href="#FNanchor18" class="label">[18]</a> The <i>Fahrenheit</i> thermometer scale is the one generally used -in this country. Fahrenheit was a German scientist who lived -200 years ago, and he invented the mercurial thermometer.</p> - -</div><!--footnote--> - -<p>Zinc is easy to cut and when mixed with copper it -forms the alloy we know as brass.</p> - -<h4 class="inline"><i>Lead.</i></h4> - -<p class="hinline">—This is the softest metal known and it has -a bluish-gray color. It is very heavy and melts at a -low temperature.</p> - -<p><span class="pagenum" id="Page66">[66]</span></p> - -<p>Lead was one of the earliest metals known and if -you will read the <i>Book of Job</i> you will find it mentioned -there. It has been used from time immemorial -in making water-pipes, utensils, etc., and the ancient -Romans made weights of it. Since it is so soft it -can be easily hammered into any shape or it can be -rolled or drawn.</p> - -<p>It is also largely used in forming alloys with other -metals, thus <i>solder</i> is made of 50 parts of lead and 50 -parts of tin; <i>type-metal</i> is made of 80 parts of lead -and 20 parts of antimony; and <i>pewter</i> is made of 25 -parts of lead and 75 parts of tin.</p> - -<h4 class="inline"><i>Copper.</i></h4> - -<p class="hinline">—This metal is found in a pure state in -large quantities around Lake Superior in the United -States and in Chili, South America. It is a fairly -hard metal of a reddish color, has a high luster, is -malleable, and ductile.</p> - -<p>Long before iron was known utensils and weapons -for the chase and war were made of copper and copper -tools have been found that were made by the ancients -and tempered even as steel is tempered now, but the -art was lost when iron came into use.</p> - -<p>Copper is now largely used in the arts and trades as -for the sheathing and bolts of ships, the conducting -parts of electrical apparatus, in making alloys, such -as bronze of which tin is the other metal. Copper is -easily hammered and drawn but it is so tough that it -is hard to saw and drill.</p> - -<p>It does not oxidize in dry air but in moist air it -gradually changes and takes on a layer of <i>carbonate of<span class="pagenum" id="Page67">[67]</span> -copper</i> which gives it a very beautiful and artistic appearance -and makes it look as if it was a thousand -years old.</p> - -<h4 class="inline"><i>Aluminum.</i></h4> - -<p class="hinline">—This metal is found everywhere in -nature but as it is never found free it is only in the -last few years that it has been extracted in large quantities -and cheaply enough to bring it into use.</p> - -<p>It has a bright bluish white color nearly like that -of tin and is the lightest common metal known.<a id="FNanchor19" href="#Footnote19" class="fnanchor">[19]</a> It -does not tarnish either in dry or moist air; it is malleable -and ductile and as easy to work as brass but it is -very hard to solder but there are soldering compounds -on the market by which it can be soldered. Aluminum -can be bought<a id="FNanchor20" href="#Footnote20" class="fnanchor">[20]</a> in sheets of any thickness, or in rods -or tubes of any size.</p> - -<div class="footnote"> - -<p><a id="Footnote19" href="#FNanchor19" class="label">[19]</a> Aluminum when mixed with magnesium makes an alloy -called <i>magnaleum</i> and this is lighter than aluminum alone.</p> - -<p><a id="Footnote20" href="#FNanchor20" class="label">[20]</a> Sold by the Aluminum Co. of America, 120 Broadway, N. Y.</p> - -</div><!--footnote--> - -<h3 class="inline"><b>A Few Useful Alloys.</b></h3> - -<p class="hinline">—When two or more metals -are melted together and mixed they form what is called -an alloy.</p> - -<h4 class="inline"><i>Brass.</i></h4> - -<p class="hinline">—This well known alloy is made by mixing -zinc with copper. There are twenty or more different -kinds of brass but common brass is made of 36 -parts of zinc and 64 parts of copper.</p> - -<p>Brass is harder than copper and while it can be -hammered and drawn it is not nearly as malleable or -as ductile as copper. It can be sawed, drilled, threaded -and machined easily and is about the best alloy you -can use for making small parts of machines.</p> - -<p><span class="pagenum" id="Page68">[68]</span></p> - -<h4 class="inline"><i>Type-metal.</i></h4> - -<p class="hinline">—All kinds of metals <i>shrink</i> when they -cool after being run into a mold and so the edges of the -castings are never very sharp.</p> - -<p>Now type metal which is an alloy made of 80 parts -of lead and 20 parts of antimony will <i>expand</i> and -this is the reason why type is so beautifully clear and -sharp. So if you want to cast little parts of machines -and engines and the like you can do a good job by -using type-metal. As it melts at a low temperature -you can melt it in an iron ladle over the kitchen -fire.</p> - -<h4 class="inline"><i>Pewter.</i></h4> - -<p class="hinline">—This alloy, which is made of 75 parts of -tin and 25 parts of lead, in Colonial days was much -used for making all kinds of table-ware and household -utensils and it will come into vogue again -I hope. More will be said about <a href="#Ref04">this alloy</a> and how -to work it in the next chapter.</p> - -<h3 class="inline"><b>How to Do Metal Work.</b></h3> - -<p class="hinline">—Now that you know -about tools and the properties of metals there are a -few other little things which, if you will bear them -in mind, will enable you to make nearly anything you -want to. The first has to do with drawing and the -others with working the metals themselves.</p> - -<h3 class="inline"><b>First Sketch Your Ideas.</b></h3> - -<p class="hinline">—To start out and try -to make an object which you have in mind without -sketching it on paper first so that you can see just -what size to cut and shape it, and how it will look -when you have finished it, is the first step toward being -a disappointed boy.</p> - -<p>When you get an <i>abstract idea</i> for a design or a<span class="pagenum" id="Page69">[69]</span> -machine that you want to put in <i>concrete form</i> take a -rule and compasses, pencil and paper and draw it out -<i>to scale</i>, that is, make a drawing of it and mark the -sizes, or dimensions, of each part just as it should be -when the thing is done.</p> - -<p>By roughly sketching the object, or, better, by making -an accurate working drawing of it before you do -anything else you will save time, patience and materials.<a id="FNanchor21" href="#Footnote21" class="fnanchor">[21]</a></p> - -<div class="footnote"> - -<p><a id="Footnote21" href="#FNanchor21" class="label">[21]</a> How to -make working drawings is explained in <a href="#Page103">Chapter V</a>. -Fuller directions will be found in <i>Inventing for Boys</i>, by the -present author, published by Frederick A. Stokes Company, N. Y.</p> - -</div><!--footnote--> - -<h3 class="inline"><b>Sheet Metal Work.</b></h3> - -<h4 class="inline noindent">—<i>Cutting and Sawing.</i></h4> - -<p class="hinline">—After -having traced or otherwise marked out the design or -shape you want on the sheet of metal with the sharp -point of your center punch or an awl, or <i>scribed</i> it with -your dividers you can cut it out with your snips if the -sheet is thin enough. If it is too thick to be sheared -then saw it out with your jeweler’s or hack saw.</p> - -<p>Should you want to make a hole or an open design -of any kind in thin sheet metal you can easily punch -it in with your center punch, or cut it out with a -stencil cutter’s chisel, which is simply a very sharp -cold chisel.<a id="FNanchor22" href="#Footnote22" class="fnanchor">[22]</a> But should the metal be too thick to -punch or cut in this way drill a small hole in it -and you can then saw out the part with a jeweler’s -saw frame and blade just as you would saw out a -piece of wood with a scroll saw, though you may have -to hold the metal in a vise.</p> - -<div class="footnote"> - -<p><a id="Footnote22" href="#FNanchor22" class="label">[22]</a> See <a href="#Page183">Chapter VIII</a>.</p> - -</div><!--footnote--> - -<h4 class="inline"><i>Making Seams and Joints.</i></h4> - -<p class="hinline">—The next thing to do<span class="pagenum" id="Page70">[70]</span> -after having cut out the different pieces of metal is to -put them together. The way you do this will again -depend very largely on the thickness of the metals, but -in any event where the pieces meet, a seam or a joint -must be made.</p> - -<div class="container" id="Fig29"> - -<table class="images"> - -<colgroup> -<col span="3" class="w33pc"> -</colgroup> - -<tr> -<td class="image"><img src="images/illo096a.jpg" alt=""></td> -<td class="image"><img src="images/illo096b.jpg" alt=""></td> -<td class="image"><img src="images/illo096c.jpg" alt=""></td> -</tr> - -<tr> -<td class="caption"><b>A</b>—<i>LAP SEAM</i></td> -<td class="caption"><b>B</b>—<i>GROOVED SEAM</i></td> -<td class="caption"><b>C</b>—<i>LAP SEAM RIVETED</i></td> -</tr> - -</table> - -<table class="images notop"> - -<colgroup> -<col class="wauto"> -<col class="w20pc"> -<col class="w23pc"> -<col class="w25pc"> -</colgroup> - -<tr> -<td class="image"><img src="images/illo096d.jpg" alt=""></td> -<td class="image"><img src="images/illo096e.jpg" alt=""></td> -<td class="image"><img src="images/illo096f.jpg" alt=""></td> -<td class="image"><img src="images/illo096g.jpg" alt=""></td> -</tr> - -<tr> -<td class="caption"><b>D</b>—<i>BUTT JOINT BOLTED</i></td> -<td class="caption"><b>E</b>—<i>BOX LAP JOINT</i></td> -<td class="caption"><b>F</b>—<i>BOX GROOVED SEAM</i></td> -<td class="caption"><b>G</b>—<i>BUTT & PIECED JOINT</i></td> -</tr> - -<tr> -<td class="image"><img src="images/illo096h.jpg" alt=""></td> -<td class="image"><img src="images/illo096i.jpg" alt=""></td> -<td class="image"><img src="images/illo096j.jpg" alt=""></td> -<td class="image"><img src="images/illo096k.jpg" alt=""></td> -</tr> - -<tr> -<td class="caption"><b>H</b>—<i>CORNER BUTT JOINT SCREWED</i></td> -<td class="caption"><b>I</b>—<i>CIRCULAR LAP SEAM</i></td> -<td class="caption"><b>J</b>—<i>CIRCULAR FOLDED SEAM</i></td> -<td class="caption"><b>K</b>—<i>CIRCULAR OVERFOLD SEAM</i></td> -</tr> - -</table> - -<p class="caption"><span class="smcap">Fig. 29. how metal seams and joints are made</span></p> - -</div><!--container--> - -<p>If the metal is thin the pieces can be lapped and then -soldered or riveted together as shown at <a href="#Fig29">A in Fig. 29</a> -or you can make a folded seam as shown at <a href="#Fig29">B</a>. If, -however, the metal is thick you can make a lap seam -and either rivet or bolt it together with screws having -nuts on them as shown at <a href="#Fig29">C</a>.</p> - -<p>A strong <i>butt seam</i> can be made by <i>hard soldering</i> -or <i>brazing</i> the edges together but it takes a hot flame -and considerable skill to do a good job of this kind. -Another way to make a butt seam of two thick sheets<span class="pagenum" id="Page71">[71]</span> -of metal is to lay them with their edges together and -then rivet a strip or plate on both sides of them as -shown at <a href="#Fig29">D.</a></p> - -<p>In making corner joints one or both edges of the -sheet should be bent over as pictured at <a href="#Fig29">E</a> when they -can be soldered, riveted or bolted together; or a -grooved seam can be made as shown at <a href="#Fig29">F</a> if the metal -is thin enough.</p> - -<p>If the pieces of metal are say ¹⁄₁₆ inch or more -thick you can put a three cornered piece of metal in -the corner and drill and thread it so that the pieces -which form the butt joint can be screwed to it as -shown at <a href="#Fig29">G</a>, or if one of the pieces is thick enough -you can drill and thread it and screw the other piece -to it as shown at <a href="#Fig29">H</a>.</p> - -<p>When putting ends on tubes and cylinders you can -make a circular lap seam as shown at <a href="#Fig29">I</a>, or a circular -folded seam as at <a href="#Fig29">J</a> or a circular overfolded seam as -shown at <a href="#Fig29">K</a>.</p> - -<h3 class="inline"><b>How to Solder Metals.</b></h3> - -<p class="hinline">—The great secret in -soldering metals is to have them perfectly clean and -then if you use the right kind of <i>flux</i> and the proper -solder you will not have any trouble.</p> - -<h4 class="inline"><i>Fluxes.</i></h4> - -<p class="hinline">—After you have cleaned the surfaces to be -soldered you must use a flux to prevent the metal from -oxidizing and to make the solder stick. Different -metals require fluxes of different kinds.</p> - -<p>When soldering bright new tinware use powdered -resin for the flux, but if the parts are old then scrape<span class="pagenum" id="Page72">[72]</span> -and clean them well and use a flux of <i>zinc chloride</i> -solution. To make it dissolve 5 cents’ worth of zinc -chloride—which is muriate of zinc—in a small clean -inkbottle full of warm water; or you can make the -muriate of zinc by dissolving some zinc clippings in -muriatic acid and to make the soldering fluid add some -water to it.</p> - -<p>This kind of a soldering fluid is a good flux for -tin, iron, steel, brass and copper. It is good for all -ordinary work but it must be washed off from iron or -steel as it will rust them very quickly. To solder copper -<i>sal ammoniac</i> can be used.</p> - -<p>The only kind of a flux to solder zinc with is a -solution made of 10 per cent. of muriatic acid and 90 -per cent. of water. For lead, pewter and any alloy -with lead in it use tallow, Gallipoli oil or Venice turpentine. -Resin can be used successfully for all metals -provided they are scraped bright and clean before they -are soldered.</p> - -<h4 class="inline"><i>Solders.</i></h4> - -<p class="hinline">—Just as certain metals require given -fluxes so also do these metals need special solders.</p> - -<p>For soldering tinware a fine tinner’s solder made -of 1 part of tin and 1 part of lead flows best. For -soldering lead use a fine plumber’s solder which is -formed of 1 part of tin and 2 parts of lead. To solder -pewter which melts at a low temperature use a pewterer’s -solder which is composed of 3 parts of lead and -1 part of bismuth.</p> - -<h3 class="inline"><b>Bolts and Rivets.</b></h3> - -<p class="hinline">—Where two pieces of metal are -to be fixed together so that they can be taken apart<span class="pagenum" id="Page73">[73]</span> -again, machine screws with nuts on them, or bolts,<a id="FNanchor23" href="#Footnote23" class="fnanchor">[23]</a> -will be found useful.</p> - -<div class="footnote"> - -<p><a id="Footnote23" href="#FNanchor23" class="label">[23]</a> Machine screws and bolts for model work can be bought of -Luther H. Wightman, Boston, Mass.</p> - -</div><!--footnote--> - -<p>A good kind of rivet for small work is known as -<i>tinner’s</i> rivets; they are made of iron and have a -length of ⁵⁄₃₂ of a inch. Now a rivet can either be -hammered down so that the point spreads out and -forms a <i>burr</i>, or a <i>washer</i>, which is called a <i>burr</i>, can -be slipped down over it and the end then peined down. -Copper-rivets as small as ¹⁄₄ inch in length can be -bought at most hardware stores.</p> - -<h3 class="inline"><b>Bending Sheet Metal.</b></h3> - -<p class="hinline">—To bend a metal sheet put -it on a wood or metal form and pound it into shape -with a wooden mallet.</p> - -<p>The edges of a piece of sheet metal can be bent -either by pounding it over the sharp corner of an iron -bar, or if a very small part is to be bent use a pair of -round or flat nose pliers. A thick piece of sheet metal -can be bent by putting it in your vise and pounding -over the edge with a hammer.</p> - -<h3 class="inline"><b>Finishing Up Metals.</b></h3> - -<p class="hinline">—Of course all the rough -parts must be smoothed up with a file; then use emery -paper or emery cloth to rub out the file marks and -finally finish off the surface by polishing it with -<i>crocus</i><a id="FNanchor24" href="#Footnote24" class="fnanchor">[24]</a> -put on with a cloth.</p> - -<div class="footnote"> - -<p><a id="Footnote24" href="#FNanchor24" class="label">[24]</a> Crocus is a powder made of iron rust.</p> - -</div><!--footnote--> - -<h3 class="inline"><b>Coloring Metals.</b></h3> - -<p class="hinline">—Many things that you make of -metal can be greatly improved in appearance by coloring -them.</p> - -<p><span class="pagenum" id="Page74">[74]</span></p> - -<h4 class="inline"><i>Bluing Steel.</i></h4> - -<p class="hinline">—First polish the articles and clean -them by immersing them in a hot solution of <i>caustic -soda</i>. Now put the screws, or whatever it is you -want to blue, in an iron pan half full of dry, clean -sand and heat them over a fire.</p> - -<p>Keep moving the articles around with a pair of -tweezers until they are the color you want them and -then drop them into clean oil.</p> - -<h4 class="inline"><i>Bluing Brass.</i></h4> - -<p class="hinline">—Polished pieces of brass can be given -a fine color by putting them in a solution made as follows:</p> - -<p>Stir 1¹⁄₂ drams of <i>antimony sulphide</i>,<a id="FNanchor25" href="#Footnote25" class="fnanchor">[25]</a> 2 ounces of -<i>calcined soda</i> in ³⁄₄ of a pint of water; to this solution -add 2¹⁄₄ drams of <i>kermes</i>. Stir well, filter it and then -mix it with 2¹⁄₄ drams of <i>tartar</i>, 5¹⁄₂ drams of <i>hyposulphite -of soda</i> dissolved in ³⁄₄ pint of water when it is -ready to use.</p> - -<div class="footnote"> - -<p><a id="Footnote25" href="#FNanchor25" class="label">[25]</a> This and all other chemicals can be bought of Eimer and -Amend, Fourth Ave. and 18th Street, New York.</p> - -</div><!--footnote--> - -<h4 class="inline"><i>Giving Brass a Green Color.</i></h4> - -<p class="hinline">—Make a solution of -2 ounces of <i>copper sulphate</i>, ¹⁄₂ an ounce of <i>sal ammoniac</i> -and 25 ounces of water. Suspend the articles -to be greened in the solution and boil it until you get -the color you want.</p> - -<h4 class="inline"><i>Giving Brass a Dull Look.</i></h4> - -<p class="hinline">—First clean the articles -thoroughly; then mix ¹⁄₄ ounce of <i>iron rust</i> and ¹⁄₄ -ounce of <i>white arsenic</i> in 4 ounces of <i>muriatic acid</i>. -Use a brush and paint the articles with this solution -until it takes on the proper dull appearance. Then -wipe it off, oil, dry and lacquer it.</p> - -<p><span class="pagenum" id="Page75">[75]</span></p> - -<h4 class="inline"><i>Frosting Brass Articles.</i></h4> - -<p class="hinline">—Hang the brass articles -in a boiling solution of <i>caustic potash</i>, wash them -off in clean water and dip them in <i>nitric acid</i> until the -oxide is gone, wash them again and throw them in -sawdust to dry; heat them a little and lacquer while -they are warm.</p> - -<h4 class="inline"><i>Lacquering Brass and Copper.</i></h4> - -<p class="hinline">—To lacquer a brass -or a copper article dip it in a weak solution of <i>sulphuric</i> -acid and water and then wash it in clean water. -Next put the article on a piece of sheet iron and heat -it over a gas jet or in an oven.</p> - -<p>It must not be heated enough to color it but just so -that when you place your moistened finger to it it will -sizzle; now put on the lacquer and this can be done by -brushing the article over with a camel’s hair brush or -by dipping the article into the lacquer.</p> - -<h4 class="inline"><i>How to Make the Lacquer.</i></h4> - -<p class="hinline">—Put 1 ounce of <i>tumeric -powder</i>, 2 drams of <i>annatto</i> and 2 drams of <i>saffron</i> -into 1 pint of alcohol.</p> - -<p>Let it stand for a week or 10 days and shake it -often; pour the clear liquid into a bottle and put in -3 ounces of yellow shellac; let it stand for a couple -of weeks more; shake it often and pour off carefully. -Then you can put it on. Lacquers can be bought -ready made from Hanson and Van Winkle, Dealers in -Electroplating Supplies, Newark, N. J.</p> - -<hr class="chap"> - -<div class="chapter"> - -<p><span class="pagenum" id="Page76">[76]</span></p> - -<h2 class="nobreak">CHAPTER IV<br> -<span class="chaptitle">VENETIAN IRON, REPOUSSÉ, PIERCED -BRASS AND PEWTER WORK</span></h2> - -<h3>Venetian Bent Iron Work</h3> - -</div><!--chapter--> - -<p>A very pretty and most useful kind of ornamental -iron work came into vogue in Venice, Italy, a long -time ago, and as it is easy to do and you need only -a few tools and inexpensive materials to do it with, -you ought to try your hand at it.</p> - -<p>Venetian iron work consists of bending thin, narrow -strips of wrought iron into scrolls and other shapes -and then fixing them together with little iron clamps -called <i>binders</i>.</p> - -<p>In this way objects such as egg boilers, candlestick -<i>sconces</i>, lanterns and brackets to hang them on, photograph -frames and helpful and artistic creations without -end can be made.</p> - -<h3 class="inline"><b>The Tools You Must Have.</b></h3> - -<p class="hinline">—You will need very -few tools for making Venetian iron work and these are -(1) a pair of flat nose 5 inch pliers;<a id="FNanchor26" href="#Footnote26" class="fnanchor">[26]</a> (2) a pair of -round nose 5 inch pliers; (3) a box-wood four-fold, -2-foot rule; (4) a vise; (5) a pair of tinner’s snips<span class="pagenum" id="Page77">[77]</span> -and (6) a small riveting hammer, all of which are -shown in <a href="#Fig27">Fig. 27</a>.</p> - -<div class="footnote"> - -<p><a id="Footnote26" href="#FNanchor26" class="label">[26]</a> This means that the pliers are 5 inches long.</p> - -</div><!--footnote--> - -<h4 class="inline"><b>The Materials You Need.</b></h4> - -<p class="hinline">—The work is made of -¹⁄₃₂ inch thick soft iron strips and this can be bought<a id="FNanchor27" href="#Footnote27" class="fnanchor">[27]</a> -in four different widths, namely ¹⁄₈, ³⁄₁₆, ¹⁄₄, and ³⁄₈ inch.</p> - -<div class="footnote"> - -<p><a id="Footnote27" href="#FNanchor27" class="label">[27]</a> Complete manual training outfits for Venetian bent iron -work can be bought of Hammacher, Schlemmer and Co., Fourth -Avenue and 13th St., New York.</p> - -</div><!--footnote--> - -<p>In general it is the best practice to use the ³⁄₁₆ and ¹⁄₄ -inch wide strips for all designs except the smallest and -largest. The strip iron comes in coils of 50 feet and -the prices range from 16 cents to 25 cents a coil.</p> - -<div class="container" id="Fig30"> - -<table class="images"> - -<colgroup> -<col class="w40pc"> -<col class="wauto"> -<col class="w30pc"> -</colgroup> - -<tr> -<td rowspan="2" class="image"><img src="images/illo103a.jpg" alt=""></td> -<td class="image"><img src="images/illo103b.jpg" alt=""></td> -<td rowspan="2" class="image"><img src="images/illo103c.jpg" alt=""></td> -</tr> - -<tr> -<td class="caption"><i>BINDERS</i></td> -</tr> - -<tr> -<td class="caption"><i>COIL OF WROUGHT IRON STRIP</i></td> -<td> </td> -<td class="caption"><i>LEAD WIRE FOR MEASURING</i></td> -</tr> - -</table> - -<p class="caption"><span class="smcap">Fig. 30. materials you need for venetian iron work</span></p> - -</div><!--container--> - -<p>Then you will need a package of <i>binders</i>—these -are merely bits of strip iron cut off and bent as shown -in <a href="#Fig30">Fig. 30</a>, they come in four widths and cost about -10 cents a hundred. Also get a couple of 3 foot pieces -of lead wire for with these you can quickly form the -scrolls and circles you intend to make of iron, then -straighten them out and accurately measure off the<span class="pagenum" id="Page78">[78]</span> -length of iron you need. They cost 5 cents a -strip.</p> - -<h4 class="inline"><b>What to Do First.</b></h4> - -<p class="hinline">—<i>Making a Simple Design.</i>—The -first thing to do after you get your tools and -materials together is to draw on a sheet of paper the -object you are to make of bent iron.</p> - -<h4 class="inline"><b>How to Make a Toaster.</b></h4> - -<p class="hinline">—This is a good piece -of work to start with because it is formed chiefly of -straight lines. Draw a plan of it as shown in <a href="#Fig31">Fig. -31</a>, full size and then measure the frame and the inside -strips—you will observe that there are two of -the latter—and find out exactly how long each strip -should be.</p> - -<p>Now measure and cut off three strips of iron and -allow an extra inch for lapping the long strip that -forms the frame. This done mark off the points where -the strips are to be bent and use your flat nose pliers -to bend the sharp corners and your round nose pliers -to bend the curved parts of the frame.</p> - -<p>Lap the ends of the strip forming the frame on the -side ¹⁄₂ an inch, fasten the joint by putting a binder on -it with your pliers and a light tap with your hammer -will tighten it up.</p> - -<p>Now if you will look again at <a href="#Fig31">Fig. 31</a>, you will see -that one end of the right inside strip projects up and -beyond the rest of it and this end sets in the handle of -the frame and strengthens it; put a binder on each -place where it is shown in the drawing including the -handle. Fix in the left inside bent strip with binders -and put the binders on so that the rough ends will be<span class="pagenum" id="Page79">[79]</span> -inside, file down the rough places, rub the toaster all -over with a piece of fine emery cloth until it is nice -and smooth, rub it with some sweet oil, polish it off -with a soft cloth and then present it to Pietro or Hilda -or Wo Nang Fong or whoever it is that presides over -the kitchen.</p> - -<div class="container w30emmax" id="Fig31"> - -<img src="images/illo105.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 31. a useful bent iron toaster</span></p> - -</div><!--container--> - -<h4 class="inline"><b>How to Make an Egg Boiler.</b></h4> - -<p class="hinline">—Having made the -toaster you are ready to try your hand at something -a little harder and a good design for your next piece -of work is an egg boiler.</p> - -<p>The <a href="#Fig32">picture</a> may look a little complicated but as a -matter of fact there is very little to it. There are only -three parts to the egg boiler and these are (a) the egg -holders; (b) the legs, and (c) the handle. Each of<span class="pagenum" id="Page80">[80]</span> -the four egg holders is formed of a ring or strip of -iron just large enough so that an egg will slip through -it; lap the ends and put on a binder to hold the joint -tight.</p> - -<div class="container w40emmax" id="Fig32"> - -<img src="images/illo106.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 32. how make an egg boiler</span></p> - -</div><!--container--> - -<p>Mark, cut off and bend the ends of two strips over -¹⁄₂ an inch, for the half ovals on which the egg rests -and then bend the strips to fit the shape of the egg. -This done, loop the ends of each half oval over the -ring and press them down hard with your pliers to -hold them in place. The way an egg holder is made -is shown at <a href="#Fig32">A in Fig. 32</a>.</p> - -<p>Each leg is a short strip bent over and pressed on -to the top of the ring. It is made rigid by putting a -binder on it and to one of the half ovals as shown -at <a href="#Fig32">B</a>. To make the handle take a piece of lead wire -and bend it to fit the outline shown at <a href="#Fig32">C</a>; then straighten<span class="pagenum" id="Page81">[81]</span> -it out and cut off a strip of iron of the same length. -Bend the ends of it over ¹⁄₂ an inch and shape it up -with your round nose pliers.</p> - -<p>Now join the four rings together with binders and -loop and press the ends of the handle on to the rings -that are furthest apart as shown at <a href="#Fig32">B</a>. File, rub up and -polish the egg boiler and give it to the <i>chef</i> with your -compliments.</p> - -<h4 class="inline"><b>How to Make a Venetian Plate Holder.</b></h4> - -<p class="hinline">—To -make this plate holder you will have to add a hand -drill, a ¹⁄₈ inch twist drill, and a center punch—which -are described in <a href="#Page56">Chapter III</a>—to your list of -tools.</p> - -<div class="container w40emmax" id="Fig33"> - -<img src="images/illo107.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 33. an artistic venetian plate holder</span></p> - -</div><!--container--> - -<p>The plate holder is of more simple construction than -the egg boiler but as you have emerged from the<span class="pagenum" id="Page82">[82]</span> -kitchen into the dining room you will have to do a very -fine job. It consists of four legs as shown in <a href="#Fig33">Fig. 33</a>, -riveted to a ring.</p> - -<p>Draw the design on paper full size and this will -depend on the diameter of the plate it is to hold. -Find the length of the legs with your lead wire and -measure and cut off the strips of iron accordingly. -Likewise find the length of iron strips it will take for -the ring and allow 1 inch or over for the lap joint.</p> - -<div class="container w30emmax" id="Fig34"> - -<img src="images/illo108.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 34. a sconce for a candle</span></p> - -</div><!--container--> - -<p>Now drill ¹⁄₈ inch holes in each strip you intend to -use for the legs, half way between the top and bottom -of it and drill four holes in the ring at equi-distant<span class="pagenum" id="Page83">[83]</span> -points. Bend the strips into the artistic curves shown, -using, of course, your round nose pliers to do it with, -and bend the ring over a round form—a broomstick -will do, but a larger form will work better.</p> - -<p>Finally rivet the legs to the ring and see to it that -you make a good job of it; slip the top of the legs -into place over the plate and you will have a piece of -Venetian iron work you can be proud of.</p> - -<p>You can design and make pretty bent iron stands -for vases in a manner very like that used for the plate -holder; card racks, photograph frames, lamp shades, -etc., can be made in the same manner; and as you become -more adept at the work you can point and shape -up the iron by heating it in an alcohol lamp, or a Bunsen -burner and hammering it. When you can do this -you will be able to make a <i>sconce</i>, that is, an ornamental -<i>mural</i><a id="FNanchor28" href="#Footnote28" class="fnanchor">[28]</a> bracket for holding a candle as -shown in <a href="#Fig34">Fig. 34</a>.</p> - -<div class="footnote"> - -<p><a id="Footnote28" href="#FNanchor28" class="label">[28]</a> Mural means anything that is supported by or has to do with -a wall.</p> - -</div><!--footnote--> - -<p>Further you can twist and weave the iron strips -for the sides and doors of boxes and book-cases and -either line them with silk or put stained glass back of -them. In fact the most beautiful things imaginable -can be wrought from bent iron strips especially when -rivets are used to put the work together.</p> - -<h5 class="inline"><i>A Dead Black Finish for Iron Work.</i></h5> - -<p class="hinline">—Get 25 -cents’ worth of <i>japan gold size</i> and 10 cents’ worth of -<i>pure drop black ground in turpentine</i> and mix them -together.</p> - -<p><span class="pagenum" id="Page84">[84]</span></p> - -<p>If it is too thick thin it with turpentine and put it -on with a soft brush. When dry it will be dead -black and neither air nor moisture will spoil it.</p> - -<h3>Doing Repoussé Work</h3> - -<p><i>Repoussé</i> (pronounced re-poo′-say) is a French -word and means to form in relief, and <i>repoussage</i> (pronounced -re-poo′-sazh) is the word you want to use -when you mean the process of producing designs in -relief on sheet metal by hammering it on the back.</p> - -<h4 class="inline"><b>Tools Needed for Repoussé Work.</b></h4> - -<p class="hinline">—Very few -tools are needed for this kind of work but it is important -to use the right kind.</p> - -<p>The <i>repoussé hammer</i> is a jeweler’s hammer which -has one end, or face of it flat and the other rounded -like a peining hammer; it is shown in <a href="#Fig35">Fig. 35</a>.</p> - -<div class="container" id="Fig35"> - -<img src="images/illo110.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 35. how to hold a repoussé hammer</span></p> - -</div><!--container--> - -<p>Then a number of blunt chisels and markers called -<i>repoussé tools</i> as shown at <a href="#Fig35B">B, Fig. 35</a>, are needed to -emboss the design in the sheet metal. These tools cost -about 30 cents apiece and a set of eight or ten tools -will serve you well. For the bolder parts of the work<span class="pagenum" id="Page85">[85]</span> -boxwood punches can be used but steel punches are -always used for the finer work.</p> - -<div class="container" id="Fig35B"> - -<img src="images/illo111a.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 35b. a punch and punch designs for repoussé work</span></p> - -</div><!--container--> - -<h4 class="inline"><b>How to Prepare the Work.</b></h4> - -<p class="hinline">—The kind of metal -that is easiest to work is <i>cold-rolled sheet copper</i><a id="FNanchor29" href="#Footnote29" class="fnanchor">[29]</a> -No. 32 Brown and Sharp gauge, but brass, aluminum -and pewter can also be hammered.</p> - -<div class="footnote"> - -<p><a id="Footnote29" href="#FNanchor29" class="label">[29]</a> Can be bought of Patterson Brothers, Park Row, New York, -or of the Frost and Adams Co., Cornhill, Boston, Mass.</p> - -</div><!--footnote--> - -<div class="container w35emmax" id="Fig35C"> - -<img src="images/illo111b.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 35c. how to hold a repoussé punch</span></p> - -</div><!--container--> - -<p>To get the work ready fasten the piece of sheet -metal to a wooden block with a cement made as follows:<span class="pagenum" id="Page86">[86]</span> -melt 1 pound of Burgundy pitch in an iron pan, -or skillet, and stir in 1 pound of <i>dental</i> plaster of -paris,<a id="FNanchor30" href="#Footnote30" class="fnanchor">[30]</a> until they are thoroughly mixed. Then put -in a tablespoonful each of tallow and of resin which -will make the cement stick better.</p> - -<div class="footnote"> - -<p><a id="Footnote30" href="#FNanchor30" class="label">[30]</a> -This is very fine plaster and can be bought of any dentist.</p> - -</div><!--footnote--> - -<p>Take a board 1 inch thick, 10 inches wide and 12 -inches long and make a tray of it by nailing a strip -of wood around it so that it is ¹⁄₂ an inch higher -than the surface of the board. Pour the cement while -it is still hot on the board and press the sheet of metal -hard down on it; let it get cold when it will be firmly -cemented to it.</p> - -<h4 class="inline"><b>Tracing the Design.</b></h4> - -<p class="hinline">—After you have drawn the -design on the sheet of metal either with a pencil or -by means of transfer paper you can begin to <i>trace</i> -the design by punching it with the straight and curved -edge chisels.</p> - -<p>To hold a chisel right, grip it between your thumb -and index finger, let your next, or <i>medius</i>, finger lie -gently on the shank of the tool and your third, or -<i>annularis</i>, finger rest on the sheet of metal as shown -at <a href="#Fig35C">C in Fig. 35</a>.</p> - -<p>The handle of the hammer is long, thin and springy -and you hold it by the end with your index finger -laying on it as shown at <a href="#Fig35">A in Fig. 35</a>. Do not strike -the tool hard or the punch may go clear through the -metal sheet but instead give it a succession of light, -gentle taps at the rate of about 100 a minute or so -and you will make the tracing nice and even.</p> - -<p><span class="pagenum" id="Page87">[87]</span></p> - -<h4 class="inline"><b>Bossing the Work.</b></h4> - -<p class="hinline">—After you have traced the -outline of the design with the chisels hold the plate -over an alcohol or a Bunsen flame and when it is hot -enough you can take it off of the cement.</p> - -<p>Then cement it to the block again, but this time put -the other side down. Now use your boxwood or steel -punches and hammer the copper, or other metal, into -bold relief or you can matt the ground with any one -of the numerous punches shown at <a href="#Fig35B">B</a>.</p> - -<div class="container" id="Fig36"> - -<table class="images"> - -<colgroup> -<col class="w50pc"> -<col class="w12pc"> -<col class="w12pc"> -<col class="wauto"> -</colgroup> - -<tr> -<td rowspan="4" class="image"><img src="images/illo113a.jpg" alt=""></td> -<td colspan="2" class="image"><img src="images/illo113b.jpg" alt=""></td> -<td rowspan="2"> </td> -</tr> - -<tr> -<td colspan="2" class="caption"><i>THE RING FOR THE CANDLE</i></td> -</tr> - -<tr> -<td rowspan="2"> </td> -<td colspan="2" class="image"><img src="images/illo113c.jpg" alt=""></td> -</tr> - -<tr> -<td colspan="2" class="caption"><i>THE CANDLESTICK WHEN DONE</i></td> -</tr> - -<tr> -<td class="caption"><i>THE DESIGN ON THE METAL</i></td> -<td colspan="3"> </td> -</tr> - -</table> - -<p class="caption"><span class="smcap">Fig. 36. a repoussé candlestick</span></p> - -</div><!--container--> - -<h4 class="inline"><b>How to Make a Flat Candlestick.</b></h4> - -<p class="hinline">—This is a -good piece of work for you to start with because it is -at once simple, artistic and more or less useful. To -make it, cut out a sheet of brass 6¹⁄₂ inches square and -draw a spider and his web and a poor little fly or two -making a bee-line for it as shown at <a href="#Fig36">A in Fig. 36</a>.</p> - -<p>Punch the outline with your chisels and raise the -bodies of the insects with your molding tools. The<span class="pagenum" id="Page88">[88]</span> -ground can be left flat or you can put it in with a -marker. When you have the bossing done <i>scallop</i> -the edges with your snips and bend them up so that it -is 5 inches square.</p> - -<p>For the handle cut a strip of brass ³⁄₄ inch wide and -4³⁄₄ inches long; raise the middle of it by hammering -it in a groove cut in a block of hard wood; bend it and -then rivet it to a corner of the brass sheet.</p> - -<p>To make the ring which holds the candle cut out a -strip of brass 1 inch high and 3 inches long and cut -out three tongues as shown at <a href="#Fig36">B</a>. Scribe a circle in a -corner of the sheet of brass, cut three slots on it, slip -the tongues through the slots and bend them over.</p> - -<p>Rub the candlestick all over with some <i>brass polish</i> -and then cover the bottom with a piece of green billiard -cloth if you can get it, or any other kind you -may have at hand. It is shown complete at <a href="#Fig36">C</a>.</p> - -<h4 class="inline"><b>How to Make a Photo Frame.</b></h4> - -<p class="hinline">—The front of this -frame can be made of brass, copper or German silver -and the back of it can be made of a sheet of tin or -brass.</p> - -<p>You can make the frame round, oblong or square -and with a round or an oval opening in it to suit your -fancy. Suppose you make the outside of it 7 × 9 -inches and the oval opening 3¹⁄₂ × 5 inches as shown at -<a href="#Fig37">A in Fig. 37</a>. Draw or transfer the design to the -surface of the metal and work it into shape as I have -previously described.</p> - -<p>Do not cut the opening or trim the metal sheet to -the size you want them until after you have hammered<span class="pagenum" id="Page89">[89]</span> -it as this draws the metal out. After you have -finished the front make a back for it of sheet tin or -brass, 5 inches wide and 6 inches long, and bend over -the edge of one end and both of the side edges ³⁄₈ inch -as shown at <a href="#Fig37">B</a>.</p> - -<p>Solder the edges to the back of the frame and then -solder a <i>stay</i>, or stand on the back of it. This completes -the frame and the photograph can be slipped -in it between the front and the back.</p> - -<div class="container" id="Fig37"> - -<img src="images/illo115.jpg" alt=""> - -<div class="split5050"> - -<div class="left5050"> -<p class="caption nobot"><i>THE HAMMERED -FRONT</i></p> -</div> - -<div class="right5050"> -<p class="caption nobot"><i>THE BACK OF -THE FRAME</i></p> -</div> - -<p class="thinline allclear"> </p> - -</div><!--split--> - -<p class="caption"><span class="smcap">Fig. 37. a repoussé photo frame</span></p> - -</div><!--container--> - -<h5 class="inline"><i>Cleaning and Polishing Brass, Copper and German -Silver.</i></h5> - -<p class="hinline">—To clean any of these metals mix some powdered -<i>rotten stone</i> with some machine oil and rub -them with a pad made of a soft flannel rag.</p> - -<p>To polish wipe off the rotten stone and oil perfectly -clean and then rub the work with a chamois skin -dampened with alcohol and on which you have put -some <i>red rouge</i>.</p> - -<p><span class="pagenum" id="Page90">[90]</span></p> - -<h5 class="inline"><i>Frosting, Coloring and Lacquering Metals.</i></h5> - -<p class="hinline">—You -will find recipes for finishing articles in these styles -in <a href="#Page56">Chapter III</a>.</p> - -<h3>Pierced Metal Work</h3> - -<p>This is by all odds the simplest and easiest of all -art metal work and you won’t need any practice to -make a good job; then the tools and materials cost but -very little and the finished work is really pretty.</p> - -<div class="container w50emmax" id="Fig38A"> - -<table class="images"> - -<tr> -<td class="image"><img src="images/illo116a.jpg" alt=""></td> -<td rowspan="4"> </td> -</tr> - -<tr> -<td class="caption lft"><span class="padl4"><i>THE MALLET</i></span></td> -</tr> - -<tr> -<td class="image"><img src="images/illo116b.jpg" alt=""></td> -</tr> - -<tr> -<td class="caption lft"><span class="padl4"><i>A TRACING POINT</i></span></td> -</tr> - -<tr> -<td class="image"><img src="images/illo116c.jpg" alt=""></td> -<td rowspan="2" class="image"><img src="images/illo116f.jpg" alt=""></td> -</tr> - -<tr> -<td class="caption lft"><span class="padl4">a <i>MODELING TOOL</i></span></td> -</tr> - -<tr> -<td class="image"><img src="images/illo116d.jpg" alt=""></td> -<td rowspan="2" class="caption"><i>THUMB<br>TACK</i></td> -</tr> - -<tr> -<td class="caption lft"><span class="padl4">b <i>MODELING TOOL</i></span></td> -</tr> - -<tr> -<td class="image"><img src="images/illo116e.jpg" alt=""></td> -<td rowspan="2" class="image"><img src="images/illo116g.jpg" alt="A"></td> -</tr> - -<tr> -<td class="caption lft"><span class="padl4"><i>STIPPLING AWLS</i></span></td> -</tr> - -</table> - -<p class="caption"><span class="smcap">Fig. 38a. the tools you need for pierced brass work</span></p> - -</div><!--container--> - -<h4 class="inline"><b>The Outfit to Do It With.</b></h4> - -<h5 class="inline noindent">—<i>The Tools.</i></h5> - -<p class="hinline">—These -are very few indeed and include (1) a pear-shaped -mallet for stippling; (2) a tracing point; (3) a couple -of modeling tools; (4) an awl with a tempered point, -and (5) a metal folder, all of which are shown at <a href="#Fig38A">A in -Fig. 38</a>.</p> - -<p>You will also need (a) a sheet of designs; (b) a -sheet of carbon, or impression paper; (c) a dozen or<span class="pagenum" id="Page91">[91]</span> -more split shanks to fasten the edges of the work together; -(d) a drawing board about 12 × 18 inches on -the sides of which the sheet metal is tacked while -you are working it, and (e) some thumb tacks for -tacking the work to the board.</p> - -<div class="container w45emmax" id="Fig38B"> - -<table class="images"> - -<colgroup> -<col class="w60pc"> -<col class="w40pc"> -</colgroup> - -<tr> -<td> </td> -<td rowspan="3" class="image"><img src="images/illo117b.jpg" alt=""></td> -</tr> - -<tr> -<td class="image"><img src="images/illo117a.jpg" alt=""></td> -</tr> - -<tr> -<td class="caption"><i>A CANDLE SHADE</i></td> -</tr> - -<tr> -<td> </td> -<td class="caption"><i>THE FINISHED -CANDLE SHADE</i></td> -</tr> - -</table> - -<p class="caption"><span class="smcap">Fig. 38b. a pierced brass candle shade</span></p> - -</div><!--container--> - -<p>You will need too, of course, the sheet metal and -this can be of brass, copper or German silver and you -can buy sheets of these metals that are already cut out -for candle shades, lanterns, photo-frames and numerous -other articles with the designs marked on them -ready to use<a id="FNanchor31" href="#Footnote31" class="fnanchor">[31]</a> -or you can buy the sheet metal and the<span class="pagenum" id="Page92">[92]</span> -designs separately and then transfer and cut them -out yourself.</p> - -<div class="footnote"> - -<p><a id="Footnote31" href="#FNanchor31" class="label">[31]</a> All tools and materials for pierced metal work can be bought -of Frost and Adams, Boston, Mass.</p> - -</div><!--footnote--> - -<p>An outfit for pierced brass work can be bought for -as little as 60 cents and you can buy any number of -brass or copper cutouts with the designs stamped on -them for 25 cents each, or of German silver for 50 -cents each.</p> - -<h4 class="inline"><b>How to Do the Work.</b></h4> - -<p class="hinline">—The first thing to do is to -lay the sheet of metal with the design on it on your -drawing board and fasten it there with thumb -tacks.</p> - -<p>Now with your stippling awl punch little holes -about ¹⁄₁₆ inch apart all along the outline of the design. -The background is then <i>stippled</i> with the awl, -that is, dotted all over but not punched through, and -the closer the dots are the prettier it will look.</p> - -<p>Use a small modeling tool to put the veins in the -leaves and after you have done this use a larger -modeling tool and shape up the leaves or whatever the -design may be.</p> - -<p>To do this grip the tool in your hand and press it -hard on the edge of the leaf and force it in toward -the vein and at the same time ease up on it. This is -all there is to the actual work of piercing brass.</p> - -<p>After you have made the design take some <i>brass -polish</i>, put it on a little wad of cheese cloth and rub -off the remaining marks and then polish it with a clean -cloth.</p> - -<p>Since the brass or other metal for pierced brass -work is very thin you will have to back it up with thin<span class="pagenum" id="Page93">[93]</span> -wood, although candle shades and other small articles -can be used as they are. A design for a candle shade -is shown at <a href="#Fig38B">B</a> and the finished candlestick at <a href="#Fig38B">C</a>, while -one for a toast panel that can be hung on the wall with -a Venetian bent iron hanger which I described on <a href="#Page76">page -76</a> is shown at <a href="#Fig38D">D</a>.</p> - -<div class="container w40emmax" id="Fig38D"> - -<img src="images/illo119.jpg" alt=""> - -<div class="illotext w15em"> - -<div class="centerblock"> - -<p>’Tis easy enough to be pleasant,<br> -When life goes by with a song;<br> -But the nan worth while,<br> -is the man who will smile,<br> -When everything else goes wrong.</p> - -</div><!--centerblock--> - -</div><!--illotext--> - -<p class="caption"><span class="smcap">Fig. 38d. a pierced brass toast sign</span></p> - -</div><!--container--> - -<h3 id="Ref04">Casting and Working Pewter</h3> - -<p>Since nearly all metals excepting tin and lead have -high melting points, it is hard to melt them unless you -have a regular furnace.</p> - -<h4 class="inline"><b>Something About Pewter.</b></h4> - -<p class="hinline">—But casting metals is -a fascinating process and you can do it by melting 25<span class="pagenum" id="Page94">[94]</span> -parts of lead and 75 parts of tin together which forms -an alloy called <i>pewter</i>.</p> - -<p>This alloy is as old as the hills and for ten or -eleven centuries before the golden age of invention—that -is to say the beginning of the 19th century—pewter -utensils were used in nearly every -home in every civilized country.</p> - -<p>Then came the invention of cheap processes for making -pottery and glass and those good old hard alloys -known as <i>britannia metal</i>, which is formed of tin, -copper and antimony, and <i>German silver</i>, which is -German all right, for it was first made at Hildburghausen, -Germany, but it is not silver at all for it is -formed of nickel, zinc and copper, went entirely out -of use.</p> - -<p>But there is a dignity and a beauty about pewter that -none of the other common metals have and it may be -revived one of these days for efforts are now being -made to produce it again in all its former glory.</p> - -<h4 class="inline"><b>How to Make Pewter.</b></h4> - -<p class="hinline">—I do not know of any -place where you can buy pewter but you can easily -make the alloy yourself.</p> - -<p>You can get the lead in your home town wherever -you live at any plumbing shop but you may not be -able to get the tin so easily. You can, however, get -it by sending to the <i>Conley Tin Foil Company</i>, 521 -West 25th Street, New York, and at the present time -they are quoting <i>pig tin</i> in blocks at 75 cents a pound.</p> - -<p>When you have the lead and the tin melt the lead in -an iron ladle, see <a href="#Fig39">Fig. 39</a>, over the kitchen fire and<span class="pagenum" id="Page95">[95]</span> -skim off the <i>dross</i>, that is, the impurities in it that -come to the surface, and then put in the tin. After -both are melted stir them well and then pour the alloy -thus formed, which is pewter, in a pan that is oiled -with sweet oil, to keep it from sticking and so make -sheets of it of whatever thickness you want.</p> - -<div class="container" id="Fig39"> - -<img src="images/illo121.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 39. iron ladle for melting pewter</span></p> - -</div><!--container--> - -<h4 class="inline"><b>About Working Pewter.</b></h4> - -<p class="hinline">—Pewter can be worked -like any other malleable metal, only easier because it -is softer and more ductile, hence it can be hammered -into any shape.</p> - -<p>It can be cast as you will presently see and it can be -soldered by using a flux of tallow, Gallipoli oil or -Venice turpentine and <i>pewterer’s solder</i>, which is made -of 1 part of lead, 1 part of tin and 2 parts of <i>bismuth</i>.<a id="FNanchor32" href="#Footnote32" class="fnanchor">[32]</a> -This solder melts at 203 degrees <i>Fahrenheit</i>, -that is at a temperature of 9 degrees less than that at -which water boils.</p> - -<div class="footnote"> - -<p><a id="Footnote32" href="#FNanchor32" class="label">[32]</a> Bismuth is a reddish white metal.</p> - -</div><!--footnote--> - -<h4 class="inline"><b>How to Cast Pewter.</b></h4> - -<p class="hinline">—The way in which pewter -is usually cast is by making molds of iron and brass -and pouring the metal into them. But you can do -a very good job of casting pewter by making and using -plaster of Paris molds.</p> - -<p>In making any kind of castings you need a flask,<span class="pagenum" id="Page96">[96]</span> -that is a wooden frame made in halves, as shown in -<a href="#Fig40">Fig. 40</a>; the top half of the flask is called the <i>cope</i> -and this must be fitted with pins that set in holes in -the bottom of the frame or <i>drag</i>, as it is called.</p> - -<div class="container" id="Fig40"> - -<img src="images/illo122.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 40. how a pewter casting is made</span></p> - -</div><!--container--> - -<p>When these pins set in the holes they keep the top -and bottom parts of the flask together so that after -the mold is made they can be taken apart and the -pattern removed and then when they are put together -again ready for the metal to be poured they will be -exactly even. Make the top and bottom halves of -the flask a couple of inches larger all round and a -couple of inches deeper than the size of the pattern -you are going to cast.</p> - -<h4 class="inline"><b>The Patterns Necessary.</b></h4> - -<p class="hinline">—You can saw or turn -or carve out of wood anything you want to cast in -pewter, provided it is not too intricate, and after sandpapering -it nice and smooth all over give it a couple -of coats of <i>shellac varnish</i>.<a id="FNanchor33" href="#Footnote33" class="fnanchor">[33]</a></p> - -<div class="footnote"> - -<p><a id="Footnote33" href="#FNanchor33" class="label">[33]</a> This can be bought already made at paint stores or you can -make it by dissolving some yellow shellac in alcohol.</p> - -</div><!--footnote--> - -<p><span class="pagenum" id="Page97">[97]</span></p> - -<p>If it is your idea to make table-ware of pewter you -can use ordinary china dishes for your patterns, provided -they are without handles, but before making a -mold with any kind of a pattern in plaster oil it well -all over with <i>sweet oil</i>, using a brush for the purpose, -so that it will not stick and then you can <i>draw</i> -it easily.</p> - -<h4 class="inline"><b>Making the Mold.</b></h4> - -<p class="hinline">—Lay the drag, that is the -lower half of the flask, on a board or a table; mix -dental plaster of Paris with water until it is about as -thick as batter and fill the drag with it.</p> - -<p>Just before the plaster begins to set, that is, harden, -take your pattern, whether it is one you have made or -a china dish, oil it and press it down into the plaster -until it is nearly even with the top edge of the pattern -and let it stay there until the plaster is hard, that -is, over night.</p> - -<p>Then brush sweet oil over the top of both the pattern -and the hard plaster which must come about <i>flush</i>, -that is even, with the top of the drag. Now put on -the cope and fill it with plaster, smooth it off even with -the top edge and let the plaster get hard.</p> - -<p>Your next move is to lift the cope from the drag -which you can do without trouble and then lift the -pattern from the drag, using the point of a knife if it -seems inclined to stick.</p> - -<p>Drill a ¹⁄₄ inch hole through the plaster in the cope, -fit the cope to the drag again and then pour in the -pewter. When it is cold take the flask apart, take<span class="pagenum" id="Page98">[98]</span> -the casting out gently and don’t spoil it even if you -have to break the mold.</p> - -<p>Where cups, tankards or other hollow vessels are to -be cast make a mold for it just as though it was a -solid piece; now pour in the melted pewter and when -it has cooled enough to form a solid layer turn the -mold upside down and let the melted metal run out -which will leave it hollow. If handles are needed -cast them separately and solder them on to the body -of the vessel. Some finished pewter ware is shown -at <a href="#Fig40C">C</a>.</p> - -<div class="container w45emmax" id="Fig40C"> - -<img src="images/illo124.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 40c. home made pewter ware</span></p> - -</div><!--container--> - -<h4 class="inline"><b>Finishing the Ware.</b></h4> - -<p class="hinline">—Plates and the like can be -scraped with a steel scraper and when they are nice -and smooth rub them with a rag dipped in oil and -whiting, but do not polish them.</p> - -<p>If you have a turning lathe of any kind you can -put your cups and other round objects in it and turn<span class="pagenum" id="Page99">[99]</span> -it up with a <i>bent inside</i> turning tool, a <i>flat tool</i> and -a <i>round point tool</i> such as is used for turning brass, -ivory, etc., and which you can buy for a quarter -apiece,<a id="FNanchor34" href="#Footnote34" class="fnanchor">[34]</a> and this will leave the pewter bright and -beautiful.</p> - -<div class="footnote"> - -<p><a id="Footnote34" href="#FNanchor34" class="label">[34]</a> These tools can be bought of Luther M. Wightman, Milk -Street, Boston, Mass.</p> - -</div><!--footnote--> - -<h3>Engraving on Metal</h3> - -<p>Engraving on metal is a beautiful art. The method -is simple and the effect is striking but it requires a good -deal of patience and long practice to do really good -work.</p> - -<div class="container w45emmax" id="Fig41"> - -<img src="images/illo125.jpg" alt=""> - -<p class="caption nobot"><span class="smcap">Fig. 41. tools for engraving on metal</span></p> - -<div class="centerblock"> - -<p class="caption subcaption">A. Shapes of gravers.<br> -B. Handles for gravers.</p> - -</div><!--centerblock--> - -</div><!--container--> - -<h4 class="inline"><b>The Tools That Are Used.</b></h4> - -<p class="hinline">—Engraving tools, or -<i>gravers</i> as they are called, are made in ten or a dozen -shapes but the <i>knife</i>, <i>round</i> and <i>lozenge</i> gravers will be<span class="pagenum" id="Page100">[100]</span> -enough to do all ordinary work with. The different -shapes are shown at <a href="#Fig41">A in Fig. 41</a>.</p> - -<p>All of the gravers are about the same length, that -is 4¹⁄₂ or 5 inches, and they are fitted with knob shaped -handles a third of which has been cut away as shown -at <a href="#Fig41">B</a>, so that the graver can be gripped in the palm of -the hand with the flat side against it which keeps the -tool in the right position. The way to hold a graver -is shown at <a href="#Fig41C">C</a>.</p> - -<div class="container w45emmax" id="Fig41C"> - -<img src="images/illo126.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 41c. how to hold a graver</span></p> - -</div><!--container--> - -<h4 class="inline"><b>How to Engrave on Metal.</b></h4> - -<p class="hinline">—If the object to be -engraved is very small it should be fixed to a block -of wood with the Burgundy pitch compound above -described, but if it is a large object it need not be -mounted.</p> - -<p>In either case an <i>engraving pad</i>, that is, a round, -thick leather pad filled with sand, is a very great convenience -to rest the work on because it permits the -work to be easily turned in any direction and held at -any angle while it is being engraved.</p> - -<p><span class="pagenum" id="Page101">[101]</span></p> - -<div class="container w40emmax" id="Fig41D"> - -<img src="images/illo127.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 41d. an engraving on a sheet of copper</span></p> - -</div><!--container--> - -<p>Rolled sheet copper is a good metal to practice on -and you can trace the design you want to engrave on -it by dabbing a thin film of <i>engraver’s wax</i><a id="FNanchor35" href="#Footnote35" class="fnanchor">[35]</a> on the -metal surface with your finger and then sketching the<span class="pagenum" id="Page102">[102]</span> -outline with a <i>bone stylus</i>, that is a piece of bone having -a sharp point. An example of art engraving is -shown at <a href="#Fig41D">D in Fig. 41</a>.</p> - -<div class="footnote"> - -<p><a id="Footnote35" href="#FNanchor35" class="label">[35]</a> You can use <i>beeswax</i> but it is better to make a wax by melting -together 3 parts of <i>beeswax</i>, 3 parts of <i>tallow</i>, 1 part of -<i>Canada balsam</i> and 1 part of <i>olive oil</i>. Or you can buy a small -cake of <i>Chinese white</i>, wet your finger, rub it on the white and -then dab it on the metal surface.</p> - -</div><!--footnote--> - -<hr class="chap"> - -<div class="chapter"> - -<p><span class="pagenum" id="Page103">[103]</span></p> - -<h2 class="nobreak">CHAPTER V<br> -<span class="chaptitle">DRAWING SIMPLY EXPLAINED</span></h2> - -<h3>Free-hand Drawing</h3> - -</div><!--chapter--> - -<p>A picture made by the hand and eye and without -the aid of a rule and compass is called <i>free-hand -drawing</i>.</p> - -<p>To be able to do free-hand drawing is one of the -nicest accomplishments you can have for then you -can sketch the things you see and want to remember; -and, further, sketches made with a pencil or pen and -ink are, to my way of thinking, just as interesting as -photographs provided they are well done.</p> - -<h4 class="inline"><b>Talent versus Practice.</b></h4> - -<p class="hinline">—Some fellows have a -natural bent for sketching and are what you might -call born artists, while others seem to be entirely -minus this talent and the only way they can ever learn -to sketch is by following certain rules and then practicing.</p> - -<p>Now the chances are you have a little talent but -whether you have or not if you will follow the simple -instructions I have written down in this chapter you -will be surprised to find what really clever pictures -you can draw.</p> - -<h4 class="inline"><b>Pictures for You to Draw.</b></h4> - -<p class="hinline">—There are two kinds<span class="pagenum" id="Page104">[104]</span> -of free-hand sketches for you to do and these are (1) -of <i>life models</i> and (2) of <i>still life</i>, that is, fruit, flowers, -furniture and inanimate objects of all kinds.</p> - -<p>I shall tell you first how to make simple drawings of -living figures including man and beast and by beginning -where your savage ancestor left off you will be -able to at least represent anything your fancy dictates.</p> - -<h4 class="inline"><b>Simple Line Sketches.</b></h4> - -<p class="hinline">—As you will see by looking -at A and B in <a href="#Fig42">Fig. 42</a>, the sketches of the man and -horse consist of merely straight lines but you will also -observe that A looks like a boxer because the <i>action</i> is -there.</p> - -<div class="container" id="Fig42"> - -<img src="images/illo130.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 42. a simple line drawing of a man and a horse</span></p> - -</div><!--container--> - -<p>This is because when I sketched it I was careful to -note the exact position of the boxer’s head, arms, legs -and body as they appeared at that given moment. -The keynote in sketching a figure in action is always -to draw it, not as you wish or believe it to look but -as it actually is.</p> - -<p>The line sketches <a href="#Fig42">A and B</a> only look as like a man<span class="pagenum" id="Page105">[105]</span> -landing a right, and a horse coming down the home -stretch as they do because (a) all the lines are properly -<i>proportioned</i>, that is, of the right length when -compared with each other, and (b) they are set in the -correct positions. The way to become a good judge -of proportion is always to notice the <i>relative</i> sizes of -the things you draw.</p> - -<h4 class="inline"><b>Sketching Simple Outline Figures.</b></h4> - -<p class="hinline">—When you -can sketch straight line figures to show men and animals -in action you can then draw outlines around -them and so make them much more realistic as shown -at A and B in <a href="#Fig43">Fig. 43</a>.</p> - -<div class="container" id="Fig43"> - -<img src="images/illo131.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 43. simple outline drawing of a boxer and a race horse</span></p> - -</div><!--container--> - -<p>To do this draw a straight line sketch first and -then draw the outline around it, when you can rub -out the straight lines if you want to. In these outline -sketches you will see that only the lines that are -actually needed to give the picture the <i>contour</i>, that is, -the shape of the figure, or body, are used.</p> - -<h4 class="inline"><b>The Proportions of the Human Figure.</b></h4> - -<p class="hinline">—If you<span class="pagenum" id="Page106">[106]</span> -will remember when you are drawing a picture of the -human form that the whole figure from neck to toe -should be 7 times as long as the head; that the body -proper, or <i>torso</i> as it is called, is 4 times as long as the -head; that the arms are as long as the body, and that -the legs should be 4 times the length of the head -measured to the inside of the crotch, as you will see -if you will look at <a href="#Fig44A">A in Fig. 44</a>, you will have it in proportion.</p> - -<div class="container w30emmax" id="Fig44A"> - -<img src="images/illo132.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 44a. the proportions of the human body</span></p> - -</div><!--container--> - -<h4 class="inline"><b>How to Draw Faces.</b></h4> - -<p class="hinline">—You can easily draw fairly -natural looking faces if you will rule off a number of<span class="pagenum" id="Page107">[107]</span> -squares on a sheet of paper as shown at <a href="#Fig44B">B</a> and <a href="#Fig44C">C in -Fig. 44</a>.</p> - -<p>The full view of the head of a human being is -shaped like an egg standing on its small end, and the -<i>profile</i> (pronounced pro´-feel) view, that is the side -view of the head, is more nearly square; if in the latter -case the square is divided into two triangles, the face -will be found to nearly fill one of them and the hair -the other.</p> - -<div class="container w30emmax" id="Fig44B"> - -<img src="images/illo133.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 44b. a full view of the face</span></p> - -</div><!--container--> - -<p>Both of these figures show the right sizes to make -the eyes, ears, nose and mouth, that the eyes are on -a line with the <i>helix</i>, or upper border of the ears and -that the top of the nose is on a line with the <i>lobe</i>, or -lower edge of the ear. It is mighty good practice to -sketch the faces of your friends in this fashion.</p> - -<h4 class="inline"><b>Sketching Still Life Objects.</b></h4> - -<p class="hinline">—It is always more<span class="pagenum" id="Page108">[108]</span> -or less hard to sketch inanimate objects with anything -like a true portrayal of them from memory but it is -quite easy to do so if you have the object itself set up -before you to pattern after and then draw it as -you see it.</p> - -<div class="container w30emmax" id="Fig44C"> - -<img src="images/illo134.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 44c. a profile view of the face</span></p> - -</div><!--container--> - -<p>If you can do a creditable drawing in this manner -with your eye and hand alone it is art, but if you use -a rule or a pair of dividers to measure off the proportions -and then mark them on your paper, it degenerates -into a purely mechanical process; but you can take -your choice and do it whichever way you want to.</p> - -<h4 class="inline"><b>Drawing in Perspective.</b></h4> - -<p class="hinline">—The first thing to know -about drawing in perspective is what <i>perspective</i> -means. To do a drawing of an object or a view on -a sheet of paper as it appears to the eye you must draw -it in perspective.</p> - -<p>As an illustration, when you look down a railroad<span class="pagenum" id="Page109">[109]</span> -track you will see that the rails look very far apart -at your feet, but in the distance they seem to come -to a point and then vanish; this is quite natural for -nearby objects always look larger than when they -are at a distance.</p> - -<p>So too, when you look at the top of a box the edge -<i>a</i> will seem longer than the edge <i>b</i>, which is farther -away from the eye, and the lines <i>c</i> and <i>d</i> which form -the other edges would meet if they were projected as -shown by the dotted lines at <a href="#Fig45A">A in Fig. 45</a>, and the -same thing is true for the front and the side of the -box.</p> - -<div class="container" id="Fig45A"> - -<img src="images/illo135.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 45a. the vanishing points of a perspective drawing</span></p> - -</div><!--container--> - -<h5 class="inline"><i>The Vanishing Point.</i></h5> - -<p class="hinline">—So when you draw a box -or any other object in perspective the lines will meet -if you draw them out far enough and then vanish, -and hence this is called the <i>vanishing point</i>.</p> - -<p>To find the vanishing point of the surface of an -object, such as the top of a box, hold a pencil out in -front of yourself at arm’s length and shut one eye, -as shown at <a href="#Fig45B">B</a>; then tilt the -pencil until it follows the<span class="pagenum" id="Page110">[110]</span> -side line that you are going to draw; now open your -eye and you will see that the line of the box that -seemed at first to be straight is really slanting.</p> - -<p>Draw a line on your paper at this slant, or <i>angle</i> -as it is called, and do the same with the other line and -draw it, when the two lines will meet and this is the -vanishing point. You can draw in now the front and -back lines of the top.</p> - -<div class="container" id="Fig45B"> - -<img src="images/illo136.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 45b. how to find the vanishing point</span></p> - -</div><!--container--> - -<p>Houses and all other objects should be drawn with -vanishing points if they are to conform to the first -principles of art, but for certain kinds of mechanical -drawing art is sacrificed for the sake of showing the -sizes of the object and an abnormal picture results -which is called an <i>isometric perspective</i>.</p> - -<p>But houses and all other large objects should be -drawn with vanishing points or they will not look real. -A barn drawn in this way is shown at <a href="#Fig45C">C</a>, and you<span class="pagenum" id="Page111">[111]</span> -will see that the roof looks perfectly natural since -the lines forming it run to vanishing points.</p> - -<div class="container" id="Fig45C"> - -<img src="images/illo137.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 45c. the vanishing points put to use</span></p> - -</div><!--container--> - -<h4 class="inline"><b>How to Shade a Drawing.</b></h4> - -<p class="hinline">—When you do a -drawing from an object you will see that the light -falling on certain parts of it seems white, or <i>high -lights</i>, as they are called, and on other parts where it -does not fall it is dark.</p> - -<p>To shade your drawing so that it will show the -lights and shadows exactly as the object does, you -should study the latter, and put the <i>shading</i>, as it is -called, on the former just as nearly like it as you can. -But in shading a drawing there must be no sharp lines -to show where the light leaves off and the shadow -begins, but you must make them merge gradually one -into the other, as shown at <a href="#Fig45A">A in Fig. 45</a>.</p> - -<h3>Working Drawings</h3> - -<p>And now we come to drawings of another kind and -these are not intended to please the eye but to work -from, hence they are called <i>working drawings</i>.</p> - -<p>When most boys, and many men, want to make -anything of wood or metal they get busy with their<span class="pagenum" id="Page112">[112]</span> -tools forthwith and whack it out willy-nilly and of -course a punk job results.</p> - -<p>Now the right way to make an article—unless you -are going to crochet a sweater—is to (1) see it in -your mind’s eye, (2) then draw it out on paper to <i>scale</i>, -and (3) build it up from the <i>plan</i> as the picture is -called. By working this way you will be able to figure -out just how much material you will need for it; see -exactly how the various parts fit together, and know -that it will look just right when it is done.</p> - -<h4 class="inline"><b>Drawing Tools You Should Have.</b></h4> - -<p class="hinline">—Drawing -instruments, or <i>drawing tools</i> as they are commonly -called, consist for the most part of (1) one or more -pairs of <i>dividers</i>; (2) one or more pairs of <i>compasses</i> -with pen and pencil points, and (3) one or more <i>ruling -pens</i>. One of each of the above tools will be -enough for you to begin with. A cheap set is shown -in <a href="#Fig46">Fig. 46</a>.</p> - -<div class="container" id="Fig46"> - -<img src="images/illo138.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 46. the drawing tools you need</span></p> - -</div><!--container--> - -<p>Then you will need (4) a rule, or <i>scale</i> as it is<span class="pagenum" id="Page113">[113]</span> -called; (5) a <i>protractor</i>; (6) a T <i>square</i> 20 inches -long; (7) a 30 degree <i>triangle</i> 5 inches long; (8) -some <i>drawing paper</i><a id="FNanchor36" href="#Footnote36" class="fnanchor">[36]</a> not less than 10 × 12 inches; -(9) a couple of medium hard (HHH) lead pencils,<a id="FNanchor37" href="#Footnote37" class="fnanchor">[37]</a> -(10) a good <i>rubber eraser</i>;<a id="FNanchor38" href="#Footnote38" class="fnanchor">[38]</a> (11) a bottle of Higgins’ -<i>India ink</i>,<a id="FNanchor39" href="#Footnote39" class="fnanchor">[39]</a> (12) a few <i>thumb tacks</i>, and (13) a -<i>drawing board</i> about 12 × 17 inches. And now let’s -see what these tools and other things are for and how -they are used.</p> - -<div class="footnote"> - -<p><a id="Footnote36" href="#FNanchor36" class="label">[36]</a> Get a 2-ply bristol board with a medium or smooth surface.</p> - -<p><a id="Footnote37" href="#FNanchor37" class="label">[37]</a> <i>Koh-i-noor</i> or <i>Venus</i> pencils are good ones.</p> - -<p><a id="Footnote38" href="#FNanchor38" class="label">[38]</a> Get Faber’s red rubber <i>Van Dyke</i>.</p> - -<p><a id="Footnote39" href="#FNanchor39" class="label">[39]</a> This is a prepared India ink but you can make your own by -rubbing up <i>stick India ink</i> with water.</p> - -</div><!--footnote--> - -<p>A pair of dividers is a tool having hinged legs, the -free ends of which are pointed; they are used to take, -mark off and subdivide distances.</p> - -<p>The compasses are made like the dividers, but one -end has a needle point and the other is hollow so that -either a pencil or a drawing pen point can be slipped -into it; this tool is used to draw curves and circles, -either with a pencil or in ink.</p> - -<p>A ruling pen is formed of two bowed steel blades -having a screw adjustment so that they can be forced -together or drawn apart and so make lines of varying -widths. Not only is a ruling pen different from a -writing pen but the ink that is used with it is thicker -than an ordinary writing ink. This pen is used to -make straight lines by running it along the edge of -a rule or T square.</p> - -<p>A protractor is a semi-circle of brass or of German<span class="pagenum" id="Page114">[114]</span> -silver and it is divided into 180 <i>degrees</i>—since it is -half of a circle and there are 360 degrees in a circle. -You can buy one for a quarter.</p> - -<p>By placing the edge of your rule in the center of the -straight edge of the protractor and laying it on any -one of the lines—they are numbered from 0 to 180—you -will find the number of degrees the edge of the -rule is from the horizontal.</p> - -<div class="container w50emmax" id="Fig47"> - -<img src="images/illo140.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 47. the t square and triangle on the drawing board</span></p> - -</div><!--container--> - -<p>The T square is laid with the <i>head</i>, that is the -short thick piece, against the left hand edge of the -drawing board which brings the <i>blade</i>, that is the long -thin piece flat on and across the board. The triangle is -placed against the straight edge. The triangle is laid -on the board with one of its edges against the blade -of the T square as shown in <a href="#Fig47">Fig. 47</a>.</p> - -<h4 class="inline"><b>Simple Working Drawings.</b></h4> - -<p class="hinline">—There are two -kinds of working drawings that will be of use to you -and these are, (1) <i>plan drawings</i>, and (2) <i>isometric</i> -(pronounced i-so-met´-ric) <i>drawings</i> and you will find -both of these quite easy to do.</p> - -<p><span class="pagenum" id="Page115">[115]</span></p> - -<h5 class="inline"><i>Making Plan Drawings.</i></h5> - -<p class="hinline">—Suppose now you want to -draw the plans of a box which, let’s imagine, is to be -5 inches high, 6 inches wide and 8 inches long. The -first thing to do is to draw out a view of the bottom, -which also serves as the top since they are alike, and -you will have a rectangle like that shown at <a href="#Fig48A">A in -Fig. 48</a>, and mark the dimensions on it, that is, the -<i>width</i> and the <i>length</i> of the box. This you do by running -a couple of arrows in each direction and marking -in the size.</p> - -<div class="container w45emmax" id="Fig48A"> - -<img src="images/illo141.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 48a. the plan drawings for a box</span></p> - -</div><!--container--> - -<p>Next draw one of the sides as shown at <a href="#Fig48A">B</a> and this -will give you the <i>height</i> and the <i>length</i> of the box and -mark in the sizes, that is 5 and 8 inches accordingly. -Finally draw the end and you will have the <i>height</i> and -<i>width</i> of the box as shown at <a href="#Fig48A">C</a> and again you mark in -the dimensions.</p> - -<p>It is easy to see now that if you have all three dimensions,<span class="pagenum" id="Page116">[116]</span> -namely <i>length</i>, <i>breadth</i> and <i>thickness</i>, and -that if you make a box in wood or metal it will look -like the picture shown at <a href="#Fig48D">D</a> which is in isometric perspective.</p> - -<div class="container" id="Fig48D"> - -<img src="images/illo142.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 48d. the box drawn in isometric perspective</span></p> - -</div><!--container--> - -<h5 class="inline"><i>Isometric Perspective Drawings.</i></h5> - -<p class="hinline">—The kind of perspective -drawings I told you how to do under the -caption of <i>Drawing in Perspective</i> is true perspective -but engineers do drawings which they call <i>isometric -perspective</i>, that is, while the object seems to stand -out in relief there are no vanishing points.</p> - -<p>This kind of perspective is purely mechanical and -not in the least artistic but it is a great aid when you -intend to make anything, for you can still draw the -lines to scale and see exactly how the finished object -will look.</p> - -<p>To make a drawing of this kind draw a line on a<span class="pagenum" id="Page117">[117]</span> -sheet of paper near the bottom and two 30 degree -lines from the ends and a vertical line through them -where they meet as shown at <a href="#Fig49A">A in Fig. 49</a>.</p> - -<p>Now there are four ways by which you can get the -30 degree lines on paper and these are (1) to buy -<i>isometric ruled paper</i>, that is paper on which the lines -are already ruled; you can buy this paper for 15 cents -a quire of any dealer in drawing materials or of -Keuffel and Esser, 127 Fulton Street, New York City. -This is the easiest and best way.</p> - -<div class="container w50emmax" id="Fig49A"> - -<img src="images/illo143.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 49a. how the lines for isometric drawings are made</span></p> - -</div><!--container--> - -<p>(2) Take a sheet of white paper exactly 5¹⁄₈ inches -wide and 10 inches long and draw two diagonal lines -from corner to corner so that they will cross each -other, then draw a vertical line through the middle and -a horizontal line near the bottom. The diagonal -and horizontal lines will be 30 degrees apart.</p> - -<p>(3) By laying a 30 degree triangle on your T square -and drawing a line along the 30 degree side of it as<span class="pagenum" id="Page118">[118]</span> -shown in <a href="#Fig47">Fig. 47</a>; and (4) by laying off 30 degree -lines with a protractor.</p> - -<p>To do this tack a sheet of paper on your drawing -board and draw a horizontal line near the bottom of -the paper with your T square; put your protractor on -the horizontal line near one end, lay the edge of the -rule on the center of the protractor and exactly on the -30 degree scale mark and then draw a line.</p> - -<div class="container" id="Fig49B"> - -<img src="images/illo144.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 49b. a sheet of isometric drawing paper</span></p> - -</div><!--container--> - -<p>Slide the protractor on the opposite side of the -board, draw another 30 degree diagonal line so that -it will cross the first one and draw a vertical line down -through the middle of the paper.</p> - -<p>Having, now, your sheet of isometric ruled paper -you are ready to do the drawing. Whatever the picture -is to be, all you need to do is to follow the 30 -degree lines and the vertical lines and you simply -can’t help getting it in perspective.</p> - -<p>In drawing isometric perspective circles, such as -wheels, disks and the like, they are always shown as -<i>ellipses</i>, that is, closed oblong curves. To draw an<span class="pagenum" id="Page119">[119]</span> -<i>isometric ellipse</i>,<a id="FNanchor40" href="#Footnote40" class="fnanchor">[40]</a> make it in the proportion of ⁵⁄₈ to 1, -that is, if it is ⁵⁄₈ inch wide, as we will call its <i>minor -axis</i>, then make it 1 inch long, as we will call its -<i>major axis</i>, as shown at <a href="#Fig49C">C in Fig. 49</a>, and you will -have one that is near enough the right shape for your -purpose; thus if you want to show a tube or a pipe, -draw it as pictured at <a href="#Fig49C">C</a>. Now with these few principles -well in mind you can make a working drawing -of nearly anything you please.</p> - -<div class="footnote"> - -<p><a id="Footnote40" href="#FNanchor40" class="label">[40]</a> A more complete description of isometric ellipses will be -found in <i>Inventing for Boys</i> by the present author and published -by Frederick A. Stokes Co., of New York.</p> - -</div><!--footnote--> - -<div class="container" id="Fig49C"> - -<img src="images/illo145.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 49c. the proportions of an isometric ellipse</span></p> - -</div><!--container--> - -<h3>Some Simple Aids to Drawing</h3> - -<h4 class="inline"><b>How to Draw a Circle.</b></h4> - -<p class="hinline">—Should you ever want to -draw a circle and have no compasses at hand or should -you want to draw a larger circle than you can with -your compasses tie a bit of strong thread to a pin, -make a loop in the string at whatever length you want<span class="pagenum" id="Page120">[120]</span> -the <i>radius</i>—that is half of the diameter of the circle—to -be.</p> - -<p>This done, drive the pin in at the point where you -want the center of the circle, put the point of a -lead pencil in the loop and move it around the pin, as -shown at <a href="#Fig50A">A in Fig. 50</a>, keeping the thread taut and a -perfect circle, nearly, will result.</p> - -<div class="container w50emmax" id="Fig50A"> - -<img src="images/illo146.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 50a. how to draw a circle with a thread</span></p> - -</div><!--container--> - -<h4 class="inline" id="Ref17"><b>How to Draw a Spiral.</b></h4> - -<p class="hinline">—Make a loop in one end -of a thread as before and tie the other end tightly to -a large pin; wind the thread around the pin until all of -it is on except the loop; push the pin through the -paper on which you want to draw the spiral and into -the drawing board as shown at <a href="#Fig50B">B</a>.</p> - -<p>Next put the point of the pencil in the loop and -move it around the pin just as you did in making the -circle and you will find that you have drawn a very -pretty geometrical spiral which is known as the <i>spiral<span class="pagenum" id="Page121">[121]</span> -of Archimedes</i>. It is so called because Archimedes -was the first to explain that it was caused by a point -moving with uniform angular speed and receding from -the center at a constant rate.</p> - -<div class="container w50emmax" id="Fig50B"> - -<img src="images/illo147.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 50b. how to draw a spiral with a thread</span></p> - -</div><!--container--> - -<h4 class="inline"><b>How to Draw an Ellipse.</b></h4> - -<p class="hinline">—An ellipse can be -drawn in the same way as a circle, that is, by means -of a string; but instead of one pin you will need two -and each pin is driven in at the <i>foci</i> of the ellipse you -are to draw as shown at <a href="#Fig50C">C</a>. Simply make a loop of -the string, slip it over the pins, put the pencil point -in the loop and move it around the pins when an -ellipse will be formed.</p> - -<h4 class="inline"><b>How to Make and Use a Pantagraph.</b></h4> - -<p class="hinline">—A pantagraph -is a simple mechanical linkage for enlarging, -copying or reducing the size of a picture. It is shown -in <a href="#Fig51">Fig. 51</a>.</p> - -<p>To make one of these instruments get four strips of -wood about ¹⁄₈ inch thick, ¹⁄₂ an inch wide, and 18 or<span class="pagenum" id="Page122">[122]</span> -20 inches long. Now drill ¹⁄₁₆ inch holes ¹⁄₄ inch apart -in each stick the whole length of it. In the ends of -three of the sticks make a hole the size of a lead -pencil.</p> - -<div class="container w40emmax" id="Fig50C"> - -<img src="images/illo148a.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 50c. how to draw an ellipse with a thread</span></p> - -</div><!--container--> - -<div class="container" id="Fig51"> - -<img src="images/illo148b.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 51. how a pantagraph is made and used</span></p> - -</div><!--container--> - -<p>Make two tin tubes each ¹⁄₂ an inch long and fit them -into the holes in the ends of the sticks and push a bit -of pencil through each tube; screw a block of wood<span class="pagenum" id="Page123">[123]</span> -¹⁄₂ an inch thick to your drawing board and screw one -end of another stick to the block and the sticks together -with screw eyes.</p> - -<p>Now tack a sheet of paper under the pencil in the -free end of the stick and a picture under the pencil -in the jointed ends of the sticks, then trace the picture -with the latter, and the other pencil will make an -enlargement of the picture. By changing the position -of the sticks a picture can be copied or reduced in the -same way. A pantagraph can be bought for as little -as 25 cents or for as much as $125.00.<a id="FNanchor41" href="#Footnote41" class="fnanchor">[41]</a></p> - -<div class="footnote"> - -<p><a id="Footnote41" href="#FNanchor41" class="label">[41]</a> A pantagraph can be bought of any dealer in art supplies or -drawing materials.</p> - -</div><!--footnote--> - -<div class="container" id="Fig52"> - -<img src="images/illo149.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 52. how a reflecting drawing board is made and used</span></p> - -</div><!--container--> - -<h4 class="inline"><b>How to Make a Reflecting Drawing Board.</b></h4> - -<p class="hinline">—This -is a very simple and easily made optical apparatus -for copying pictures and making drawings of flat objects. -Get a smooth board, or your drawing board<span class="pagenum" id="Page124">[124]</span> -will do; make a wood frame and fit an 8 × 10 sheet of -clear glass in it and screw the frame to the middle -of the board as shown in <a href="#Fig52">Fig. 52</a>.</p> - -<p>Now all you have to do is to lay a picture or a flat -object, such as a leaf or a butterfly, on one side of -the glass and a sheet of paper on the other side and -look into the glass at a sharp slant, or <i>acute angle</i> -would be the better term, and you will see the picture -projected plainly on the paper so that you can easily -draw it in with a pencil.</p> - -<h4 class="inline" id="Ref06"><b>How to Make Tracings.</b></h4> - -<p class="hinline">—A very easy and effective -way to copy any picture already drawn, or -even a photograph, <i>in line</i>, is to use <i>tracing paper</i>.</p> - -<p>This kind of paper, which you can buy of any -dealer in drawing materials, is quite transparent and -very tough. To make a tracing lay the drawing you -want to copy on your drawing board, then lay the -tracing paper on top of it, rough side up, and push a -thumb tack into each corner to hold them together.</p> - -<p>Now trace the outline of the picture with a pencil -and then draw in the lines with <i>India ink</i>. If the -paper does not take the ink readily rub the surface of -it with a little powdered chalk on a soft rag. You -can make as many duplicate copies as you want by -using a <i>printing frame</i> and <i>blue paper</i> according to the -<a href="#Ref05">directions</a> given in the <a href="#Page131">next chapter</a>.</p> - -<h4 class="inline"><b>To Make Lasting Impressions.</b></h4> - -<p class="hinline">—Here is an easy -way to make lasting impressions of your own and -your friends’ finger prints and hands.</p> - -<p>Take a sheet of heavy glazed white paper, say 5 × 7<span class="pagenum" id="Page125">[125]</span> -inches, and hold it over a kerosene lamp with the -chimney removed and the top of the burner thrown -back so that the flame will smoke like a locomotive. -Keep moving the paper about to make the soot, which -is simply particles of nearly pure carbon, cover the -surface of the paper as evenly as possible.</p> - -<div class="container w40emmax" id="Fig53"> - -<img src="images/illo151.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 53. a lasting carbon (soot) impression of your hand</span></p> - -</div><!--container--> - -<p><span class="pagenum" id="Page126">[126]</span></p> - -<p>Lay the smoked paper on a table and then press the -palm of your hand flat down on it; you must be careful -not to press your fingers down too hard or the -sharpness of the fine lines will be destroyed. To get -a clear impression of the lines in the hollow of your -hand press down on the back of it with the fingers of -your other hand.</p> - -<p>After you have made the <i>print</i>, as the impression is -called, pour on some <i>flint varnish</i>, which is the kind -that photographers use to cover the films of glass -negatives. You can buy it at any photo supply house.</p> - -<p>Pour a teaspoonful on one corner of the paper and -let it flow down and across until the whole surface -is evenly covered. As this is a genuine carbon process -the prints cannot fade and they will last as long as the -paper lasts. A print of this kind made by the author -18 years ago is shown in <a href="#Fig53">Fig. 53</a>.</p> - -<h4 class="inline"><b>The Ancient and Honored Art of Cutting Silhouettes.</b></h4> - -<p class="hinline">—Since -you are of the younger generation let -me tell you just what a <i>silhouette</i> is, and why.</p> - -<p>It is a profile, or side view, of the head of a person -cut out of black paper and mounted on a white card, -or else cut out of white paper with a piece of black -silk back of it so that it looks like a shadow in miniature -of the sitter.</p> - -<p>It was so called after M. de Silhouette, a French -Minister of Finance in 1759; his rigid economy in the -conduct of his office caused his name to be tacked on -to everything cheap and as photography had not yet -been discovered and painted portraits were costly, the<span class="pagenum" id="Page127">[127]</span> -paper outlines filled in with black were the cheapest -substitute known and hence the name.</p> - -<p>But as the years rolled by silhouettes became a dignified -and honored art and so when our great grandfather -and grandmother wanted to have their pictures -made—not taken—they went to a shears and paste -artist who cut out their silhouettes.</p> - -<div class="container w50emmax" id="Fig54"> - -<img src="images/illo153.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 54. silhouettes of your great-grand-pa and great-grand-ma -(when they were young)</span></p> - -</div><!--container--> - -<p>While the art of cutting silhouettes is all but a lost -one because photography is so easy and shows all the -details, still you can make them with some black glazed -paper and a pair of sharp shears with a little practice.</p> - -<p>Take a sheet of black glazed paper<a id="FNanchor42" href="#Footnote42" class="fnanchor">[42]</a> about 2 inches -wide and 3 inches long and seat your sitter with the -side of his or her face turned toward you. Now with<span class="pagenum" id="Page128">[128]</span> -a pair of sharp shears begin to cut the paper, starting -at the chin and going on up the face to the hair, then -around to the back of the head and finally cutting out -the collar and bust.</p> - -<div class="footnote"> - -<p><a id="Footnote42" href="#FNanchor42" class="label">[42]</a> Glazed paper can be bought at stationery stores or you can -get it from Dennison Mfg. Co., 5th Ave. and 26th St., N. Y. C.</p> - -</div><!--footnote--> - -<p>All the time you are cutting you must keep your -artistic eye on the profile of your sitter and your mechanical -eye on your shears and paper and you will -be truly surprised to find how little knack it takes to -get a reasonably faithful likeness. A pair of silhouettes -are shown in <a href="#Fig54">Fig. 54</a>.</p> - -<h4 class="inline"><b>Transfer Pictures, or Decalcomania.</b></h4> - -<p class="hinline">—Of course -you know what transfer pictures are. There are very -few boys indeed who have not bought and used little -5 cent packages of jim-crow transfer pictures and you -will remember that usually only about half of the -picture transferred came off. But this was because -they were made for fun and not for real work.</p> - -<p>Now transfer pictures, or <i>decalcomania</i> (pronounced -de-cal´-co-ma´-ni-a) or <i>decalcomanie</i> as the French call -it, from the Latin <i>de</i> which means down, plus <i>calquer</i>, -which is Latin for trace, plus <i>mania</i> which is Greek -for madness, are used by hundreds of thousands -by painters and decorators in every line of work. -These pictures are made with skill and care and when -used properly will not break or come off.</p> - -<p>These transfer pictures can be bought in 10,000 -different subjects and cost from 1¹⁄₂ cents to a couple -of dollars each. The pictures include every subject -imaginable from simple little flowers to birds with -wonderful plumage and from cupids in groups to<span class="pagenum" id="Page129">[129]</span> -world’s fair buildings; then there are letters and monograms -and beautiful crests and coats-of-arms in gold -and brilliant colors.</p> - -<p>When you get ready to do decalcomanie write to -Palm, Fechteler and Company, 67 Fifth Avenue, New -York, or to their western branch at 54 West Lake -Street, Chicago, Ills., for a price-list and this will give -you a description, the height and length of each picture, -the number of pictures on a sheet and the price -per sheet.</p> - -<h5 class="inline"><i>How to Transfer the Pictures.</i></h5> - -<p class="hinline">—The regular pictures -can be transferred to wood, metal, painted surfaces, -etc., but instead of soaking them in water alone -as you used to with the toy pictures you give the face -of them a very thin coat of a good, quick drying, rubbing -varnish which you can get at a paint store, or -better, use a transfer varnish which you can buy of -the above company for 35 cents for a ¹⁄₂ pint can.</p> - -<p>After you have applied the varnish to the face of -the picture let it dry until it is very <i>tacky</i>; now put -the face of the transfer down on the surface, wet it -with water on a sponge and roll it down hard with a -felt roller.</p> - -<p>In a couple of minutes wet the paper again thoroughly -with water and peel it off; roll it down at once -with a wet felt roller and tap it off with a piece of -chamois skin. After the design or picture has dried -for 20 minutes or so, the varnish around it can be -removed by dampening it with dilute turpentine, ammonia -or, better, with a <i>detergent</i> made of equal<span class="pagenum" id="Page130">[130]</span> -parts of turpentine and crude oil and <i>immediately</i> -rubbing it away lightly and quickly with a dry, soft -rag.</p> - -<p>After the picture has been transferred as above, it -should be given one or more protecting coats of varnish -the next day.</p> - -<hr class="chap"> - -<div class="chapter"> - -<p><span class="pagenum" id="Page131">[131]</span></p> - -<h2 class="nobreak">CHAPTER VI<br> -<span class="chaptitle">SOME KINKS IN PHOTOGRAPHY</span></h2> - -</div><!--chapter--> - -<p>Since the slogan <i>you press the button and we’ll do -the rest</i> has come to be so well known everybody makes -photographs. But there are a number of kinks in and -side issues of photography that are amusing, instructive -or useful and which if you do not already know -about will prove of service to you.</p> - -<h3 class="inline" id="Ref05"><b>How to Make Blue Prints.</b></h3> - -<p class="hinline">—This is the very simplest -and one of the most useful kinds of photography. -You need but very little material to make the pictures -with and the little you need will cost less than a dollar.</p> - -<div class="container w40emmax" id="Fig55"> - -<img src="images/illo157.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 55. a photo printing frame</span></p> - -</div><!--container--> - -<p><span class="pagenum" id="Page132">[132]</span></p> - -<h4 class="inline"><i>The Materials Required.</i></h4> - -<p class="hinline">—Buy, or you can make, -(1) a 5 × 7 <i>printing frame</i> as shown in <a href="#Fig55">Fig. 55</a> and -get a sheet of clear glass to fit it, and (2) a couple of -dozen sheets of 5 × 7 <i>blue-paper</i><a id="FNanchor43" href="#Footnote43" class="fnanchor">[43]</a> which you can buy -at any photographic supply house.</p> - -<div class="footnote"> - -<p><a id="Footnote43" href="#FNanchor43" class="label">[43]</a> You can make blue print paper by dissolving <i>ammonium -ferric citrate</i> in warm water and coating the surface of the paper -with it by floating it on top of the solution.</p> - -</div><!--footnote--> - -<p>Now take one of the drawings you have made on -tracing paper or on tracing cloth with India ink as I -<a href="#Ref06">described</a> in the last chapter and lay it with its inked -surface on the glass; lay on this a sheet of blue-paper -with its <i>sensitized</i> side on the tracing paper or cloth; -put the back of the printing frame on top of the blue-paper, -press the springs into place and set the frame -in the sunlight.</p> - -<p>Every few minutes open a <i>half</i> of the hinged back -of the printing frame and take a look at the blue -paper to see if the printing is far enough along. -When the lines of the drawing show plainly on it -take the <i>print</i> out of the frame and <i>wash</i> it, as it is -called, by letting water run on it or by putting it -through several changes of water.</p> - -<p>When it is well washed hang it up on a line by a -corner to dry and you will have a good, clear print -with white lines on a blue ground. In this way by -using a negative that you have made with a camera, -especially if it is a marine view, you can get some very -pretty and artistic pictures.</p> - -<h3 class="inline"><b>Another Kind of Contact Printing.</b></h3> - -<p class="hinline">—If you like<span class="pagenum" id="Page133">[133]</span> -nature you can use the above process of contact printing -to fine advantage. Instead of blue paper it is better -to use what is known as <i>solio</i> paper<a id="FNanchor44" href="#Footnote44" class="fnanchor">[44]</a> or <i>silver -paper</i>.<a id="FNanchor45" href="#Footnote45" class="fnanchor">[45]</a></p> - -<div class="footnote"> - -<p><a id="Footnote44" href="#FNanchor44" class="label">[44]</a> Solio paper -is coated first with gelatin and then with silver.</p> - -<p><a id="Footnote45" href="#FNanchor45" class="label">[45]</a> Silver paper is coated first with albumen and then with -silver.</p> - -</div><!--footnote--> - -<p>To make a <i>contact</i> silver print first put a finely -veined leaf, the filmy wing of a butterfly, a piece of -delicate lace or any other thin, <i>translucent</i> object on -the glass in the printing frame, lay a sheet of solio, -or silver paper over it, then put the back in the frame -and fix the springs.</p> - -<p>Set the frame so that the sunlight will fall full on -the glass side of it. From time to time open half of -the hinged back and see how the print is coming on; -make the print a couple of shades darker than you -want it when finished, but be careful not to overexpose -it for silver paper prints much quicker than blue paper.</p> - -<h4 class="inline"><i>To Tone and Fix the Picture.</i></h4> - -<p class="hinline">—To <i>tone</i> a silver -print means to change its color and give it more -brilliancy and this is done by putting it in a chemical -solution made of <i>chloride of gold, or toning bath</i> as it -is called.</p> - -<p>To <i>fix</i> a print means to treat it so that the light will -no longer act upon it and this is done with a solution -of <i>hyposulphite of soda</i> or just <i>hypo</i> as it is called -for short.</p> - -<p>The easiest way to tone and fix your silver prints -is to buy a bottle of <i>solio toning solution</i><a id="FNanchor46" href="#Footnote46" class="fnanchor">[46]</a> -which is<span class="pagenum" id="Page134">[134]</span> -a combined toning and fixing bath. Take the print -from the frame and do not wash it but put it into a -tray in which you have mixed <i>2 ounces of solio toning -solution</i> and <i>4 ounces of cold water</i>.</p> - -<div class="footnote"> - -<p><a id="Footnote46" href="#FNanchor46" class="label">[46]</a> It can be bought at any store where photographic materials -are sold or you can make it yourself from the <a href="#Ref07">formula</a> given on -this page.</p> - -</div><!--footnote--> - -<p>When the print takes on the proper color put it into -another tray containing a solution made of <i>1 ounce of -salt</i> and <i>32 ounces of water</i>; let it stay in this bath for -5 minutes to stop the toning. Now put the print into -another tray and wash it in 16 changes of water or in -running water for an hour. If you make a half or a -dozen prints at once you can tone and fix them at the -same time.</p> - -<h4 class="inline" id="Ref07"><i>Recipe for a Combined Toning and Fixing Solution.</i></h4> - -<p class="hinline">—To -make a combined toning and fixing bath -mix up two solutions, called stock solutions, as follows:</p> - -<h5 class="inline"><i>Stock Solution A.</i></h5> - -<p class="hinline">—Dissolve in 20 ounces of cold -water 2 ounces of <i>hypo</i>, 1¹⁄₂ ounces of <i>alum in crystals</i> -and ¹⁄₂ an ounce of <i>granulated sugar</i>. Then dissolve -¹⁄₂ an ounce of <i>borax</i> in 2 ounces of hot water and -mix it with the hypo solution; let it stand over night -and then pour off the clear liquid.</p> - -<h5 class="inline"><i>Stock Solution B.</i></h5> - -<p class="hinline">—Dissolve ³⁄₄ of a grain of <i>pure -chloride of gold</i> and 32 grains of <i>acetate of lead</i> in 4 -ounces of water.</p> - -<p>Now when you want to tone a picture or half a -dozen 4 × 5 prints, take 4 ounces of the stock solution -A and ¹⁄₂ an ounce of the stock solution B and pour<span class="pagenum" id="Page135">[135]</span> -them into a tray and tone them as I have previously -described.</p> - -<h3 class="inline"><b>The Simplest Kind of a Camera.</b></h3> - -<p class="hinline">—When you can -buy a real camera for two or three dollars it seems of -little use to make one, so just consider the camera I -shall describe as a scientific curiosity rather than an -apparatus of utility.</p> - -<div class="container" id="Fig56A"> - -<img src="images/illo161.jpg" alt=""> - -<p class="caption nobot"><span class="smcap">Fig. 56. an easily made pin-hole camera</span></p> - -<div class="centerblock"> - -<p class="caption subcaption">A. Cross section showing the notched strips.<br> -B. The way the shutter works.</p> - -</div><!--centerblock--> - -</div><!--container--> - -<p>To make a <i>pin-hole camera</i>, so called because a pin -hole takes the place of a lens, form a box of pasteboard -or of thin wood 4 inches square and 8 inches long; -cut a hole ³⁄₈ of an inch in diameter in one end for -the pin hole. Fit a strip of wood ¹⁄₂ an inch thick -and 4 inches long, having notches cut into it to a -depth of ¹⁄₈ inch, to the sides of the box as shown -at <a href="#Fig56A">A in Fig. 56</a>. These notched strips are to hold a<span class="pagenum" id="Page136">[136]</span> -<i>sensitized dry plate</i>.<a id="FNanchor47" href="#Footnote47" class="fnanchor">[47]</a> -Next make a <i>shutter</i>, that is, -a little device to open and close the pin-hole; it is -simply a bit of sheet brass 2¹⁄₂ inches long, ¹⁄₄ inch -wide at one end and ¹⁄₂ an inch wide at the other end -as shown at <a href="#Fig56A">B</a>. Drill a hole ¹⁄₈ inch in diameter in the -center of the strip of brass and pivot this to the front -of the box so that it is on a horizontal line with the -center of the hole.</p> - -<div class="footnote"> - -<p><a id="Footnote47" href="#FNanchor47" class="label">[47]</a> A -<i>dry plate</i> is a sheet of glass coated on one side with gelatin -and bromide of silver which makes it sensitive to light.</p> - -</div><!--footnote--> - -<p>Now to make the pin-hole, and certainly no pin-hole -was ever more important than this one. Glue a -thick piece of nice smooth tinfoil over the hole on the -inside of the box and with a fairly good-sized pin, -or better a needle, prick a smooth hole in the center -of it.</p> - -<p>You are ready now to take a picture and to do so -slip a sheet of <i>ground glass</i><a id="FNanchor48" href="#Footnote48" class="fnanchor">[48]</a> into the grooves in the -camera up close and then farther back until you can -see the picture plain. This done take the camera into -your <i>dark-room</i>,<a id="FNanchor49" href="#Footnote49" class="fnanchor">[49]</a> and <i>load</i> a dry plate into it, put -the cover on the box and fasten a black cloth over it -with a rubber-band as shown at <a href="#Fig56C">C in Fig. 56</a>.</p> - -<div class="footnote"> - -<p><a id="Footnote48" href="#FNanchor48" class="label">[48]</a> -You will find <a href="#Ref09">directions</a> for making it in <a href="#Page202">Chapter IX</a>.</p> - -<p><a id="Footnote49" href="#FNanchor49" class="label">[49]</a> A <i>dark room</i> must be used because a ray of any kind of -light except <i>red</i> will spoil a dry plate the instant it strikes it. A -red-lamp can be bought for a quarter or you can make one and -either use a sheet of red glass or red dark-room paper.</p> - -</div><!--footnote--> - -<p>Go out and point your camera at the object you -want to photograph, be it a landscape, a seascape or a -scapegoat, press down on the lever for a second, let<span class="pagenum" id="Page137">[137]</span> -go of it when it will drop back and cover the pin-hole -again and the <i>exposure</i> is made.</p> - -<h3 class="inline"><b>How to Develop a Dry Plate.</b></h3> - -<p class="hinline">—Next take your -camera into your dark-room and <i>develop</i> the plate, -that is, immerse it in a chemical solution called a -<i>developer</i> to bring the picture out on it. To do this -you must get a tray and put the exposed dry-plate in -it, film side up, and pour the <i>developer</i> over it.</p> - -<div class="container w40emmax" id="Fig56C"> - -<img src="images/illo163.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 56c. the pin-hole camera complete with cloth and -rubber band</span></p> - -</div><!--container--> - -<p>Rock the tray after you have poured the developer -over the plate to keep the solution flowing forth and -back evenly over it all the time. When you see the -image very plainly take the plate out of the developer, -wash it in clean water and then lay it with the film -side up in a tray containing the <i>fixing bath</i>.</p> - -<p><span class="pagenum" id="Page138">[138]</span></p> - -<p>Let the <i>negative</i>—when the plate is exposed and -developed it is called a negative—remain in the fixing -bath until all the white parts, that is, the free silver -which was not affected by the light, have disappeared -and then let a gentle stream of water run on it for an -hour or wash it in 16 changes of clean water. Stand -it in a <i>negative rack</i> over night to dry and then you -can make prints from it.</p> - -<h4 class="inline"><i>How to Make the Developer.</i></h4> - -<p class="hinline">—You can make a -good, tried and true developer in two solutions as follows:</p> - -<p><i>Pyro Solution, A.</i>—Take 1 ounce of <i>pyrogallic -acid</i>, called <i>pyro</i> for short, dissolve it in 28 ounces -of water and then add 20 minims of <i>sulphuric</i> acid.</p> - -<p><i>Soda Solution, B.</i>—Dissolve 2 ounces of -<i>desiccated</i><a id="FNanchor50" href="#Footnote50" class="fnanchor">[50]</a> -<i>carbonate of soda</i> and 3 ounces of <i>sulphite of -soda</i> in 28 ounces of water.</p> - -<div class="footnote"> - -<p><a id="Footnote50" href="#FNanchor50" class="label">[50]</a> <i>Desiccate</i> means thoroughly dry.</p> - -</div><!--footnote--> - -<p>When you want to develop a plate mix ¹⁄₂ an ounce -of the <i>pyro solution</i> and ¹⁄₂ an ounce of the <i>soda solution</i> -with 4 ounces of water and to do this you need a -<i>graduated glass</i>.</p> - -<h4 class="inline"><i>How to Make a Fixing Bath.</i></h4> - -<p class="hinline">—To make a good fixing -bath for dry plates dissolve 1 ounce of hypo, 60 -grains of <i>sulphite of soda</i> in crystals and ¹⁄₄ ounce of -<i>borax</i> in 20 ounces of water. A developer can only -be used for one or two plates but you can fix 50 plates -in the same fixing bath.</p> - -<h3 class="inline"><b>A Good and Cheap Camera.</b></h3> - -<p class="hinline">—To take real pictures<span class="pagenum" id="Page139">[139]</span> -you want a real camera. Now there are many -kinds of hand cameras but there is only one size that -I am going to try to interest you in and that is one -which will make pictures 3¹⁄₂ × 4¹⁄₂ inches.</p> - -<p>With a camera of this size you can take nicely -proportioned little pictures to give to your friends, to -keep in your album, to make enlargements of and to -make <i>lantern slides</i> of by direct contact printing and -this will save you a lot of trouble.</p> - -<div class="container w45emmax" id="Fig57"> - -<img src="images/illo165.jpg" alt=""> - -<p class="caption nobot"><span class="smcap">Fig. 57. two cheap and good cameras</span></p> - -<div class="centerblock"> - -<p class="caption subcaption">A. A Brownie box kodak.<br> -B. A folding kodak.</p> - -</div><!--centerblock--> - -</div><!--container--> - -<p>The cheapest 3¹⁄₄ × 4¹⁄₄ camera you can buy is a No. -3 <i>Brownie box kodak</i>,<a id="FNanchor51" href="#Footnote51" class="fnanchor">[51]</a> -see <a href="#Fig57">A Fig. 57</a>, which costs -about $3.00. A <i>folding</i> No. 3 Brownie camera, shown -at <a href="#Fig57">B</a>, will serve your needs much better and this one -will cost you in the neighborhood of $5.50, or you can<span class="pagenum" id="Page140">[140]</span> -buy a <i>Graflex camera</i><a id="FNanchor52" href="#Footnote52" class="fnanchor">[52]</a> for $75.00 if father is rich -and mother doesn’t care.</p> - -<div class="footnote"> - -<p><a id="Footnote51" href="#FNanchor51" class="label">[51]</a> These cameras can be bought most anywhere or you can send -to the Eastman Kodak Company, Rochester, N. Y.</p> - -<p><a id="Footnote52" href="#FNanchor52" class="label">[52]</a> With this kind of a camera you can see the object you are -photographing up to the very instant you snap the shutter.</p> - -</div><!--footnote--> - -<p>Every good camera has what is called a <i>rectilinear -lens</i>, that is, a compound lens formed of two <i>achromatic</i> -lenses, which means that each acromatic lens is -made up again of two lenses one of which is of <i>crown -glass</i> and the other is of <i>flint glass</i>, and these two -latter lenses are cemented together with <i>Canada -balsam</i>.<a id="FNanchor53" href="#Footnote53" class="fnanchor">[53]</a></p> - -<div class="footnote"> - -<p><a id="Footnote53" href="#FNanchor53" class="label">[53]</a> This is a clear gum that is obtained from a tree called the -<i>Canada balsam</i>.</p> - -</div><!--footnote--> - -<p>Now whereas a common <i>convex</i> lens will produce -all the colors of the rainbow around its edges when a -ray of light passes through it, an acromatic lens lets -through only the white light and while a single convex -lens makes the straight lines of a building curved in -the picture, an acromatic lens keeps all the lines -straight, or <i>rectilinear</i>, and hence its name.</p> - -<p>These little cameras are filled with mechanical <i>snap -shutters</i> and they use <i>roll films</i>, that is the <i>sensitive -silver</i> and <i>gelatine emulsion</i> is spread on a thin celluloid -film instead of on glass plates. These roll films -come on spools in lengths of ¹⁄₂ and 1 dozen each and -they can be loaded into the camera in daylight. The -same kind of developing and fixing solutions are used -for films that are used for dry-plates.</p> - -<h3 class="inline" id="Ref08"><b>How to Make an Enlarging Apparatus.</b></h3> - -<p class="hinline">—To -make an enlarged picture of a small negative take<span class="pagenum" id="Page141">[141]</span> -out the back of your camera and get two perfectly -clear sheets of glass to fit the opening.</p> - -<p>Make a box of ¹⁄₄ inch thick wood, 6 inches wide, -6 inches long and 7 inches high and have the top of it -separate so that it can be lifted off and put on the -box. In the middle of the top near one edge cut a -hole 1¹⁄₄ inches in diameter and put an electric light -socket—to which a cord and plug is fixed—in it -as far as it will go and then screw in a <i>nitrogen</i> 100 -watt electric lamp<a id="FNanchor54" href="#Footnote54" class="fnanchor">[54]</a> which gives about 75 candle -power, as shown at <a href="#Fig58A">A in Fig. 58</a>.</p> - -<div class="footnote"> - -<p><a id="Footnote54" href="#FNanchor54" class="label">[54]</a> The Delco Light Co., 52 Park Place, New York, sells these -lamps and all other electrical supplies.</p> - -</div><!--footnote--> - -<div class="container w40emmax" id="Fig58A"> - -<img src="images/illo167.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 58a. a home-made enlarging apparatus</span><br> -The lamp set in the top of the illuminating box.</p> - -</div><!--container--> - -<p>Cut a hole out of the front board 3¹⁄₂ x 4¹⁄₂ inches -and fasten a sheet of <i>ground glass</i><a id="FNanchor55" href="#Footnote55" class="fnanchor">[55]</a> or, better, of -<i>opal glass</i><a id="FNanchor56" href="#Footnote56" class="fnanchor">[56]</a> -over the opening. Get a sheet of bright<span class="pagenum" id="Page142">[142]</span> -tin 6 inches wide and 10 inches long, bend it into a -semi-circle and set it in the box so that it will reflect -the light from the lamp in front of it through the -ground glass screen as shown at <a href="#Fig58B">B</a>.</p> - -<div class="footnote"> - -<p><a id="Footnote55" href="#FNanchor55" class="label">[55]</a> Ground glass can be bought at a glazier’s or you can make it -as <a href="#Ref09">explained</a> in <a href="#Page202">Chapter IX</a>.</p> - -<p><a id="Footnote56" href="#FNanchor56" class="label">[56]</a> Opal glass.</p> - -</div><!--footnote--> - -<p>Next make a stand for holding the <i>bromide paper</i><a id="FNanchor57" href="#Footnote57" class="fnanchor">[57]</a> -which is to be used for the enlargement. About the -easiest way to do this is to take a 1 inch thick board -6 inches wide and saw off a piece 12 inches long. -Fasten your drawing board to it with a couple of -angle blocks as shown at <a href="#Fig58B">D</a>, and you are ready to make -an enlargement.</p> - -<div class="footnote"> - -<p><a id="Footnote57" href="#FNanchor57" class="label">[57]</a> Bromide paper is a paper sensitized with a compound of silver -and bromine.</p> - -</div><!--footnote--> - -<h3 class="inline"><b>How to Make an Enlargement.</b></h3> - -<p class="hinline">—When you have -the apparatus ready set the camera and the <i>illuminator</i>, -as the box with the light in it is called, on another -table. Put the negative between two plain sheets of -glass and then fasten them to the camera with a -couple of large rubber bands; set the illuminator with -the ground-glass screen close up against the negative -in the back of the camera, as shown at <a href="#Fig58C">C</a>.</p> - -<p>Now set the drawing board stand about 4 feet away -from the lens of the camera to make an 8 × 10 enlargement. -Open the shutter, turn on the light and -<i>focus</i> the camera, that is, move the stand to and from -the camera until the enlarged picture is sharp. When -you get it so, close the shutter and cover up the cracks -where the light leaks through with a dark cloth.</p> - -<p>Make the room perfectly dark except for your dark-room -light and then put a sheet of bromide paper on<span class="pagenum" id="Page143">[143]</span> -the drawing board with thumb tacks. Open the shutter -of the lens and expose the paper to the light passing -through the negative and then close it again. The -bromide paper is developed and fixed just like a dry -plate when your enlargement is done.</p> - -<div class="container" id="Fig58B"> - -<img src="images/illo169.jpg" alt=""> - -<p class="caption nobot"><span class="smcap">Fig. 58b. a home-made enlarging apparatus</span></p> - -<div class="centerblock"> - -<p class="caption subcaption">B. The illuminator showing the tin reflector in it.<br> -C. The camera.<br> -D. The stand for holding the bromide paper.</p> - -</div><!--centerblock--> - -</div><!--container--> - -<p>In handling bromide paper you must be almost as -careful as you are with dry plates or films. Before -making a picture it is a good scheme to test the length -of time to expose the paper. To do this take a sheet -of bromide paper and cut it into strips 1 inch wide and -10 inches long; fasten a strip at a time diagonally -across the board and expose the first one for say 5 -minutes and then develop it, when you can usually -tell about how long the exposure should be.</p> - -<h4 class="inline"><i>A Developer for Bromide Paper.</i></h4> - -<p class="hinline">—A good stock -solution developer for bromide paper, velox paper,<span class="pagenum" id="Page144">[144]</span> -films and dry plates can be made by adding these -chemicals to 25 ounces of hot water in the order named -and stirring in each one until it is dissolved; <i>elon</i> ¹⁄₈ -ounce; <i>desiccated sulphite of soda</i> 1⁷⁄₈ ounces; <i>hydrochinon</i> -¹⁄₂ ounce; <i>desiccated carbonate of soda</i> 5¹⁄₄ -ounces; <i>potassium bromide</i> 30 grains and wood alcohol -3 ounces.</p> - -<div class="container" id="Fig58C"> - -<img src="images/illo170.jpg" alt=""> - -<p class="caption nobot"><span class="smcap">Fig. 58c. a home-made enlarging apparatus</span></p> - -<div class="centerblock"> - -<p class="caption subcaption">E. Cross section top view of the enlarging apparatus.</p> - -</div><!--centerblock--> - -</div><!--container--> - -<p>This developer will keep for a long time if the -bottle containing it is kept full, otherwise the air will -act on it. To develop six 8 × 10 bromide prints use 1 -ounce of the stock solution and 6 ounces of water.</p> - -<p>To fix bromide prints keep them moving in a bath -made by dissolving 8 ounces of hypo in 2 quarts of -water and then adding ¹⁄₄ ounce of <i>metabisulphite of -potassium</i> and ¹⁄₄ ounce of <i>powdered alum</i>. Let the -prints remain in this bath for about 10 minutes and then -wash them thoroughly.</p> - -<p><span class="pagenum" id="Page145">[145]</span></p> - -<h3 class="inline" id="Ref19"><b>How to Make a Reflectoscope.</b></h3> - -<p class="hinline">—A <i>reflectoscope</i> -is a kind of magic lantern but instead of using transparent -glass slides you can use any picture or <i>opaque</i> -object such as the works of a watch, your hand, etc, -and throw an image of it on the screen.</p> - -<div class="container w50emmax" id="Fig59A"> - -<img src="images/illo171.jpg" alt=""> - -<p class="caption nobot"><span class="smcap">Fig. 59 a cheaply made reflectoscope</span></p> - -<div class="centerblock"> - -<p class="caption subcaption">A. The projector.<br> -B. The illuminator.</p> - -</div><!--centerblock--> - -</div><!--container--> - -<p>If you have a folding camera<a id="FNanchor58" href="#Footnote58" class="fnanchor">[58]</a> you can convert it -into a dandy reflectoscope, so get busy with your -tools. Make a box—it is really two boxes fastened -together—of the peculiar shape shown in <a href="#Fig59A">Fig. 59</a>, -and it can be of wood or of metal as you wish.</p> - -<div class="footnote"> - -<p><a id="Footnote58" href="#FNanchor58" class="label">[58]</a> A box camera can not be used because its focus is fixed.</p> - -</div><!--footnote--> - -<p>First make the larger box, which we will call the -<i>projector</i>, and this should be 4¹⁄₂ inches long, 5 inches<span class="pagenum" id="Page146">[146]</span> -wide and 5 inches high<a id="FNanchor59" href="#Footnote59" class="fnanchor">[59]</a>—and leave the front, back -and one side off. To the top and bottom fasten on -two wood cleats ¹⁄₂ an inch square and 5 inches long -to fix the projector to the camera with. This box -is shown at <a href="#Fig59A">A in Fig. 59</a>.</p> - -<div class="footnote"> - -<p><a id="Footnote59" href="#FNanchor59" class="label">[59]</a> It must fit the back of your camera.</p> - -</div><!--footnote--> - -<div class="container w45emmax" id="Fig59C"> - -<img src="images/illo172.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 59c. a cross section top view of the reflectoscope</span></p> - -</div><!--container--> - -<p>This done, make another box for the <i>illuminator</i> 3 -inches wide, 3 inches long on one side, and 4³⁄₄ inches -long on the other side, and 5 inches high. Bend a -piece of bright tin for the reflector and set this in the -back as shown at <a href="#Fig59A">B</a>.</p> - -<p>Cut a 1¹⁄₄ inch hole through the top for an electric -lamp as <a href="#Ref08">described</a> in the directions for making an enlarging -lantern; the top should be tight fitting but so<span class="pagenum" id="Page147">[147]</span> -made that it can be taken off and put on at your -pleasure.</p> - -<p>Now glue, screw, solder or otherwise fix the two -boxes together and the reflecting part of the apparatus -is done. To complete it fasten the back of your -camera to the cleats on the top and bottom of the -box with strong rubber bands as shown at <a href="#Fig59C">C</a>, which -is a top view of the reflectoscope.</p> - -<div class="container w40emmax" id="Fig59D"> - -<img src="images/illo173.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 59d. the reflectoscope ready for use</span></p> - -</div><!--container--> - -<h4 class="inline"><i>To Use the Reflectoscope.</i></h4> - -<p class="hinline">—Tack a white sheet to -the wall and set the reflectoscope at a distance of about -10 feet from it with the lens pointing toward it, of -course.</p> - -<p>Next turn on the light in the box and turn off all -the lights in the room and make it as dark as you can. -Hold a picture of any kind against the opening in the -back of the projector box and then focus the camera<span class="pagenum" id="Page148">[148]</span> -until the picture on the screen is as sharp as you can -get it.</p> - -<p>The way the reflectoscope works is like this: the -picture is projected upon the screen in virtue of the -fact that the direct light from the lamp, as well as -that portion of it which is reflected back by the tin, is -thrown against the surface of the picture or object -held in the opening; from this the light is reflected -through the lens which enlarges it and projects it on -the screen.</p> - -<h3 class="inline"><b>How to Make a Magic Lantern.</b></h3> - -<p class="hinline">—To make a -magic lantern out of a camera is just as easy as it is -to make a reflectoscope but you will have to buy a -<i>condensing lens</i><a id="FNanchor60" href="#Footnote60" class="fnanchor">[60]</a> and this will cost 50 cents to $1.00, -according to size.</p> - -<div class="footnote"> - -<p><a id="Footnote60" href="#FNanchor60" class="label">[60]</a> The L. E. Knott Apparatus Co., Boston, Mass., sells a 2 inch -condensing lens for 50 cents; a 3 inch one for 75 cents, and a -4¹⁄₂ inch one for $1.10.</p> - -</div><!--footnote--> - -<p>For this lantern you can use either a box or a bellows -camera, though the latter is better because the -picture can be focused. Whichever you use make a -base of a 1 inch thick board, 5¹⁄₂ inches wide and 14 -inches long and nail or screw two strips of wood ¹⁄₂ -an inch wide, ³⁄₄ inch high and 8 inches long along the -edges on one side as shown at <a href="#Fig60A">A in Fig. 60</a>.</p> - -<p>If your camera is of the box kind set it in between -the strips on the base on the front end, but if it is of -the bellows type then you will have to make a shelf -for it as shown at <a href="#Fig60A">B</a> to hold the camera in place as -shown at <a href="#Fig60A">C</a>.</p> - -<p><span class="pagenum" id="Page149">[149]</span></p> - -<p>Next make an illuminator as <a href="#Ref08">described</a> above in the -text <i>How to Make an Enlarging Apparatus</i>, but instead -of covering the front with ground glass make -a board to fit it and cut a hole in it the exact size of -the condensing lens. This lens is a <i>plano</i> or a double -convex lens as shown at <a href="#Fig60A">D</a> and while it should be 4¹⁄₂ -inches in diameter to get all of the picture on the -screen you can use a lens as small as 2 inches though -all of the picture will not show.</p> - -<div class="container" id="Fig60A"> - -<table class="images"> - -<colgroup> -<col class="w53pc"> -<col class="w25pc"> -<col class="wauto"> -</colgroup> - -<tr> -<td colspan="3" class="image"><img src="images/illo175a.jpg" alt=""></td> -</tr> - -<tr> -<td class="caption"><i>THE BASE OF THE LANTERN</i></td> -<td class="caption"><i>THE FRAME TO HOLD A POCKET FOLDING CAMERA</i></td> -<td class="caption"><i>HOW THE CAMERA IS FIXED TO THE FRAME</i></td> -</tr> - -</table> - -<table class="images notop"> - -<colgroup> -<col class="w16pc"> -<col class="w16pc"> -<col class="w25pc"> -<col class="w33pc"> -<col class="wauto"> -</colgroup> - -<tr> -<td colspan="5" class="image"><img src="images/illo175b.jpg" alt=""></td> -</tr> - -<tr> -<td class="caption"><i>PLANO CONVEX</i></td> -<td class="caption"><i>DOUBLE CONVEX</i></td> -<td rowspan="2" class="caption"><i>ONE OF THE LANTERN SLIDE HOLDERS</i></td> -<td rowspan="2" class="caption"><i>FRONT BOARD ILLUMINATOR</i></td> -<td rowspan="2"> </td> -</tr> - -<tr> -<td colspan="2" class="caption"><i>CONDENSING LENSES</i></td> -</tr> - -</table> - -<p class="caption"><span class="smcap">Fig. 60. the parts of a home-made magic lantern</span></p> - -</div><!--container--> - -<p>Cut out six clips of sheet brass ³⁄₁₆ inch wide and -¹⁄₂ an inch long and punch a hole in the end of each -piece. Screw three of these clips to each side of the -board at equi-distant points around the hole so that the -end of each one projects over the edge of the hole ¹⁄₈ -inch. Now put the lens in the hole and adjust the -ends of the clips so that they will hold the lens in place -as shown at <a href="#Fig60A">E</a>.</p> - -<p><span class="pagenum" id="Page150">[150]</span></p> - -<p>The next and last thing to do is to cut two strips of -tin or brass 1 inch wide and 3 inches long and bend -each one over the long way as shown at <a href="#Fig60A">F</a>; punch three -holes near the lower edge of each one and screw one -of them above and one below the condensing lens on -the board 3¹⁄₄ inches apart as shown at <a href="#Fig60A">E</a>. These -bent strips form the holder for the lantern slides. The -magic lantern complete is shown at <a href="#Fig60G">G</a>.</p> - -<div class="container w50emmax" id="Fig60G"> - -<img src="images/illo176.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 60g. the magic lantern ready for use</span></p> - -</div><!--container--> - -<h4 class="inline"><i>How to Work the Lantern.</i></h4> - -<p class="hinline">—Tack a bed-sheet up -on the wall; turn on the light in the illuminator and -turn off all the lights in the room; slip a lantern slide -upside down in the holder and then push the rear end -of the camera—having first taken out the back—close -up to the lantern slide holder.</p> - -<p>If you are using a box camera move the whole -lantern back until the picture is as large as you want -it and it is still bright enough. If it is a pocket folding -camera you can focus it and get a picture with -much better definition.</p> - -<h3 class="inline"><b>How to Make Lantern Slides.</b></h3> - -<p class="hinline">—A lantern slide is<span class="pagenum" id="Page151">[151]</span> -a sheet of glass with a transparent picture on it. A -standard lantern slide is 3¹⁄₄ × 4¹⁄₄ inches and one of -this size can be used in any full sized magic lantern or -<i>stereopticon</i>.<a id="FNanchor61" href="#Footnote61" class="fnanchor">[61]</a></p> - -<div class="footnote"> - -<p><a id="Footnote61" href="#FNanchor61" class="label">[61]</a> A -<i>stereopticon</i> is really two magic lanterns, but the word is -now often used to mean a high-grade magic lantern.</p> - -</div><!--footnote--> - -<p>To make lantern slides by <i>direct contact</i> printing is -not a hard thing to do at all, and all the equipment -you need to make them besides the chemicals is a -printing frame. Put a sheet of clean glass in it and -lay your negative on it with the film side up.</p> - -<p>Now lay the <i>lantern slide plate</i><a id="FNanchor62" href="#Footnote62" class="fnanchor">[62]</a> with the film side -<i>down</i> on the negative just as though you were going -to make a print, but you must make it in your dark -room, using a white light to expose it of course, for it -is just as sensitive as a dry plate or a film. When -you expose it hold the printing frame about 12 inches -away from the light.</p> - -<div class="footnote"> - -<p><a id="Footnote62" href="#FNanchor62" class="label">[62]</a> Lantern slide plates can be bought at any photographic supply -house.</p> - -</div><!--footnote--> - -<p>A lantern slide plate is developed, fixed and washed -exactly like a dry plate but to get the best results you -should use the kind of developer called for in the -directions that come with the plates.</p> - -<p>When you have the lantern slide made, place a sheet -of clear glass of the same size—called the <i>cover-glass</i>—on -the film side of it and bind the edges with -<i>passepartout binding</i>, that is a strip of paper gummed -on one side. It is then ready for use.</p> - -<h3 class="inline"><b>How to Make Radium Photographs.</b></h3> - -<p class="hinline">—You can -make radium photographs, or <i>skiagraphs</i> as they are<span class="pagenum" id="Page152">[152]</span> -called, with any one of a number of <i>radioactive</i> substances -and at a very small outlay.</p> - -<p>The four most important radioactive substances, if -we except <i>radium</i> itself, are <i>black uranium oxide</i>, -<i>pitchblende</i>, <i>thorium nitrate</i> and <i>uranium nitrate</i>. -You can buy any one of these substances in a glass -stoppered bottle for $1.00 or the set of four for -$3.50.<a id="FNanchor63" href="#Footnote63" class="fnanchor">[63]</a></p> - -<div class="footnote"> - -<p><a id="Footnote63" href="#FNanchor63" class="label">[63]</a> -The L. E. Knott Apparatus Co., Boston, carries these radioactive -substances in stock.</p> - -</div><!--footnote--> - -<p>While the <i>radioactivity</i> of these substances is low it -is sufficient to make a shadow-picture—and this is all -that an X-ray picture is—of a coin or other small -object if it is laid on top of a dry plate sealed in a -black paper envelope, which is opaque to the light.</p> - -<div class="container" id="Fig61"> - -<img src="images/illo178.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 61. a photograph of a coin made with radium</span></p> - -</div><!--container--> - -<p>That is, the coin is laid on the envelope containing -the dry plate, and the bottle with the radioactive substance -in it is laid on top of the coin. Let them remain -undisturbed in this way for a couple of days and -you will find on developing the plate a very good -<i>radiograph</i>, or shadow picture of the coin as shown -in <a href="#Fig61">Fig. 61</a>.</p> - -<p><span class="pagenum" id="Page153">[153]</span></p> - -<h3>Trick Photography</h3> - -<h4 class="inline"><b>Spirit Photographs.</b></h4> - -<p class="hinline">—When photography was -young Sir John Herschel, the great astronomer, got -up what he called <i>magic photographs</i> and these have -been worked under the name of <i>spirit photographs</i> by -half of the <i>mediums</i> in the business.</p> - -<p>The idea is to show the victim of superstition his -future wife or her future husband. To this end the -medium shows a piece of perfectly blank paper about -an inch square. She—sometimes it’s a he—then -dips the bit of paper into a saucer of what seems -to be ordinary, common every day water and with -much dignity and mysticism presses it to the forehead -of the aforesaid ninny who would fain know -what the partner of his, or her joys and sorrows will -look like. (What’s the use when they will know so -well afterward?)</p> - -<p>Be that as it may, when the medium removes the bit -of paper from the simpleton’s forehead a photograph -has really and truly appeared on it and—there you -are! (Fifty cents, please.)</p> - -<p>Now the trick is done like this and you can have -some fun repeating it. Print some photos postage-stamp -size of boys and girls on ordinary silver paper -and fix them in hypo dissolved in water but don’t tone -them; wash them well and then soak them in a -<i>saturated solution</i><a id="FNanchor64" href="#Footnote64" class="fnanchor">[64]</a> -of <i>bichloride of mercury</i> which<span class="pagenum" id="Page154">[154]</span> -will bleach out the picture and leave the paper perfectly -white again; this done dry the paper and put it away -until you want to use it.</p> - -<div class="footnote"> - -<p><a id="Footnote64" href="#FNanchor64" class="label">[64]</a> A saturated solution of bichloride of mercury is one in which -all of the mercury has been dissolved in the water that it will -dissolve at its present temperature and pressure.</p> - -</div><!--footnote--> - -<p>When you do, make a strong solution of hypo, soak -the picture in it for a minute or two, press it to your -subject’s forehead and the picture will appear.</p> - -<h4 class="inline"><b>One Way to Catch Big Fish.</b></h4> - -<p class="hinline">—Of course you -know that when an object very near the camera is -photographed it will look proportionately larger than -when it is photographed a little way off from it. It -is simply a case of exaggerated perspective.</p> - -<p>Hence the camera is an apparatus very well adapted -for <i>camouflage</i> as the French call <i>faking</i>. You can -easily try it out by having a friend lean back in a -chair and put his feet on the table. (If the table is -of highly polished mahogany request him kindly to -take off his spurs first.)</p> - -<p>Stand your camera in front of him so that his feet -will be nearest the lens and then take his picture. The -result is that he will be about all boots and very little -head.</p> - -<p>Another and deeper dyed trick is to photograph a -fellow—choose one who is noted for his whaling -yarns—with a fish dangling at the end of a pole and -line as shown at <a href="#Fig62A">A in Fig. 62</a>. This will make the -fish loom up as big as the cod in a <i>Scott’s Emulsion</i> -ad., and the boy will be the size of the lone fisherman -as shown at <a href="#Fig62A">B</a>. It will be some time before the -scales will drop from the eyes of the person who is -sizing up the picture.</p> - -<p><span class="pagenum" id="Page155">[155]</span></p> - -<p>You want to use a <i>small stop</i> in your lens when you -make a picture of this kind so that the definition will -be as sharp in the foreground as it is in the background.</p> - -<div class="container" id="Fig62A"> - -<img src="images/illo181.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 62. one way to catch a cod</span></p> - -<div class="centerblock"> - -<p class="caption subcaption">A. How it is done.<br> -B. How it looks when done.</p> - -</div><!--centerblock--> - -</div><!--container--> - -<h4 class="inline"><b>Taking Caricature Photographs.</b></h4> - -<p class="hinline">—The word -<i>caricature</i> (pronounced care´-i-ca-ture) means a portrait -in which some part of it is distorted so that it -produces a comical effect.</p> - -<p>Now there are a lot of ways to make photographic -caricatures but one of the best is to use what is called -a <i>special foreground</i>. This foreground is a sheet of -cardboard or a piece of muslin stretched on a frame -about 1¹⁄₂ feet wide and 2¹⁄₂ feet long.</p> - -<p>Draw on the cardboard or muslin any kind of a -funny little body such as an anemic fellow in a bathing -suit, or a lank athlete rowing in a tub, or a gilded<span class="pagenum" id="Page156">[156]</span> -youth riding a donkey; and finally cut out a place -around his collar for the neck of the sitter. Seat -your subject and have him hold the foreground as -shown at <a href="#Fig62C">C in Fig. 62</a> so that his head comes just -above the collar of the picture and then take a photograph -of him.</p> - -<div class="container" id="Fig62C"> - -<img src="images/illo182.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 62c. how caricatures are made</span></p> - -</div><!--container--> - -<p>If now the background—that is the ground back -of the sitter—and the foreground—namely the one -painted on the cardboard—are of the same shade -you can trim the print so that it will look exactly as -if your friend was in the Orient on his way to Mecca. -(If you will keep this picture for 20 years the fellow -who sat for it will gladly pay you a hundred dollars -for it.)</p> - -<hr class="chap"> - -<div class="chapter"> - -<p><span class="pagenum" id="Page157">[157]</span></p> - -<h2 class="nobreak">CHAPTER VII<br> -<span class="chaptitle">PRINTING AND ITS ALLIED ARTS</span></h2> - -</div><!--chapter--> - -<p>If there ever was a boy who did not want a printing -press I have yet to meet him. Ever since the day -when Gutenburg<a id="FNanchor65" href="#Footnote65" class="fnanchor">[65]</a> invented movable types, and that -was some 500 years ago, every boy—and not a few -men—have wanted to set a few stickfuls of type and -run off some impressions on a press, and many thousands -of them have gratified that highly civilized ambition.</p> - -<div class="footnote"> - -<p><a id="Footnote65" href="#FNanchor65" class="label">[65]</a> Johanne Gutenburg was a German printer. He invented -movable types about the year of 1450.</p> - -</div><!--footnote--> - -<p>But you fellows of to-day have all the best of it, for -you can buy a printing outfit complete for $1.50 on up -to anything you want to pay for it. After all is said -and done though, you can get more real enjoyment out -of a small self-inking press than you can out of a -larger one. Not only is there a lot of fun in printing -cards, etc., for yourself but there is money in it -too, if you go about it the right way, but that is -another story.<a id="FNanchor66" href="#Footnote66" class="fnanchor">[66]</a></p> - -<div class="footnote"> - -<p><a id="Footnote66" href="#FNanchor66" class="label">[66]</a> To make money out of job-printing on a small scale read -<i>Money Making for Boys</i> by the present author and published -by Dodd, Mead and Co., New York City.</p> - -</div><!--footnote--> - -<h3 class="inline"><b>Kinds of Printing Presses.</b></h3> - -<p class="hinline">—There are two kinds<span class="pagenum" id="Page158">[158]</span> -of printing presses made and these are (1) <i>hand inked</i> -presses, and (2) <i>self-inking</i> presses.</p> - -<p>You can make a printing press out of wood but to -do a good job you must have a press built of iron and -properly <i>machined</i>, that is finished up, for to do good -printing a good outfit is needed to begin with.</p> - -<p>Small hand inked and self-inking presses are sold -in the toy departments of nearly all stores at prices -ranging from $1.50 to $5.00 and this will include a -font of type. Many of these little presses are made -which use type about half the length of regular type -and if you get a press of this kind you will never know -the real joy of printing.</p> - -<h3 class="inline"><b>The Parts of a Self-Inking Press.</b></h3> - -<p class="hinline">—The <i>Excelsior</i> -is the name of a small self-inking printing press that -has been on the market for 50 years and it is a good -one. The description of it which follows will fit any -other model self-inking press just as well, for they -are all built on the same principle.</p> - -<p>There are seven chief parts to this press and these -are (1) the body; (2) the type bed; (3) the platen; -(4) the ink-roller carriage; (5) the ink table; (6) the -chase, and (7) the handle, all of which are shown in -<a href="#Fig63">Fig. 63</a>.</p> - -<p>The body of the press serves to support all the -other parts. The bed, as you will see, is really a part -of the body casting and the feet of the type rest against -it. For this reason it must be perfectly smooth and -even, and it is planed off, that is machined, to make -it so.</p> - -<p><span class="pagenum" id="Page159">[159]</span></p> - -<p>The platen is pivoted to the middle of the body and -it swings up to and parallel with the bed and away -from and out at an angle to it. The card, or sheet -of paper to be printed is laid on the platen and is -brought up and into contact with the type which rests -on the bed. A pair of grippers are hinged to the -platen to hold the paper in place while it is being -printed but releases it when the platen moves back.</p> - -<div class="container" id="Fig63"> - -<img src="images/illo185.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 63. a model self-inking printing press</span></p> - -</div><!--container--> - -<p>The ink-roller carriage is connected by levers to the -platen and when the latter moves to and fro the -rollers run over the type to ink it; the rollers -get their ink from the ink table and this is a -disk which revolves and on which the ink is spread; -the ink table is made to revolve a little at a time so -that the rollers will pass over every part of it in every -direction and so distribute the ink evenly.</p> - -<p>The type when set is <i>locked</i> in an iron frame called<span class="pagenum" id="Page160">[160]</span> -a <i>chase</i> and this fits on the bed; and finally all the -movable parts are coupled to the handle and when this -is moved up and down it makes them perform their -various functions.</p> - -<h3 class="inline"><b>How the Press Works.</b></h3> - -<p class="hinline">—Let’s suppose now, that -you have the type set in the chase and the chase is -fixed in the press; that you have put some ink on the -ink-table and a card or a sheet of paper on the platen.</p> - -<p>Now when you press down on the handle it moves -the platen up, the grippers hold the card, or sheet of -paper to it, the arms pivoted to the platen pull the -ink rollers up and over the type and on to the ink -table which turns through a small <i>arc</i>, that is, part of -a circle, by a ratchet so that it keeps a fresh surface -exposed to the ink rollers all the time.</p> - -<p>When the card, or paper makes contact with the -type you pull the handle up; this swings the platen -back; the grippers relax their pressure; the ink-rollers -move down over the face of the type; you take out -the printed card or sheet with your left hand and put -in a blank one with your right hand, when you are -ready to make another impression.</p> - -<p>It may surprise you to know that any one can print -from 500 to 600 cards an hour and if you are expert -you can run off from 1,000 to 2,000 cards per hour.</p> - -<h3 class="inline"><b>Sizes and Prices of Presses.</b></h3> - -<p class="hinline">—The Excelsior press -comes in three sizes and the price depends on the size -of the chase. (1) A press having a chase 3 × 5 inches -costs $5.00 and this is large enough to print cards, -labels, envelopes, etc.; (2) a 5 × 8 press costs $18.00<span class="pagenum" id="Page161">[161]</span> -and this one will do nice jobs up to postal card size; -and (3) a 6 × 10 press costs $25.00 and is large -enough to print bill-heads, letter-heads and circulars, -or you can print a little newspaper on it.</p> - -<h3 class="inline" id="Ref15"><b>The Outfit You Need.</b></h3> - -<p class="hinline">—Your outfit will, of -course, depend largely on the size of press you have.</p> - -<h4 class="inline"><i>Outfit for a 3 × 5 Press.</i></h4> - -<p class="hinline">—A couple of dollars will -buy all the <i>fixtures</i> you need and these consist of (a) -a <i>font of type</i>, (b) some <i>leads</i>, (c) a <i>type case</i>, (d) -an assortment of <i>furniture</i>, and (e) a can of <i>black -ink</i>.</p> - -<p>A font of type means enough of a kind having the -same <i>face</i> and <i>body</i> and the right amount of each -letter to set up an ordinary job. You will find more -about type under the next heading called <a href="#Ref10"><i>Type and -Typesetting</i></a>. Leads are thin strips of type metal less -than type-high which are used to separate the lines of -type; and a type case is a shallow wooden tray divided -into little compartments called <i>boxes</i> in which -the letters of a font of type are kept apart.</p> - -<h4 class="inline"><i>Outfit for a 5 × 8 Press.</i></h4> - -<p class="hinline">—The fixtures of a press of -this size include all of those named above and (a) -three fonts of type, (b) type cases for them; (c) -a set of <i>gage pins</i>, and (d) a pair of <i>tweezers</i>, or a -<i>bodkin</i>. The gage-pins are pinned into the paper backing -on the platen to keep the card or sheet from slipping -and to hold it in its proper place. The tweezers, -or bodkin, which is a large needle, is used for picking -out type from a form when you are correcting it.</p> - -<h4 class="inline"><i>Outfit for an 8 × 10 Press.</i></h4> - -<p class="hinline">—This outfit should have<span class="pagenum" id="Page162">[162]</span> -all the fixtures of both of those described above and -you will need not less than four fonts of type, while a -<i>composing stick</i>, which is a little metal tray to hold the -type in as you set it, is a necessity. These fixtures are -shown in <a href="#Fig64">Fig. 64</a>.</p> - -<div class="container" id="Fig64"> - -<table class="images"> - -<colgroup> -<col class="w18pc"> -<col class="w12pc"> -<col class="w07pc"> -<col class="w22pc"> -<col class="w07pc"> -<col class="w22pc"> -<col class="wauto"> -</colgroup> - -<tr> -<td colspan="2" class="image"><img src="images/illo188a1.jpg" alt=""></td> -<td rowspan="2" colspan="2" class="image"><img src="images/illo188a2.jpg" alt=""></td> -<td rowspan="2" colspan="2" class="image"><img src="images/illo188a3.jpg" alt=""></td> -<td> </td> -</tr> - -<tr> -<td colspan="2" class="caption"><i>PAPER GUAGE</i></td> -<td> </td> -</tr> - -<tr> -<td rowspan="2" class="caption fig64 mid"><i><b>D</b>—A BOUGHT GUAGE PIN</i></td> -<td rowspan="2" class="image"><img src="images/illo188a4.jpg" alt=""></td> -<td colspan="2" class="caption"><i><b>A</b>—WOOD FURNITURE</i></td> -<td colspan="2" class="caption"><i><b>B</b>—A LEAD</i></td> -<td> </td> -</tr> - -<tr> -<td colspan="2"> </td> -<td colspan="2" class="image"><img src="images/illo188a5.jpg" alt=""></td> -<td> </td> -</tr> - -<tr> -<td colspan="3"> </td> -<td colspan="2" class="image"><img src="images/illo188a7.jpg" alt=""></td> -<td class="caption"><i>A BODKIN</i></td> -<td> </td> -</tr> - -<tr> -<td class="caption fig64 mid"><i><b>C</b>—A COMMON PIN BENT FOR A GUAGE PIN</i></td> -<td class="image"><img src="images/illo188a6.jpg" alt=""><td> -<td colspan="2" class="caption"><i><b>E</b>—REGULAR PRINTER’S TWEEZERS WITH COARSE SERRATED FLAT POINTS</i></td> -<td colspan="2" class="image"><img src="images/illo188a8.jpg" alt=""></td> -</tr> - -<tr> -<td colspan="5"> </td> -<td colspan="2" class="caption"><i>A COMPOSING STICK</i></td> -</tr> - -</table> - -<p class="caption"><span class="smcap">Fig. 64. an outfit for a model press</span></p> - -</div><!--container--> - -<h3 class="inline" id="Ref10"><b>About Type and Setting Type.</b></h3> - -<h4 class="inline noindent">—<i>Relative Number -of Type Letters.</i></h4> - -<p class="hinline">—In looking over type catalogues -you will see that the fonts are listed as 4A, or 8A-10A, -etc. Now this means that in the 4A font there are -4 capital A letters and that all of the other letters are -in proportion to the A’s that are likely to be used, -thus:</p> - -<div class="container w35emmax"> - -<p class="caption">A 4A FONT</p> - -<img src="images/illo188b.jpg" alt=""> - -<table class="font"> - -<colgroup> -<col class="wauto"> -<col span="26" class="w01em"> -</colgroup> - -<tr> -<td> </td> -<td>A</td> -<td>B</td> -<td>C</td> -<td>D</td> -<td>E</td> -<td>F</td> -<td>G</td> -<td>H</td> -<td>I</td> -<td>J</td> -<td>K</td> -<td>L</td> -<td>M</td> -<td>N</td> -<td>O</td> -<td>P</td> -<td>Q</td> -<td>R</td> -<td>S</td> -<td>T</td> -<td>U</td> -<td>V</td> -<td>W</td> -<td>X</td> -<td>Y</td> -<td>Z</td> -</tr> - -<tr> -<td class="number">No. of letters<br>to font</td> -<td class="number">4</td> -<td class="number">2</td> -<td class="number">3</td> -<td class="number">3</td> -<td class="number">5</td> -<td class="number">2</td> -<td class="number">2</td> -<td class="number">3</td> -<td class="number">4</td> -<td class="number">2</td> -<td class="number">2</td> -<td class="number">3</td> -<td class="number">3</td> -<td class="number">4</td> -<td class="number">4</td> -<td class="number">3</td> -<td class="number">2</td> -<td class="number">4</td> -<td class="number">4</td> -<td class="number">4</td> -<td class="number">2</td> -<td class="number">2</td> -<td class="number">2</td> -<td class="number">2</td> -<td class="number">2</td> -<td class="number">2</td> -</tr> - -</table> - -</div><!--container--> - -<p>With an 8A-10a font there are of course twice as -many of each capital letter as in a 4A font while of<span class="pagenum" id="Page163">[163]</span> -the <i>lower case</i> letters, which means the small ones, -there are 10 a’s and the number of the others are in -proportion to their use, thus:</p> - -<div class="container w35emmax"> - -<p class="caption">AN 8A-10a FONT</p> - -<img src="images/illo189a.jpg" alt=""> - -<table class="font"> - -<colgroup> -<col class="wauto"> -<col span="26" class="w01em"> -</colgroup> - -<tr> -<td> </td> -<td>a</td> -<td>b</td> -<td>c</td> -<td>d</td> -<td>e</td> -<td>f</td> -<td>g</td> -<td>h</td> -<td>i</td> -<td>j</td> -<td>k</td> -<td>l</td> -<td>m</td> -<td>n</td> -<td>o</td> -<td>p</td> -<td>q</td> -<td>r</td> -<td>s</td> -<td>t</td> -<td>u</td> -<td>v</td> -<td>w</td> -<td>x</td> -<td>y</td> -<td>z</td> -</tr> - -<tr> -<td class="number">No. of letters<br>to font</td> -<td class="number">10</td> -<td class="number">4</td> -<td class="number">6</td> -<td class="number">8</td> -<td class="number">18</td> -<td class="number">4</td> -<td class="number">4</td> -<td class="number">8</td> -<td class="number">10</td> -<td class="number">2</td> -<td class="number">3</td> -<td class="number">8</td> -<td class="number">6</td> -<td class="number">10</td> -<td class="number">10</td> -<td class="number">6</td> -<td class="number">3</td> -<td class="number">10</td> -<td class="number">10</td> -<td class="number">10</td> -<td class="number">6</td> -<td class="number">4</td> -<td class="number">4</td> -<td class="number">2</td> -<td class="number">4</td> -<td class="number">2</td> -</tr> - -</table> - -</div><!--container--> - -<h4 class="inline"><i>Styles of Type.</i></h4> - -<p class="hinline">—For card work you want a plain -block letter font like that shown at <a href="#Ref12">A</a>, a script like <a href="#Ref12">B</a>, -or an old English like that shown at <a href="#Ref12">C</a>.</p> - -<p>For envelopes, bill, letter head and other job work -three fonts of engraved plate style as shown at <a href="#Ref12">D, E -and F</a> will give good results.</p> - -<div class="container w35emmax" id="Ref12"> - -<img src="images/illo189b.jpg" alt=""> - -<table class="font"> - -<tr> -<td> </td> -<td class="center">23A</td> -<td class="rght"><span class="padr2">$1.00</span></td> -</tr> - -<tr> -<td class="lft">A</td> -<td class="lft">THEODORE ROOSEVELT</td> -<td class="rght">1234567890</td> -</tr> - -<tr> -<td> </td> -<td class="center">8A 24a</td> -<td class="rght"><span class="padr2">$4.50</span></td> -</tr> - -<tr> -<td class="lft">B</td> -<td class="lft">Miss Alice Verlet</td> -<td class="rght">123456789</td> -</tr> - -<tr> -<td> </td> -<td class="center">11A 34a</td> -<td class="rght"><span class="padr2">$2.50</span></td> -</tr> - -<tr> -<td class="lft">C</td> -<td class="lft">Lieut. John Hodder Stuart</td> -<td class="rght">123456789</td> -</tr> - -<tr> -<td> </td> -<td class="center">22A</td> -<td class="rght"><span class="padr2">$1.00</span></td> -</tr> - -<tr> -<td class="lft">D</td> -<td class="lft">ENGRAVED CARD STYLE IS PREFERRED</td> -<td class="rght">52468</td> -</tr> - -<tr> -<td> </td> -<td class="center">16A</td> -<td class="rght"><span class="padr2">$1.05</span></td> -</tr> - -<tr> -<td class="lft">E</td> -<td class="lft">HANDSOME ENGRAVED EFFECTS</td> -<td class="rght">123</td> -</tr> - -<tr> -<td> </td> -<td class="center">A16</td> -<td class="rght"><span class="padr2">$1.25</span></td> -</tr> - -<tr> -<td class="lft">F</td> -<td class="lft">ENGRAVED PLATE STYLE</td> -<td class="rght">140</td> -</tr> - -</table> - -</div><!--container--> - -<p>For circulars you should have several fonts of different -styles of type as shown at <a href="#Ref13">G, H, I, J and K</a>.</p> - -<p><span class="pagenum" id="Page164">[164]</span></p> - -<div class="container w35emmax" id="Ref13"> - -<img src="images/illo190a.jpg" alt=""> - -<table class="font"> - -<tr> -<td> </td> -<td class="center">18A 36a</td> -<td class="rght"><span class="padr2">$2.90</span></td> -</tr> - -<tr> -<td class="lft">G</td> -<td class="lft">CLEAR CUT Faces Popular</td> -<td class="rght">123</td> -</tr> - -<tr> -<td> </td> -<td class="center">15A</td> -<td class="rght"><span class="padr2">$1.95</span></td> -</tr> - -<tr> -<td class="lft">H</td> -<td class="lft">EXCELSIOR PRESSES</td> -<td class="rght">12345</td> -</tr> - -<tr> -<td> </td> -<td class="center">A</td> -<td class="rght"><span class="padr2">$2.10</span></td> -</tr> - -<tr> -<td class="lft">I</td> -<td class="lft">GRAINO</td> -<td class="rght">1</td> -</tr> - -<tr> -<td> </td> -<td class="center">10A 15a</td> -<td class="rght"><span class="padr2">$5.35</span></td> -</tr> - -<tr> -<td class="lft">J</td> -<td class="lft">GOOD for many places</td> -<td class="rght">3</td> -</tr> - -<tr> -<td> </td> -<td class="center">11a 20a</td> -<td class="rght"><span class="padr2">$3.00</span></td> -</tr> - -<tr> -<td class="lft">K</td> -<td colspan="2" class="jst">Good and Clear for poster and circular printing. A fine addition<br>to any printing office. -<span class="righttext">12345678</span></td> -</tr> - -</table> - -</div><!--container--> - -<p>And finally should you intend to print a cook-book, -a town directory or a newspaper you will need a half, -or a full font of <i>12 point plain pica Roman</i>, as it is -called, and which is shown at <a href="#Ref14">L</a>.</p> - -<div class="container w35emmax" id="Ref14"> - -<img src="images/illo190b.jpg" alt=""> - -<table class="font"> - -<tr> -<td class="lft">L</td> -<td class="jst">12 Point No. 1, 25 lbs. $12.00. (Half font, 12¹⁄₂ lbs., $6.50)<br> -PLAIN Pica Roman, a <span class="smcapall">FACE</span> for many<br> -uses. Books, circulars and jobbing.<br> -Very clear and easy to read. Cast<br> -from nickel metal and most durable<br> -known. -<span class="righttext">£ $ L z 1234567890</span></td> -</tr> - -</table> - -</div><!--container--> - -<h4 class="inline"><i>The Parts of a Type.</i></h4> - -<p class="hinline">—Before explaining how to -set type, make ready and print, there are a few little -things about letters and about type which are good to -know.</p> - -<p><span class="pagenum" id="Page165">[165]</span></p> - -<p>First let’s take, by way of illustration, the letter -<span class="sstype">H</span> <b>H</b>. Now you will observe that the first <span class="sstype">H</span> is plain -and the second one is embellished by fine lines at the -top and bottom and these embellishments are called -<i>ser′-ifs</i>.</p> - -<p>As simple a bit of metal as a type has more parts -to it than you can shake a stick at, but you ought to -learn them by heart. Named, these parts are (a) the -<i>body</i> of the type; (b) the <i>front</i>; (c) the <i>back</i>; (d) -the <i>face</i> or <i>letter</i>; (e) the <i>nicks</i>; (f) the <i>feet</i>; (g) the -<i>groove</i>; (h) the <i>shoulder</i>; (i) the <i>bevel</i>, and (k) the -<i>pin marks</i>, and all of these are pointed out in <a href="#Fig65">Fig. 65</a>.</p> - -<div class="container w40emmax" id="Fig65"> - -<img src="images/illo191.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 65. the parts of a type</span></p> - -</div><!--container--> - -<p>It very often happens in <i>italics</i> and script type that -a part of a letter will stand out beyond the body and -this little extension is called the <i>kern</i>. The nick in -the type is to help the type-setter, or <i>compositor</i> as he -is called, to set the type the right way in the stick, that -is you always set the type with the nicks down and -toward you.</p> - -<p><span class="pagenum" id="Page166">[166]</span></p> - -<p>The pin-mark is made by a sharp instrument which -removes it from the mold. Finally a c e m n o r -s u v w x z are called short letters; j is a long -letter in that it takes up the full breadth of the face; -b d f h i l t are <i>upstroke</i>, or ascending letters, while -g p q are <i>downstroke</i> or descending letters.</p> - -<h4 class="inline"><i>The Sizes of Type.</i></h4> - -<p class="hinline">—Type is made in standard -sizes and not so very long ago each size was known -by a name. Then a change was made and the <i>point -system</i>,<a id="FNanchor67" href="#Footnote67" class="fnanchor">[67]</a> as it is called, came into general use. The -sizes under the old and the new systems are given -in the following table and it will enable you to know -type sizes both by name and by point.</p> - -<div class="footnote"> - -<p><a id="Footnote67" href="#FNanchor67" class="label">[67]</a> This is the standard system of sizes for type bodies. It is so -called because it is measured in decimal points or fractions of an -inch; that is, 1 point is .0138 inch, so that <i>nonpareil</i>, as it used to -be called, is now 6 point and bourgeois is 9 point, etc.</p> - -</div><!--footnote--> - -<div class="container w40emmax"> - -<p class="caption">TABLE OF TYPE SIZES</p> - -<img src="images/illo192.jpg" alt=""> - -<div class="illotext w20emmax"> - -<table class="standard"> - -<tr> -<th class="padr1">OLD NAMES OF SIZES</th> -<th colspan="3">NEW POINT<br>SIZES</th> -</tr> - -<tr> -<td class="text">Pearl</td> -<td class="intpart">5</td> -<td> </td> -<td class="ditto">point</td> -</tr> - -<tr> -<td class="text">Agate</td> -<td class="intpart">5</td> -<td class="fracpart">¹⁄₂</td> -<td class="ditto">“</td> -</tr> - -<tr> -<td class="text">Nonpareil</td> -<td class="intpart">6</td> -<td rowspan="9"> </td> -<td class="ditto">“</td> -</tr> - -<tr> -<td class="text">Minion</td> -<td class="intpart">7</td> -<td class="ditto">“</td> -</tr> - -<tr> -<td class="text">Brevier</td> -<td class="intpart">8</td> -<td class="ditto">“</td> -</tr> - -<tr> -<td class="text">Bourgeois</td> -<td class="intpart">9</td> -<td class="ditto">“</td> -</tr> - -<tr> -<td class="text">Long Primer</td> -<td class="intpart">10</td> -<td class="ditto">“</td> -</tr> - -<tr> -<td class="text">Small Pica</td> -<td class="intpart">11</td> -<td class="ditto">“</td> -</tr> - -<tr> -<td class="text">Pica</td> -<td class="intpart">12</td> -<td class="ditto">“</td> -</tr> - -<tr> -<td class="text">English</td> -<td class="intpart">14</td> -<td class="ditto">“</td> -</tr> - -<tr> -<td class="text">Great Primer</td> -<td class="intpart">18</td> -<td class="ditto">“</td> -</tr> - -</table> - -</div><!--illotext--> - -</div><!--container--> - -<p><span class="pagenum" id="Page167">[167]</span></p> - -<h4 class="inline"><i>Your Type Cases.</i></h4> - -<p class="hinline">—There are two kinds of <i>type -cases</i> and these are made to hold (1) the capital, or -<i>upper case</i> letters, and (2) the small or <i>lower case</i> -letters.</p> - -<p>The reason the capitals are called <i>upper case</i> letters -is because the case that holds them is set higher on -the <i>composing stand</i> than the case which holds the -small letters; this brings the small letters nearer to -the hand of the compositor and as they are used more -than the <i>caps</i> he can set the type faster. The arrangement -of the cases is shown at <a href="#Fig66A">A in Fig. 66</a>.</p> - -<div class="container w40emmax" id="Fig66A"> - -<img src="images/illo193.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 66a. how the type cases are arranged</span></p> - -</div><!--container--> - -<p>There are several schemes of type-cases but I shall -only describe three of them. The first is a small type -case 12¹⁄₂ inches square with 48 boxes in it and you -can buy one for 35 cents. It is good enough for any -one who doesn’t want to go to the bother of learning -the regular case. A plan view of the <i>lay</i> of a<span class="pagenum" id="Page168">[168]</span> -regular upper and a lower case is shown at <a href="#Fig66B">B</a> and <a href="#Fig66C">C</a>. -You will see that the <b>e</b> box in the lower case is larger -than any other and this is because there are more <b>e</b>’s -used in setting up a job than any other one letter. -And you will also observe that the letters are distributed -and the boxes spaced in a very uneven way, -but this arrangement brings the letters that are used -the most into the easiest places to reach.</p> - -<div class="container" id="Fig66B"> - -<img src="images/illo194a.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 66b. the upper case</span></p> - -</div><!--container--> - -<div class="container" id="Fig66C"> - -<img src="images/illo194b.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 66c. the lower case</span></p> - -</div><!--container--> - -<p><span class="pagenum" id="Page169">[169]</span></p> - -<h4 class="inline"><i>Setting the Type.</i></h4> - -<p class="hinline">—Where you have more than one -line to set you should by all means use a <i>composing -stick</i> and a small one will cost you a dollar. It should -be held in the left hand as shown in <a href="#Fig67">Fig. 67</a>, that is, -with the open side from you and the slide to the left.</p> - -<p>Now read a few lines of your <i>copy</i>, pick the first letter -from its box and set it in the <i>left hand</i> corner of -the stick with the nick in the type toward your thumb. -Take the next letter from its box and let it slide into -the composing stick against the first letter and so on -from <i>left</i> to <i>right</i> until you have the first word set up.</p> - -<div class="container w30emmax" id="Fig67"> - -<img src="images/illo195.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 67. how to hold a composing stick</span></p> - -</div><!--container--> - -<p>Now put in a medium sized <i>space</i>, which is made -just like a type but only shoulder high and without any -letter on it, and begin to set the next word. If when -you get to the end of the line there is a space left -but not enough to start another word, put a thin space -between the words to lengthen out the line, or <i>justify</i> -it as it is called.</p> - -<p><span class="pagenum" id="Page170">[170]</span></p> - -<p>When you have set the line put a lead, that is a -thin strip of typemetal which comes to the shoulder -of the type, against it and start a new line and so on -until you have the stick half full of type.</p> - -<p>The type must now be taken out of the stick and -placed on a smooth surface, such as a piece of slate or -a stone called an <i>imposing stone</i>, and to do this without -dropping some or all of the type and making <i>pi</i> of it, -takes practice. To do it like a journeyman, put a lead -at the top and bottom of the type, set the stick on the -stone, grip the top and bottom with your fore fingers -and thumbs and the sides with your other fingers, hold -it tight and you can then easily lift it out and into the -chase as shown in <a href="#Fig68">Fig. 68</a>.</p> - -<div class="container w50emmax" id="Fig68"> - -<img src="images/illo196.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 68. putting a stick of type in the chase</span></p> - -</div><!--container--> - -<p>A good way for you to do it at first is to wet the -type after you have it set in the composing stick when -it will hold together without much trouble. When<span class="pagenum" id="Page171">[171]</span> -you can manage half-a-stick full of type you can then -try a stick full.</p> - -<h3 class="inline"><b>Making Ready.</b></h3> - -<p class="hinline">—After you have the type, which -is to make up the <i>form</i>, set in the <i>chase</i> on the imposing -stone, or table, fill in the top and bottom spaces -with long pieces of wood furniture and the ends with -hollow metal furniture and then <i>lock up the form</i>, -that is screw or otherwise fix it in the chase.</p> - -<p>Now there are two kinds of chases used with small -presses and these are (1) <i>screw</i> chases and (2) <i>plain</i> -chases. A screw chase has a couple of screws fitted -into the top of it so that after the type and furniture -are in the chase you only need to tighten up the screws -to hold the form in place.</p> - -<div class="container w45emmax" id="Fig69"> - -<img src="images/illo197.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 69. tools for locking up a chase</span></p> - -</div><!--container--> - -<p>When a plain chase is used, <i>quoins</i>, that is wedges -made of wood, as shown in <a href="#Fig69">Fig. 69</a>—you can get a -dozen hickory ones for a nickel—must be set in between -the furniture and the chase and these are forced -together with a mallet and a <i>shooting stick</i>, so that -the type is held firmly in place.</p> - -<p><span class="pagenum" id="Page172">[172]</span></p> - -<p>The next thing to do is to <i>plane</i> the form, that is, -you take a block of wood one side of which is covered -with a piece of felt. Lay this on the type and -tap it gently with the mallet to get all of the type -even on top. You can make a <i>planer</i> or buy one for a -quarter ready made.</p> - -<p>This done, fit the chase in the press and put three -or four sheets of paper on the platen by means of the -pivoted bands on the edge of the latter. Ink the type -and run off a few impressions; but be careful that the -grippers are set so that they will just catch the <i>edges</i> -of the sheet but will not strike the type form.</p> - -<p>If part of the impression does not come out plain, -paste a piece of paper on the paper backing on the -platen and, oppositely, if a part of the impression is -too heavy a bit of the under sheet of paper backing -must be cut away.</p> - -<p>When the impression is even on the platen sheet -paste a piece of cardboard below and another to the -left hand side of it so that the card or the sheet of -paper will lay on the platen in exactly the right place -every time you feed it in.</p> - -<p>Instead of cardboard you can use three bent pins to -gage the sheet, or, still better, use regular steel gage -pins (see <a href="#Fig64">Fig. 64</a>), for these can be adjusted to a -nicety.</p> - -<h3 class="inline"><b>Printing the Job.</b></h3> - -<p class="hinline">—All that remains for you to do -now is to put about as much ink as you can get on the -point of the blade of a penknife on the ink table and -then roll it out thin and even with a small hand roller.</p> - -<p><span class="pagenum" id="Page173">[173]</span></p> - -<p>Lay your stock on the table to the right of the -press and feed in a card or a sheet at a time with your -right hand and see to it that you get it in squarely -against the gage pins; take away your hand and -press the handle down with your left hand; raise it -up, take the printed sheet out with your left hand, feed -in another one and so on until the job is done.</p> - -<h3 class="inline"><b>How to Clean Type.</b></h3> - -<p class="hinline">—As soon as you have -printed a job take the chase from the press and before -you unlock the form rub the face of the type with a -rag dipped in benzine, or turpentine and when all the -ink and smut is gone wipe it with a clean rag.</p> - -<p>If the type gets clogged up with ink wash it out -with a tooth-brush dipped in benzine and when the -ink on the table and the rollers gets dirty or does not -work well wash it off with benzine also. To do good -printing everything must be immaculately clean.</p> - -<h3 class="inline"><b>About Distributing Type.</b></h3> - -<p class="hinline">—After you have -cleaned the type, unlock the form and then take a line -o’ type at a time on a lead in your left hand; pick off -two or three letters at once and drop each one into its -respective box.</p> - -<h3 class="inline"><b>The Ink and Rollers.</b></h3> - -<h4 class="inline noindent">—<i>The Ink.</i></h4> - -<p class="hinline">—While of -course you will buy your ink all ready to use you -may like to know how it is made. Here’s a recipe -for a printing ink that is as old as the hills and as -good as gold: <i>Balsam of capivi</i> 4¹⁄₂ ounces; <i>lampblack</i> -1¹⁄₂ ounces; <i>indigo</i> ⁵⁄₈ ounce; <i>India red</i> ³⁄₈ ounce, -and <i>turpentine dry soap</i> 1¹⁄₂ ounces; mix these ingredients -well in a <i>mortar</i> with a <i>pestle</i>; then mix the<span class="pagenum" id="Page174">[174]</span> -mass with <i>boiled linseed oil</i> to the right thickness.</p> - -<p>When buying ink for job printing get one that is -a <i>quick drier</i> and this costs from 50 cents to $1.50 a -pound according to quality. You can also buy colored -inks in red, white, blue, yellow, green, brown and -purple in 4 ounce cans for 60 cents a can.</p> - -<h4 class="inline"><i>The Rollers.</i></h4> - -<p class="hinline">—While it is cheaper and better to buy -ink rollers ready made, if you want to try your hand -at making them yourself get 1 pound <i>Peter Cooper’s -best glue</i>; 1 quart <i>best sugar house syrup</i>, and 1 pint -of <i>glycerine</i>.</p> - -<p>Soak the glue in rain water until it is soft, drain off -all the excess water, put it in a glue pot and set it on -a slow fire until it is melted. Now put in the syrup, -boil it for half an hour, stirring it the while, and skim -off the scum that comes to the top.</p> - -<p>About 5 minutes before you take it from the fire add -the other things and then pour the mixture into the -mold, which is simply a brass cylinder of the diameter -and length you want the roller. The <i>stock</i>, as the -spindle of the roller is called, is set exactly in the -middle of the mold and the composition is poured -into it.</p> - -<h3 class="inline"><b>Printing in Colors.</b></h3> - -<p class="hinline">—Printing in two or more -colors, or <i>color printing</i>, is not only interesting work -to do, but profitable, since you can easily get orders -for it. It is a little harder to do a good job with -colored inks than it is with black ink, but if you will -use plain type and good colored ink you will have -small trouble in doing a creditable job.</p> - -<p><span class="pagenum" id="Page175">[175]</span></p> - -<h3 class="inline"><b>Printing in Gold.</b></h3> - -<p class="hinline">—When you want to print in -gilt instead of in black you can do it either by printing -in black ink first and then dusting bronze powder over -it with a tuft of cotton, or print the job with <i>gold size</i> -which makes the powder stick better. Dust the excess -powder off with a bit of cotton when the letters -will stand out in gold beautifully.</p> - -<p>You can buy a 3 ounce can of gold size for a quarter -and bronze powder can be had in 1 ounce cans in gold, -silver, cardinal red and copper. All of the above -materials can be bought of the Kelsey Press Company, -Meriden, Conn., and you ought to send for one of -their catalogues.</p> - -<h3 class="inline"><b>And Finally Your Stock Supply.</b></h3> - -<p class="hinline">—You will need -a supply of both visiting and business cards; paper for -labels, handbills and newspapers—that is, if you intend -to print one—and paper for bill-heads, statements, -letter-heads and envelopes to match them.</p> - -<p>Cards come in all sizes and colors and in any -quantity however small; they are sold under the -name of <i>thin white</i>, <i>thin colored</i>, <i>heavy china</i>, -<i>business bristol</i>, <i>fine bristol</i>, <i>extra fine bristol</i>, <i>satin -enameled</i> and <i>linen finished bristol</i>. Then there are -cards with gold beveled and lace edges; fancy embossed, -with round edges, and for mourning.</p> - -<p>Paper can be bought that is gummed on one side -for labels; linen and bond papers are used for correspondence; -the cheapest kind of white and colored -paper is good enough for handbills but you should use -a good white stock for newspaper work. Before ordering<span class="pagenum" id="Page176">[176]</span> -stock of any kind the best way to do is to send -for a full set of samples and then you will know just -what you are buying.</p> - -<h3>The Art of Paper Making</h3> - -<p>Of course you know what paper looks like and how -it feels, but it is not so likely that you know what it is -and how it is made; but paper making is an art so -old, so wonderful and so useful, that you ought to -make enough to know all about it.</p> - -<h4 class="inline"><b>What Paper Is.</b></h4> - -<p class="hinline">—Paper is made by chemical and -mechanical processes from rags, straw or wood into -thin sheets. These materials are formed of fibers -made up of what chemists call <i>cellulose</i><a id="FNanchor68" href="#Footnote68" class="fnanchor">[68]</a> and this -substance is in turn composed of C<sub>6</sub>H<sub>10</sub>O<sub>5</sub>, that is 6 -atoms of carbon, 10 atoms of hydrogen and 5 atoms -of oxygen.</p> - -<div class="footnote"> - -<p><a id="Footnote68" href="#FNanchor68" class="label">[68]</a> Cellulose forms the ground-work of all vegetable tissues -whether they are the tender shoots of a fern or the hard wood of -trees.</p> - -</div><!--footnote--> - -<h4 class="inline"><b>How to Make Paper.</b></h4> - -<p class="hinline">—Whatever material you -use to make the paper of it must be converted into -a <i>pulp</i> first. Cotton or linen makes the best paper—this -is called rag paper—because these materials are -nearly pure cellulose to begin with.</p> - -<h5 class="inline"><i>Making the Pulp.</i></h5> - -<p class="hinline">—To make a little paper take -about a pound of white cotton or linen rags and cut -them up into little bits; boil them in a solution of -<i>caustic soda</i> for a couple of hours, to get out all the -dirt and grease, and stir them often.</p> - -<p><span class="pagenum" id="Page177">[177]</span></p> - -<p>Next wash out the dirty water that has resulted -from boiling them and then the cotton or linen must -be broken up and beaten until the fibers are separated. -You can do this by putting the fabrics into a chopping -bowl, wetting it down with clean water and then using -a pair of chopping knives on them until the fibers are -cut fine, and you must change the water often. In -paper mills a <i>rag engine</i>, as it is called, is used to wash -and break up the rags.</p> - -<div class="container w40emmax" id="Fig70"> - -<img src="images/illo203.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 70. a frame for paper making</span></p> - -</div><!--container--> - -<h5 class="inline"><i>The Molds You Need.</i></h5> - -<p class="hinline">—Make half-a-dozen frames -of wood ¹⁄₄ inch thick and ¹⁄₂ an inch wide, and about -5 × 8 inches on the sides; and cover these with brass -wire netting having about 20 wires to the inch as -shown in <a href="#Fig70">Fig. 70</a>. School slate frames are good for -this purpose.</p> - -<h5 class="inline"><i>Laying the Paper.</i></h5> - -<p class="hinline">—Now spread a thin layer of -pulp on the wire netting of each frame, or mold, and<span class="pagenum" id="Page178">[178]</span> -set them to one side to dry. When you have all the -molds filled and the pulp is dry turn each frame upside -down on a sheet of blotting paper and lay another -sheet of blotting paper over the paper you are making.</p> - -<p>In this way pile up the blotting paper and the paper -in the making and then put them under pressure; this -you can do by placing the pile between two smooth -1 inch thick boards and screwing them together with -a couple of wood clamps.<a id="FNanchor69" href="#Footnote69" class="fnanchor">[69]</a> After an hour or so you -can take the clamps from the pile and separate the -sheets of paper from the blotting paper.</p> - -<div class="footnote"> - -<p><a id="Footnote69" href="#FNanchor69" class="label">[69]</a> -A <a href="#Ref11">description</a> of these clamps will be found in <a href="#Page1">Chapter I</a>.</p> - -</div><!--footnote--> - -<p>Next place the paper between sheets of <i>oil -board</i>,<a id="FNanchor70" href="#Footnote70" class="fnanchor">[70]</a> make a pile of them and screw them up between -the wood clamps again good and tight and leave -them there over night; then hang up each sheet of -paper by a corner with a clip and let it dry.</p> - -<div class="footnote"> - -<p><a id="Footnote70" href="#FNanchor70" class="label">[70]</a> This is a heavy oiled paper and you can buy it at a painter’s -supply store, or of C. B. Hewitt and Bros., 48 Beekman St., -New York City.</p> - -</div><!--footnote--> - -<h4 class="inline"><b>Sizing and Finishing.</b></h4> - -<p class="hinline">—When the sheets are dry -take them down and lay them carefully in a pile for -<i>sizing</i>. Make the sizing by dissolving <i>gelatine</i> in hot -water until it is about as thick as milk with the cream -in it.</p> - -<p>Pour the sizing into a shallow dish or, better, a -photographic tray; lay each sheet, first one side and -then the other, on the sizing and be careful to wet it -evenly all over. Put the sized paper between the -sheets of oil board again, make a pile of them, screw -on the wood clamps, let them stay under pressure<span class="pagenum" id="Page179">[179]</span> -for half a day and, finally when you take them out -let them dry slowly and you will have a <i>hand made -paper</i> that you have made with your own hands.</p> - -<h3>How to Bind Books</h3> - -<p>If you will look at this book carefully you will conclude -that it would be next to impossible to bind one -that would even faintly resemble it. But while I do -not want you to believe that you can do a job that -would anywhere nearly equal it, you can bind a book -good enough so that you will not feel ashamed to let -any one see it.</p> - -<div class="container" id="Fig71"> - -<table class="images"> - -<colgroup> -<col class="w36pc"> -<col class="wauto"> -<col class="w18pc"> -</colgroup> - -<tr> -<td colspan="3" class="image"><img src="images/illo205.jpg" alt=""></td> -</tr> - -<tr> -<td class="caption">THE BOARDS</td> -<td class="caption">BOARDS GLUED TO CLOTH</td> -<td class="caption">WIDTH OF BOOK</td> -</tr> - -</table> - -<p class="caption"><span class="smcap">Fig. 71. how to cut boards and cloth for book binding</span></p> - -</div><!--container--> - -<h4 class="inline"><i>Making the Cover.</i></h4> - -<p class="hinline">—First mark out with a rule -and then cut out two pieces of pasteboard each of -which is just as wide as the book you are going to bind -and ¹⁄₄ inch longer as shown at <a href="#Fig71">A in Fig. 71</a>.</p> - -<p>Lay these boards on a piece of muslin or calico, or -you can buy regular book-binder’s cloth for the purpose<a id="FNanchor71" href="#Footnote71" class="fnanchor">[71]</a> -and cut it 2 inches wider than the length of<span class="pagenum" id="Page180">[180]</span> -the boards and three times as long as the width of one -of them as shown at <a href="#Fig71">B</a>.</p> - -<div class="footnote"> - -<p><a id="Footnote71" href="#FNanchor71" class="label">[71]</a> For book binders’ materials of all kinds send to Thomas -Garner and Co., 181 William Street, New York. For book binders’ -leather materials address Du Pont Febrikoid Co., Equitable -Bldg., New York.</p> - -</div><!--footnote--> - -<p>Coat these boards on one side with a good glue laid -on thin and glue them to the cloth so that they will be -separated from each other by a space ¹⁄₂ an inch wider -than the thickness of the book you are binding as -shown at <a href="#Fig71">B and C</a>; this done glue the edges of the -cloth over on to the other sides of the boards as -shown at <a href="#Fig72">D in Fig. 72</a>.</p> - -<div class="container" id="Fig72"> - -<img src="images/illo206.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 72. sewing on the muslin flap</span></p> - -</div><!--container--> - -<p>While the back is drying take a piece of good muslin -and cut it 1¹⁄₂ inches shorter than the length of the book -and within 2 inches as wide as the width of the back -of the book when it is flat open. For instance suppose -the book is 5 inches wide and 1 inch thick which is -11 inches in all; then you would cut the muslin 9 -inches long. The muslin on the book is shown at <a href="#Fig72">E</a>.</p> - -<h4 class="inline"><i>Sewing the Book.</i></h4> - -<p class="hinline">—The next operation is to sew<span class="pagenum" id="Page181">[181]</span> -this piece to the back of the book; for this work you -will need a thin sharp awl, a hammer, a large darning -needle and some strong linen thread—waxed thread -is the best.</p> - -<p>Before doing so, however, take a sheet of good -white paper and make a couple of fly-leaves for the -front and back of the book; now punch a line of -holes ¹⁄₈ inch from the back, through the book as shown -at <a href="#Fig72">F</a>, then put on the piece of muslin and sew it to -the book good and tight, and be sure the flaps are -even.</p> - -<div class="container w30emmax" id="Fig73"> - -<img src="images/illo207.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 73. the bound book complete</span></p> - -</div><!--container--> - -<p>This done spread some glue on the pasteboard covers, -place the back of the book on the cloth binding -between the covers, turn it over on the front cover -and rub the muslin down smooth on it; then do the -same thing with the back. All that remains for you -to do now is to turn back one of the blank pages which<span class="pagenum" id="Page182">[182]</span> -you sewed on to the book and glue it on the cover -which will conceal the muslin flap.</p> - -<p>After you have bound the book lay it between a -couple of smooth boards and screw it up tight between -the jaws of a pair of wood clamps. Let it stay there -over night and in the morning when you take the -wood clamps off you will have one more book to add -to your five foot shelf.</p> - -<h4 class="inline"><i>Putting on the Title.</i></h4> - -<p class="hinline">—If you have a printing press -you can print the title of the book and the author’s -name—don’t forget the author’s name—on a slip -of heavy paper and gild it, or on a piece of cloth and -glue it to the front of the cover as shown in <a href="#Fig73">Fig. 73</a>.</p> - -<hr class="chap"> - -<div class="chapter"> - -<p><span class="pagenum" id="Page183">[183]</span></p> - -<h2 class="nobreak">CHAPTER VIII<br> -<span class="chaptitle">RUBBER STAMPS, DIE SINKING, BURNING -BRANDS AND STENCILS</span></h2> - -</div><!--chapter--> - -<h3>Rubber Stamps</h3> - -<p>A <i>rubber stamp</i> is type matter molded in rubber -which is then mounted on a block with a handle as -shown in <a href="#Fig77">Fig. 77</a>. When the stamp is inked and -then pressed on a smooth surface it leaves an impression -on it.</p> - -<p>Rubber stamps are useful for marking tags, books, -boxes, bundles, etc., but it is very bad taste to use them -for letter-heads and envelopes.</p> - -<h4 class="inline"><b>How to Make Rubber Stamps.</b></h4> - -<h5 class="inline noindent">—<i>The Materials -Needed.</i></h5> - -<p class="hinline">—To make rubber stamps you will need (1) -one or more fonts of type; (2) a composing stick if -you intend setting up more than one line; (3) a frame -called a chase, 4 × 5 inches on the sides made of a -strip of wood 1 inch wide and 1³⁄₁₆ inch high, which is -the height of type from its feet to its shoulder; (4) -another frame, called the <i>matrix frame</i>, made of a -strip of wood 1 inch wide, ³⁄₈ inch thick and 4 × 5 -inches on the sides. These two frames are shown at -A and B in <a href="#Fig74">Fig. 74</a>. (5) Two smooth boards 1 inch -thick, 6 inches wide and 7 inches long; (6) a tooth-brush;<span class="pagenum" id="Page184">[184]</span> -(7) a couple of pounds of <i>dental plaster of -Paris</i>, and (8) a ¹⁄₄ pound of <i>pure unvulcanized rubber</i>.</p> - -<p>Dental plaster is finer than the ordinary kind and -you can buy all you will need from your family dentist -for 5 or 10 cents a pound. Unvulcanized rubber for -rubber stamps comes in sheets about ³⁄₁₆ inch thick and -is sold under the name of <i>signature stamp gum</i> and -you can buy it for about $1.00 a pound.<a id="FNanchor72" href="#Footnote72" class="fnanchor">[72]</a></p> - -<div class="footnote"> - -<p><a id="Footnote72" href="#FNanchor72" class="label">[72]</a> You can buy signature stamp gum of The Goodyear Tire -and Rubber Company, 10 Central Park West, New York City. -In ordering of this firm ask for No. 4093, ³⁄₁₆ inch thick.</p> - -</div><!--footnote--> - -<div class="container" id="Fig74"> - -<img src="images/illo210.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 74. the matrix frame, chase and boards for making -rubber stamps</span></p> - -</div><!--container--> - -<p>Unvulcanized rubber is crude india-rubber mixed -with sulphur and when this is heated it gets very soft -and can be molded by putting it under pressure; when -it gets cold it is not only much stronger than before -but it is very elastic as well.</p> - -<p><span class="pagenum" id="Page185">[185]</span></p> - -<h4 class="inline"><b>Making the Mold.</b></h4> - -<p class="hinline">—Since you know how to make -pewter castings and how to set type, making a rubber -stamp will be as easy as rolling off a log.</p> - -<p>When you have the type set up that you want to -make the rubber stamp of, put a <i>lead</i><a id="FNanchor73" href="#Footnote73" class="fnanchor">[73]</a> on each side -of it, oil it all over with sweet oil and tie a string -around it tight. Lay the thick, shoulder high wood -frame over the type matter you have set and see that -it is in the middle of it.</p> - -<div class="footnote"> - -<p><a id="Footnote73" href="#FNanchor73" class="label">[73]</a> -See the preceding chapter on <a href="#Ref15">printing</a>.</p> - -</div><!--footnote--> - -<p>Next mix up a little more than enough plaster with -cold water in a bowl to fill the frame; stir it with a -tablespoon and make it about as thick as sorghum -molasses. Pour the plaster all around the type in -the frame and fill up the space between them as high -as the face of the type. Now let the plaster <i>set</i>,<a id="FNanchor74" href="#Footnote74" class="fnanchor">[74]</a> -that is, get hard, which it will do in a very few minutes. -When it is hard enough to hold the type in -place and yet before it gets solid take the tooth-brush, -dip it in water and brush away the plaster until it is -exactly even with the frame, and hence, even with the -shoulders of the type as shown in <a href="#Fig75">Fig. 75</a>.</p> - -<div class="footnote"> - -<p><a id="Footnote74" href="#FNanchor74" class="label">[74]</a> -When <i>calcium sulphate</i> is heated it loses its water of crystallization -and forms a powder, which we call plaster of Paris; -the plaster has the power of taking up water and forming a -solid substance, and this process is called <i>setting</i>.</p> - -</div><!--footnote--> - -<p>When the plaster has set hard oil the face of the -type and the plaster with sweet oil; now lay the thin -frame over the thick frame; mix up some more plaster -with water and make it thin enough so that it will<span class="pagenum" id="Page186">[186]</span> -flow easily into every little space of the type and fill -the frame up with it.</p> - -<p>Let this frame stay on the lower frame over night -so that it will get very hard and you can then lift it -off, when a very sharp impression of the type faces -will be formed in it shoulder deep, that is as deep in -the plaster as the face of the type is high. This frame -with its plaster impression is called the <i>matrix</i>.</p> - -<div class="container" id="Fig75"> - -<img src="images/illo212.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 75d. the type in the chase. e. plaster of paris -impression in the matrix frame</span></p> - -</div><!--container--> - -<h4 class="inline"><b>Vulcanizing the Rubber.</b></h4> - -<p class="hinline">—Cut a piece of the unvulcanized -gum rubber ¹⁄₄ inch wider and longer all -round than the impression of the type; peel the strip of -muslin from the strip of rubber gum and lay it on the -matrix. Put one of the boards on top of the rubber -and the other on the bottom of the matrix and screw -them together tight with the iron clamps as shown -in <a href="#Fig76">Fig. 76</a>.</p> - -<p>Half fill a kettle with water; lay the mold on top -of the kettle—but not in the water—and put both of<span class="pagenum" id="Page187">[187]</span> -them in a hot oven for 30 minutes. When the rubber -gum gets hot it softens and the pressure of the screws -forces it into the letters of the matrix and so makes -rubber type of them. The steam from the kettle will -keep the wood from charring and the rubber from -burning but has no other action on it.</p> - -<div class="container w35emmax" id="Fig76"> - -<img src="images/illo213.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 76. the matrix with the rubber gum in place ready to -vulcanize</span></p> - -</div><!--container--> - -<p>The heat <i>vulcanizes</i><a id="FNanchor75" href="#Footnote75" class="fnanchor">[75]</a> the rubber gum and makes it -springy and stretchy, but if it gets too hot it will become -hard and you will have <i>hard rubber</i> instead. To -get just the right degree of heat a <i>vulcanizer</i>,<a id="FNanchor76" href="#Footnote76" class="fnanchor">[76]</a> which -is simply a little boiler with a thermometer on top, is -used by rubber stamp makers.</p> - -<div class="footnote"> - -<p><a id="Footnote75" href="#FNanchor75" class="label">[75]</a> Vulcanizing is the process of heating raw India rubber with -sulphur; the sulphur combines with the rubber to form a new -compound. If a large amount of sulphur is used and great heat -is used <i>hard rubber</i>, or <i>vulcanite</i>, or <i>ebonite</i> is formed. If a -small amount of sulphur and a low heat are used the elastic -rubber that is so common is formed.</p> - -<p><a id="Footnote76" href="#FNanchor76" class="label">[76]</a> The S. S. White Dental Mfg. Co., 5 Union Square, New -York, sells them, and unvulcanized rubber as well.</p> - -</div><!--footnote--> - -<p><span class="pagenum" id="Page188">[188]</span></p> - -<h4 class="inline"><b>Mounting the Rubber.</b></h4> - -<p class="hinline">—All that you need to do -now is to trim off the edges of the rubber stamp with -a pair of shears and mount it on a smooth block of -wood having a handle as shown in <a href="#Fig77">Fig. 77</a>.</p> - -<div class="container w25emmax" id="Fig77"> - -<img src="images/illo214.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 77. the rubber stamp ready to use</span></p> - -</div><!--container--> - -<h4 class="inline"><b>How to Use a Rubber Stamp.</b></h4> - -<p class="hinline">—A special kind of -ink is used for rubber stamps, as writing ink is too -thin and printing ink spoils the rubber.</p> - -<h5 class="inline"><i>To Make an Ink Pad.</i></h5> - -<p class="hinline">—Cut out two blocks of pine -wood each of which is ¹⁄₄ inch thick, 2 inches wide -and 3 inches long; cut out four strips of woolen cloth -2 × 3 inches, lay two of the strips on each block and -then cover the latter by gluing a piece of muslin -over it.</p> - -<p>Pour a dozen or 15 drops of <i>rubber stamp ink</i> on -each pad and rub the surfaces of both of them together -to distribute the ink evenly. When not in use<span class="pagenum" id="Page189">[189]</span> -keep their inked surfaces together and in a box so -that the dust will not get on them.<a id="FNanchor77" href="#Footnote77" class="fnanchor">[77]</a></p> - -<div class="footnote"> - -<p><a id="Footnote77" href="#FNanchor77" class="label">[77]</a> You can buy a good rubber stamp pad for a quarter. Rubber -stamps, pads, and ink can be bought of the Everson and Reed -Co., 88 Chambers St., N. Y. C.</p> - -</div><!--footnote--> - -<h4 class="inline"><b>To Make Rubber Stamp Inks.</b></h4> - -<h5 class="inline noindent">—<i>A Black Ink.</i></h5> - -<p class="hinline">—Mix -3 parts of <i>lampblack</i> with 7 parts of <i>olive oil</i>.</p> - -<h5 class="inline"><i>A Red Ink.</i></h5> - -<p class="hinline">—Mix 2 parts of <i>vermilion</i> with 3 parts -of <i>olive oil</i>.</p> - -<h5 class="inline"><i>A Blue Ink.</i></h5> - -<p class="hinline">—Mix 3 parts of <i>aniline blue</i> and 6 -parts of <i>oleic acid</i> with 94 parts of <i>castor oil</i>.</p> - -<h5 class="inline"><i>A Green Ink.</i></h5> - -<p class="hinline">—Mix 25 parts of <i>aniline blue</i>, 15 -parts <i>aniline lemon yellow</i>, 50 parts <i>oleic acid</i> and -<i>castor oil</i> 950 parts.</p> - -<h4 class="inline"><b>How to Make a Copygraph Pad.</b></h4> - -<p class="hinline">—A <i>copygraph -pad</i>, or <i>hectograph</i>, as it is often called—from the -Greek <i>hekaton</i> which means 100, and <i>graph</i> to write, -hence to write a hundred—is a gelatine pad for -duplicating a letter or a drawing.</p> - -<p>To use a copygraph pad you must write your original -letter with an <i>aniline</i> ink; then you lay it on the -pad and rub it down with your fingers. When you -remove the sheet an impression will be left on the face -of the pad and if now you lay a sheet of clean paper -on the pad, rub it and <i>pull</i> it off you will have a copy -almost as bright and clear as the original. In this -way as many as 50 or 100 copies of the original letter -can be made.</p> - -<p>To make a copygraph pad put 1 ounce of the best -gelatine in enough water to cover it and let it stand for<span class="pagenum" id="Page190">[190]</span> -24 hours. Put a tablespoonful of table salt into a cup -of water, pour it into the outside can of a <i>water -jacketed</i> pot. Put 6 ounces of glycerine in the inside -pot, set the pot on the stove and heat it good and hot, -or to be exact, to about 200 degrees <i>Fahrenheit</i>.</p> - -<p>Drain off all the water from the gelatine and put -the latter in the glycerine while it is yet on the fire; -stir the mixture slowly every once in a while in order -to prevent bubbles from forming, and skim off the -froth that forms on top of it. When you have a nice -smooth mixture stir in a teaspoonful of oil of cloves -to keep it sweet.</p> - -<p>Next make a pan of sheet zinc a little larger than -the letter you want to copy and ¹⁄₂ an inch high, or -you can use a tin pie pan if you merely want to try -it out. Set the pan on a level table, fill it with the -hot mixture, let it stand over night and it is ready -to use.</p> - -<h4 class="inline"><b>How to Copy a Letter.</b></h4> - -<p class="hinline">—You must write your -letter with a special aniline ink, called <i>hectograph ink</i>, -and use a new steel pen to do it with.</p> - -<p>While the writing is getting dry take a small clean -sponge, wet it with cold water, squeeze it as dry as -you can, wash the face of the gelatine with it before -you try to make an impression or else you will spoil -the pad.</p> - -<p>This done, lay the sheet of paper with the written -side down on the pad and gently rub your fingers over -every part of it. Let the paper stay on the pad for a -couple of minutes, then grip a corner of it and pull<span class="pagenum" id="Page191">[191]</span> -it slowly and evenly from the pad as shown in <a href="#Fig78">Fig. -78</a>. Now you are ready to make your copies.</p> - -<p>To do this lay a clean sheet of paper on the pad, -rub it as you did the original, let it remain for a minute -and pull it off. Keep on making copies until you -have as many as you want or the impression gets too -faint.</p> - -<div class="container w40emmax" id="Fig78"> - -<img src="images/illo217.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 78. pulling an impression from the copygraph</span></p> - -</div><!--container--> - -<p>When you get through pulling copies wash the face -of the pad with a moist sponge and let it dry thoroughly -before you make a new copy.</p> - -<h4 class="inline"><b>How to Make Hectograph Inks.</b></h4> - -<h5 class="inline noindent">—<i>Black Ink.</i></h5> - -<p class="hinline">—Mix -10 parts of <i>methyl violet</i>; 20 parts of <i>nigrosene</i>; -30 parts of <i>glycerine</i>; 5 parts of <i>gum arabic</i> and 60 -parts of alcohol. Heat it until the anilines are dissolved -and stir until all are thoroughly mixed.</p> - -<h5 class="inline"><i>Red Ink.</i></h5> - -<p class="hinline">—Mix 10 parts of <i>fuchsin</i>, 10 parts of -alcohol; 10 parts of glycerine and 50 parts of water. -Heat and stir as before.</p> - -<p><span class="pagenum" id="Page192">[192]</span></p> - -<h3>Die Sinking</h3> - -<h4 class="inline"><b>How to Make Badges, etc.</b></h4> - -<p class="hinline">—It is fascinating work -to sink a name into a piece of sheet metal with steel -dies and yet it is very easy if you have the tools and -you can make some money out of it too, for every -boy wants a badge or a medal.</p> - -<div class="container w35em" id="Fig79A"> - -<img src="images/illo218.jpg" alt=""> - -<div class="split5050"> - -<div class="left5050"> -<p class="caption"><i>SHEET OF GERMAN SILVER OR BRASS -WITH SHIELD MARKED ON IT</i></p> -</div> - -<div class="right5050"> -<p class="caption"><i>THE SHIELD CUT OUT</i></p> -</div> - -<p class="thinline allclear"> </p> - -</div><!--split--> - -<p class="caption"><span class="smcap">Fig. 79a, b. first steps in making a badge</span></p> - -</div><!--container--> - -<p>Badges can be made of any kind of sheet metal ¹⁄₆₄ -inch thick or more but <i>German silver</i><a id="FNanchor78" href="#Footnote78" class="fnanchor">[78]</a> makes mighty -pretty ones for it takes a high polish and remains -bright a long time. To cut out a shield, a star or any -kind of a badge get a ¹⁄₄ and a ¹⁄₂ inch straight cold -chisel and a ¹⁄₄ and a ¹⁄₂ inch curved cold chisel,<a id="FNanchor79" href="#Footnote79" class="fnanchor">[79]</a> also -a block of hard wood one side of which must be nice -and smooth.<a id="FNanchor80" href="#Footnote80" class="fnanchor">[80]</a></p> - -<div class="footnote"> - -<p><a id="Footnote78" href="#FNanchor78" class="label">[78]</a> You can buy German silver in any quantity and thickness of -Patterson Bros., Park Row, N. Y.</p> - -<p><a id="Footnote79" href="#FNanchor79" class="label">[79]</a> The P. F. Smith Co., 325 West 42nd St., N. Y. C, make -these chisels.</p> - -<p><a id="Footnote80" href="#FNanchor80" class="label">[80]</a> You can make it so by scraping it with a piece of glass.</p> - -</div><!--footnote--> - -<p><span class="pagenum" id="Page193">[193]</span></p> - -<p>Draw the outline of the badge you intend to make -on a sheet of metal; lay the latter on the block of wood -and then cut it out with your chisels and hammer as -shown at A and B in <a href="#Fig79A">Fig. 79</a>. When you have it cut -out, file off the rough edges.</p> - -<h4 class="inline"><b>How to Sink the Letters.</b></h4> - -<p class="hinline">—For this part of the -work you will need a set of ¹⁄₈ inch <i>steel letters</i><a id="FNanchor81" href="#Footnote81" class="fnanchor">[81]</a> as -shown in <a href="#Fig80">Fig. 80</a> and they will cost in the neighborhood -of $3.00.</p> - -<div class="footnote"> - -<p><a id="Footnote81" href="#FNanchor81" class="label">[81]</a> Can be had of Hammacher, Schlemmer and Co., Fourth -Ave. and 13th Street, New York.</p> - -</div><!--footnote--> - -<div class="container" id="Fig79C"> - -<img src="images/illo219.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 79c. the badge on a flat-iron in a vise. d. sinking in -the letters</span></p> - -</div><!--container--> - -<p>Mark the lines on the badge on which the letters are -to be sunk with a very soft lead pencil, or, better, wax -the surface all over by tapping it with your finger on -which you have rubbed some white wax and then -mark the lines with a sharp pointed piece of bone.<span class="pagenum" id="Page194">[194]</span> -Otherwise you will have trouble in getting the lines -out.</p> - -<p>Now lay the badge on a perfectly smooth piece of -iron—a flat-iron screwed in a vise, see <a href="#Fig79C">C</a>, is good. -Then take the middle letter of the name you are going -to stamp and hold it with the notched side toward you -and with the <i>serifs</i><a id="FNanchor82" href="#Footnote82" class="fnanchor">[82]</a> on the lower edge of the letter -exactly on the middle of the line you have drawn as -shown at <a href="#Fig79C">D</a>.</p> - -<div class="footnote"> - -<p><a id="Footnote82" href="#FNanchor82" class="label">[82]</a> See <a href="#Page157">Chapter VII</a>, on Printing.</p> - -</div><!--footnote--> - -<div class="container" id="Fig80"> - -<img src="images/illo220.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 80. steel letters and figures for die sinking</span></p> - -</div><!--container--> - -<p>Hold the steel letter perfectly straight and give it -a goodly blow with the hammer when the die will -sink into the metal and leave the impression of the -letter below the surface. Finish stamping the name -by working both ways from the middle letter, for this -is the way to get the name on the badge evenly.</p> - -<p>With a set of steel letters and figures you can also -stamp key checks, jewelers’ checks, baggage checks and<span class="pagenum" id="Page195">[195]</span> -name plates and also sink names on wood, metal, -leather, etc.</p> - -<h4 class="inline"><b>Finishing Up the Badge.</b></h4> - -<p class="hinline">—The next thing to do -is to solder a pin on the back of the badge as shown -at <a href="#Fig79E">E in Fig. 79</a>. Scrape the back up and down the -middle bright and clean; put a small safety pin on -the badge and hold them together with a pair of -tweezers. Then put on a couple of drops of <i>soldering -fluid</i>.<a id="FNanchor83" href="#Footnote83" class="fnanchor">[83]</a></p> - -<div class="footnote"> - -<p><a id="Footnote83" href="#FNanchor83" class="label">[83]</a> See <a href="#Page31">page 31</a>.</p> - -</div><!--footnote--> - -<div class="container w35emmax" id="Fig79E"> - -<img src="images/illo221.jpg" alt=""> - -<div class="split5050"> - -<div class="left5050"> -<p class="caption"><i>THE BACK -WITH PIN -SOLDERED ON</i></p> -</div> - -<div class="right5050"> -<p class="caption">READY -TO -WEAR</p> -</div> - -<p class="thinline allclear"> </p> - -</div><!--split--> - -<p class="caption"><span class="smcap">Fig. 79e, f. last steps in making a badge</span></p> - -</div><!--container--> - -<p>Hold the badge with the pin on top of it in the -flame of your alcohol lamp or Bunsen burner and when -the soldering fluid begins to sizzle touch the pin with -a piece of wire solder. When the solder runs let it -cool and the pin will be on securely enough for all -ordinary purposes.</p> - -<p>Next polish up the badge by rubbing it with -powdered <i>rottenstone</i> mixed with a little machine oil<span class="pagenum" id="Page196">[196]</span> -and then finish it off with some <i>crocus</i>. If you have a -lathe of any kind get a <i>felt wheel</i><a id="FNanchor84" href="#Footnote84" class="fnanchor">[84]</a> and use the rottenstone -and oil on it and then the crocus.</p> - -<div class="footnote"> - -<p><a id="Footnote84" href="#FNanchor84" class="label">[84]</a> F. W. Gesswein Co., Inc., 16 John St., sells engravers’, opticians’, -platers’ and polishers’ supplies.</p> - -</div><!--footnote--> - -<p>Heat the stamped surface of the pin just a little and -put some <i>black enamel</i>, which you can get at the hardware -store, into the letters; rub off all that sticks to -the surface but leave all that is in the sunk letters. -Put it away and let the enamel dry thoroughly when -you will have a regular badge as shown at <a href="#Fig79E">F</a>.</p> - -<h3>Burning Brands</h3> - -<p>A burning brand is useful to mark the handles of -tools, boxes or anything made of wood by burning -a name or a design into them.</p> - -<h4 class="inline"><b>How to Make a Burning Brand.</b></h4> - -<p class="hinline">—To make a -burning brand, say with your initials on it, make a -cardboard box ³⁄₄ inch wide, 1 inch high and 3 inches -long and without a top.</p> - -<p>Mix up some plaster of Paris, fill the box with it -and let it set. When it is perfectly hard and dry tear -the cardboard box away from it, and on the narrow -side of it, that is the one that is ³⁄₄ inch wide, mark out -your initials, reversing the letters just as they are on -type.</p> - -<p>Take a sharp pocket knife and cut away the plaster -from around the letters to a depth of ³⁄₈ inch, thus -leaving the letters standing out in relief like type letters<span class="pagenum" id="Page197">[197]</span> -as shown at <a href="#Fig81">A in Fig. 81</a>. Give it a couple of -coats of <i>shellac varnish</i><a id="FNanchor85" href="#Footnote85" class="fnanchor">[85]</a> which not only protects the -plaster to a certain extent but prevents it from sticking -to the mold.</p> - -<div class="footnote"> - -<p><a id="Footnote85" href="#FNanchor85" class="label">[85]</a> You can make this varnish by dissolving yellow gum shellac -in alcohol or you can buy it at a paint store.</p> - -</div><!--footnote--> - -<div class="container w50emmax" id="Fig81"> - -<img src="images/illo223.jpg" alt=""> - -<div class="split7129"> - -<div class="left7129"> -<p class="caption"><i>A PLASTER OF PARIS -PATTERN FOR A -BURNING BRAND</i></p> -</div> - -<div class="right7129"> -<p class="caption"><i>THE BURNING -BRAND COMPLETE</i></p> -</div> - -<p class="thinline allclear"> </p> - -</div><!--split--> - -<p class="caption"><span class="smcap">Fig. 81. a burning brand of iron or copper</span></p> - -</div><!--container--> - -<p>Now take this pattern to a brass foundry and have -a brass casting made of it. When you get it file it -up nice and smooth and be careful to keep the surface -of the letters perfectly flat. This done, drill a ³⁄₁₆ -inch hole in the center of the back of the brand to a -depth of ¹⁄₂ an inch and thread it with a ³⁄₁₆ inch tap.</p> - -<p>The next and last thing to do is to get an iron rod -¹⁄₄ inch in diameter, and 12 inches long, bend a ring -on one end, thread the other end with a ³⁄₁₆ inch die -and screw it into the brand, when it will look like <a href="#Fig81">B</a>.</p> - -<h5 class="inline"><i>How to Use the Burning Brand.</i></h5> - -<p class="hinline">—To use the burning -brand put it in a fire and when it is about red hot, -take it out and press it firmly on the wood you want<span class="pagenum" id="Page198">[198]</span> -to mark and your initials will be left on the wood as -long as the wood lasts, nearly.</p> - -<h3>Stencils</h3> - -<p>A stencil is a piece of heavy paper or thin sheet of -metal in which letters or a design are cut through with -broken lines, and it is used for marking the letters or -design on any smooth surface by daubing a color on -it through the open spaces with a brush or sponge.</p> - -<p>There are two kinds of stencils, namely (1) -those used for practical work and (2) those used for -decorative purposes.</p> - -<h4 class="inline"><b>How to Cut Stencils.</b></h4> - -<p class="hinline">—You can cut your stencils -in either (a) <i>oil board</i>,<a id="FNanchor86" href="#Footnote86" class="fnanchor">[86]</a> -or (b) in thin <i>sheet brass</i> or -<i>copper</i>. <i>Paper stencils</i>, as those cut in oil board are -called, are much easier to make than those cut in sheet -metal and as they are quite durable they will probably -serve your every need.</p> - -<div class="footnote"> - -<p><a id="Footnote86" href="#FNanchor86" class="label">[86]</a> Oil board can be bought of C. B. Hewitt and Bros., 48 Beekman -St., New York.</p> - -</div><!--footnote--> - -<h5 class="inline"><i>Cutting Paper Stencils.</i></h5> - -<p class="hinline">—All you need to cut paper -stencils with is a sheet of oil board and a pen-knife -with a good, sharp-pointed blade. A stencil alphabet -is shown at <a href="#Fig82">A in Fig. 82</a> and by taking a look at it -you will see exactly where the lines must be broken -to hold the letters together.</p> - -<p>First mark out with a pencil the size of the sheet -you want the stencil to be and then draw a line down -through the middle to divide it into equal parts. For -every line of letters you want draw a pair of lines<span class="pagenum" id="Page199">[199]</span> -across the oil board and have the space between them -whatever you want the height of the letters to be.</p> - -<p>When you mark in the name or word start with -the middle letter and draw it on the middle line of the -board and then draw in the rest of the letters to the -right and to the left; by lettering the oil board or -metal this way you will get the whole name or word -exactly in the middle of the sheet.</p> - -<div class="container" id="Fig82"> - -<img src="images/illo225.jpg" alt=""> - -<p class="caption nobot"><span class="smcap">Fig. 82. stencil letters and stencils</span></p> - -<div class="centerblock"> - -<p class="caption subcaption">A. How stencil letters are cut.<br> -B. A stencil for marking boxes.<br> -C. Decorative stencil for wall borders.</p> - -</div><!--centerblock--> - -</div><!--container--> - -<p>To cut the stencil lay it on a smooth board and hold -your knife just as you do a pen when you write but -with your fingers a little closer to the point. Start at -the top of each line if it is a vertical one, or on the -left hand side if it is horizontal; hold the knife at a -slight angle so that all the lines you cut will slant in -toward the center of the letter and so bevel the paper. -In cutting the stencil you can turn the sheet around -to bring the lines into the best position for cutting.</p> - -<p>It does not take much pressure to cut through the -board but press down hard enough on the blade to<span class="pagenum" id="Page200">[200]</span> -make the first cut go clear through and never cut over -the same line twice and also make the cuts run right -up sharp into the corners. It takes very small skill -to cut stencils but the chief part of the art lies in drawing -the letters or the designs on the paper or metal.</p> - -<h5 class="inline"><i>Cutting Brass Stencils.</i></h5> - -<p class="hinline">—To cut sheet metal stencils -use <i>annealed</i><a id="FNanchor87" href="#Footnote87" class="fnanchor">[87]</a> sheet metal about No. 25 <i>Brown and -Sharpe gauge</i>;<a id="FNanchor88" href="#Footnote88" class="fnanchor">[88]</a> mark out the letters or design as for -paper stencils and then cut them with <i>stencil chisels</i>. -When you have the stencil all cut file the <i>burr</i> off of -the edges of the letters or design with a fine file and -file them at an angle so that all the edges are sharp. -A practical stencil is shown at <a href="#Fig82">B</a>.</p> - -<div class="footnote"> - -<p><a id="Footnote87" href="#FNanchor87" class="label">[87]</a> Patterson Bros., Park Row, New York, carry sheet brass and -copper in stock for stencils.</p> - -<p><a id="Footnote88" href="#FNanchor88" class="label">[88]</a> The Brown and Sharpe Wire Gage is also used for measuring -the thickness of sheet metal.</p> - -</div><!--footnote--> - -<h5 class="inline"><i>How to Use Practical Stencils.</i></h5> - -<p class="hinline">—A short, stubby -brush, called a <i>stencil brush</i> and made especially for -the purpose is the best kind to use to stencil with. -Dampen it a little and rub it on a cake of <i>stencil ink</i>;<a id="FNanchor89" href="#Footnote89" class="fnanchor">[89]</a> -hold the stencil down tight to the surface you are to -mark and then <i>dab</i>—not paint—the spaces in it -with the brush.</p> - -<div class="footnote"> - -<p><a id="Footnote89" href="#FNanchor89" class="label">[89]</a> Nearly every stationery store carries stencil ink and brushes -in stock, or you can get them of Hammacher, Schlemmer and -Co., Cor. Fourth Ave. and 13th Street, N. Y. C.</p> - -</div><!--footnote--> - -<h5 class="inline"><i>How to Make Stencil Inks.</i></h5> - -<p class="hinline">—Dissolve 4 ounces of -shellac and 1 part of borax in a little boiling water and -put in enough logwood to make it red if this is the -color you want it, or blue carmine if you want it to be<span class="pagenum" id="Page201">[201]</span> -blue. Then add enough hot water to make it about -as thick as cream.</p> - -<h5 class="inline"><b>How to Use Decorative Stencils.</b></h5> - -<p class="hinline">—Art stencils -can be used with good effect for certain kinds of decorative -work, but it is especially adapted for putting -borders on kalsomined walls. You can cut these -stencils, see <a href="#Fig82">C in Fig. 82</a>, after your own design or -you can buy them already cut.<a id="FNanchor90" href="#Footnote90" class="fnanchor">[90]</a></p> - -<div class="footnote"> - -<p><a id="Footnote90" href="#FNanchor90" class="label">[90]</a> Write to the Frost and Adams Co., Cornhill, Boston, Mass., -for a catalogue of their <i>Art Cut Stencils</i>. Also to Sears, Roebuck -and Co., Chicago, Ills., for a list of their decorative stencils.</p> - -</div><!--footnote--> - -<h5 class="inline"><i>Mixing Colors for Stenciling Borders.</i></h5> - -<p class="hinline">—To make -the colors for decorative stencils stir a very little -<i>moresco stenciling color</i><a id="FNanchor91" href="#Footnote91" class="fnanchor">[91]</a> with some hot water; be -careful not to use too much color or the effect on the -kalsomined or frescoed wall will be too contrasting. -Beautiful colors in half-a-dozen tints can be had for -this work.</p> - -<div class="footnote"> - -<p><a id="Footnote91" href="#FNanchor91" class="label">[91]</a> Made by Benjamin H. Moore and Son’s Co., 180 William -St., N. Y., and sold by paint dealers generally.</p> - -</div><!--footnote--> - -<hr class="chap"> - -<div class="chapter"> - -<p><span class="pagenum" id="Page202">[202]</span></p> - -<h2 class="nobreak">CHAPTER IX<br> -<span class="chaptitle">THE ART OF WORKING GLASS</span></h2> - -</div><!--chapter--> - -<p>One of the most fascinating of the mechanical arts -is working in glass. One reason for this is because it -is a substance so beautiful, so hard and so fragile that -it seems to the ordinary observer to be beyond the pale -of tools.</p> - -<p><i>Au contraire</i>, as the French say it, glass is easily -worked if you mix a little skill with the right kind of -tools and it gives me much pleasure to tell you how -to do it. Further, the tools you need are few and the -material is inexpensive.</p> - -<h3 class="inline"><b>What Glass Is.</b></h3> - -<p class="hinline">—Before getting down to the processes -by which glass can be worked it is a good scheme -to know about the substance itself.</p> - -<p><i>Hieroglyphic</i><a id="FNanchor92" href="#Footnote92" class="fnanchor">[92]</a> inscriptions on the Egyptian monuments -show that the art of working glass was practiced -4,000 years ago or before the <i>Hebrew exodus</i>.<a id="FNanchor93" href="#Footnote93" class="fnanchor">[93]</a> -Now glass is a chemical compound, the chief substance -of which is sand.</p> - -<div class="footnote"> - -<p><a id="Footnote92" href="#FNanchor92" class="label">[92]</a> The early Egyptians carved the history of their arts on stone -in a sign language called <i>hieroglyphics</i> from the Greek <i>hieros</i> -which means sacred, and <i>glypho</i> which means to carve.</p> - -<p><a id="Footnote93" href="#FNanchor93" class="label">[93]</a> The departure of the Israelites from Egypt under the guidance -of Moses.</p> - -</div><!--footnote--> - -<p><i>Common glass</i> is made by melting <i>sand</i>, <i>lime</i> and -<i>soda</i> together. Sand is formed of a chemical element<span class="pagenum" id="Page203">[203]</span> -called <i>silica</i>; lime is <i>calcium carbonate</i> and soda is -<i>sodium carbonate</i> and there you have three chemical -elements which when they are melted together make -common window glass.</p> - -<p>Glass which contains lime is called <i>crown glass</i> and -it is this kind which is used in making one of a pair of -<i>achromatic</i><a id="FNanchor94" href="#Footnote94" class="fnanchor">[94]</a> -lenses. <i>Flint glass</i> which is the kind of -glass used in making the other one of a pair of achromatic -lenses contains lead instead of lime.</p> - -<div class="footnote"> - -<p><a id="Footnote94" href="#FNanchor94" class="label">[94]</a> An achromatic lens is one that is free from color.</p> - -</div><!--footnote--> - -<p>Flint, or lead, glass melts more easily than crown, -or common, glass and this is a good pointer for you to -remember when you are getting glass for your glass -blowing experiments. <i>Bohemian glass</i>, which is -largely used for chemical apparatus, is made of sand, -lime and potash.</p> - -<p>Colored glass is made by putting small quantities -of various substances into the melted glass. Thus -<i>oxide of cobalt</i><a id="FNanchor95" href="#Footnote95" class="fnanchor">[95]</a> gives a blue color; <i>oxide of -chromium</i>, or <i>cupric oxide</i> a green; one of the <i>copper -oxides</i> gives it a red color, <i>uranium</i><a id="FNanchor96" href="#Footnote96" class="fnanchor">[96]</a> -a yellow, etc.</p> - -<div class="footnote"> - -<p><a id="Footnote95" href="#FNanchor95" class="label">[95]</a> Cobalt is a metal and is usually found along with nickel.</p> - -<p><a id="Footnote96" href="#FNanchor96" class="label">[96]</a> Uranium is also a metal.</p> - -</div><!--footnote--> - -<h3 class="inline"><b>How to Cut Glass.</b></h3> - -<p class="hinline">—About the simplest and most -useful process for you to know is how to cut glass.</p> - -<p>To cut window glass you need (1) a <i>glass cutter</i>; -(2) a drawing board and (3) a T square. There -are two kinds of glass cutters on the market and these -are (a) <i>steel cutters</i> and (b) <i>diamond cutters</i>.</p> - -<p>The first kind has a little steel wheel in the end,<span class="pagenum" id="Page204">[204]</span> -as shown at <a href="#Fig83">A in Fig. 83</a>. You can buy one for a -quarter and it will serve all your needs very well. If -money is no object you can buy a glass cutter with -a diamond point such as glaziers use for about $4.00. -This kind of a glass cutter has a chip of genuine diamond -in a <i>swivel</i> end and it is a pleasure to cut glass -with one of them. It is shown at <a href="#Fig83">B</a>.</p> - -<div class="container w50emmax" id="Fig83"> - -<img src="images/illo230.jpg" alt=""> - -<p class="caption nobot"><span class="smcap">Fig. 83. glass cutters</span></p> - -<div class="centerblock"> - -<p class="caption subcaption"> -A. A steel wheel glass cutter.<br> -B. A diamond point glass cutter.</p> - -</div><!--centerblock--> - -</div><!--container--> - -<h3 class="inline"><b>How to Use a Glass Cutter.</b></h3> - -<p class="hinline">—“There are tricks -in all trades but ours,” said the carpenter as he drove -in a screw with a hammer, and so if you will dip the -steel wheel cutter into some kerosene before each cut -is made you will be surprised to find how easily it -cuts.</p> - -<p>To use a diamond cutter, hold it just as you would -hold a pencil and grip the three sided part with your -thumb, index and middle fingers, as shown at <a href="#Fig83C">C</a>. -Then place the cutter against the straight edge of your -T square, press it down firmly on the glass and draw -it along evenly.</p> - -<p><span class="pagenum" id="Page205">[205]</span></p> - -<p>To make the right kind of a cut hold the diamond at -a sharp angle, that is, very slanting, and raise it slowly -until a smooth, sound and clear cut is made. Don’t -hold it straight up and down or you will surely spoil -it, and never never cut twice over the same line.</p> - -<div class="container w30emmax" id="Fig83C"> - -<img src="images/illo231a.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 83c. the right way to hold a diamond point glass cutter</span></p> - -</div><!--container--> - -<p>It takes more skill to use a diamond cutter the -right way than to use a steel cutter, but a little practice -will make you proficient.</p> - -<div class="container w40emmax" id="Fig84"> - -<img src="images/illo231b.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 84. how to cut a pane of glass</span></p> - -</div><!--container--> - -<p><span class="pagenum" id="Page206">[206]</span></p> - -<p>When you want to cut a sheet of glass lay it on your -drawing board with the blade of the T square on it -and the head of it against the edge of the glass as -shown in <a href="#Fig84">Fig. 84</a>; hold it tight and then make a good, -clean cut. You can then easily break the sheet of glass -along the cut if there is enough glass on each side of -the cut to get a firm hold on. If not put it into one -of the notches on the shank of the glass cutter and -you can then easily break it off.</p> - -<h3 class="inline"><b>How to Finish Off Glass Edges.</b></h3> - -<p class="hinline">—When you cut -a sheet of glass the edge left by the cutter will be -slightly rough. To smooth it up and round off the -corners rub it on a <i>whetstone</i>, that is any kind of a -coarse stone on which you have poured a little water. -A better way is to grind it on a grindstone if you -have one.</p> - -<h3 class="inline"><b>How to Drill Holes in Glass.</b></h3> - -<p class="hinline">—To drill a hole -through a sheet of glass make a layer of putty ¹⁄₂ an -inch thick and as large as the sheet you are going to -drill and lay the glass on it.</p> - -<p>The idea of using the bed of putty is to allow the -glass to bend a little should you press down on the -drill too hard. Take a <i>Morse twist drill</i> and, if you -know how, grind it on a grindstone to a sharper point -than it has when you get it; the next best thing to do -is to sharpen it on your oilstone.</p> - -<p>The best kind of a drill stock to use is an <i>archimedian</i>, -or a <i>reciprocating</i> one, as shown at <a href="#Fig11">B in Fig. 11</a>, -on page 29, for then the pressure on the glass is even -in every direction. Set the drill on the glass at the<span class="pagenum" id="Page207">[207]</span> -point where the hole is to be made; hold it with the -fingers of your left hand to keep it from slipping and -<i>lubricate</i> it well with turpentine.</p> - -<p>Work the drill at a fairly high speed and do not put -too much pressure on the drill stock or you will surely -break the glass.</p> - -<p>You will find it quite hard to drill a hole less than -¹⁄₁₆ inch in diameter through ordinary glass because -the drills will break and when you drill a hole over ¹⁄₈ -inch in diameter you will find it a slow job because of -its size, but you can drill a hole up to ¹⁄₄ inch in diameter -if you go slow and are careful.</p> - -<h3 class="inline"><b>A Couple of Ways to Cut Glass Tubing.</b></h3> - -<h4 class="inline noindent">—<i>The -First Way.</i></h4> - -<p class="hinline">—A simple way to cut, or rather break off -a piece of glass tube evenly is to make a cut all round -the tube with a <i>three-cornered</i> file<a id="FNanchor97" href="#Footnote97" class="fnanchor">[97]</a> and you can -break it off at the line without trouble.</p> - -<div class="footnote"> - -<p><a id="Footnote97" href="#FNanchor97" class="label">[97]</a> The right name of a three cornered file is a <i>three square -file</i>.</p> - -</div><!--footnote--> - -<div class="container w50emmax" id="Fig85"> - -<img src="images/illo233.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 85. a cutter for glass tubes</span></p> - -</div><!--container--> - -<h4 class="inline"><i>The Second Way.</i></h4> - -<p class="hinline">—An easy and sure way to cut -glass tubing off smooth is to use a <i>gauge glass -cutter</i>;<a id="FNanchor98" href="#Footnote98" class="fnanchor">[98]</a> -this is a V steel rod with a <i>seat</i> on one end and a steel -cutting wheel on the other. The arm of the rod holding -the wheel is marked off in fractions of an inch like<span class="pagenum" id="Page208">[208]</span> -a rule and a <i>stop</i> with a set screw in it slides on this rod -as shown in <a href="#Fig85">Fig. 85</a>.</p> - -<div class="footnote"> - -<p><a id="Footnote98" href="#FNanchor98" class="label">[98]</a> You can buy one of these tools of Hammacher, Schlemmer -and Co., Fourth Ave. and 13th St., New York.</p> - -</div><!--footnote--> - -<p>To use the cutter set the stop on the rod at the length -you want to cut the tube; then put the rod with the -cutter on it in the tube and with the seat outside; press -the V rods together tight and turn it and the tube in -opposite directions when it will make a good cut and -you can break the tube in two easily.</p> - -<h3 class="inline"><b>How to Cut Glass Disks.</b></h3> - -<p class="hinline">—By sawing out a -round board, laying it flat on a sheet of glass and -running your glass cutter around the edge of the -pattern you can cut out an approximately round disk -of glass.</p> - -<div class="container w50emmax" id="Fig86"> - -<img src="images/illo234.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 86. a circular glass cutter</span></p> - -</div><!--container--> - -<p>But to cut out a perfectly round disk you must have -a <i>circular glass cutter</i><a id="FNanchor98a" href="#Footnote98a" class="fnanchor">[98a]</a> -as shown in <a href="#Fig86">Fig. 86</a>. It has -an adjustable cutter head mounted on a square rod so -that the head can be turned on it. The rod is mounted -on a hardwood base so that it can revolve around the -latter.</p> - -<div class="footnote"> - -<p><a id="Footnote98a" href="#FNanchor98a" class="label">[98a]</a> You can buy one of these tools of Hammacher, Schlemmer -and Co., Fourth Ave. and 13th St., New York.</p> - -</div><!--footnote--> - -<p>After the cutter head is set on the rod for the size -of the circle you intend to cut hold it down on the<span class="pagenum" id="Page209">[209]</span> -glass by the thumb-piece. The cutter head is then -moved round in a circle and a clean cut is made after -which the edge of the disk can be smoothed up.</p> - -<p>This circular glass cutter, which is called the -<i>Little Beauty</i>, will cut a circle 20 inches in diameter -and costs about 50 cents. If you are making a frictional -electric machine this is the tool you need to cut -the glass plates with.</p> - -<h3 class="inline"><b>How to Bend Glass Tubing.</b></h3> - -<p class="hinline">—It is useful to know -how to bend a piece of glass tubing, especially if you -are interested in chemistry and want to set up some -apparatus—in fact you should know how before you -ever start to experiment.</p> - -<p>There are just two things you need to bend glass -tubes with and these are (1) a <i>Bunsen burner</i><a id="FNanchor99" href="#Footnote99" class="fnanchor">[99]</a> and -(2) the <i>glass tubing</i>, both of which you can buy of -Eimer and Amend, Fourth Avenue, Cor. 18th Street, -New York.</p> - -<div class="footnote"> - -<p><a id="Footnote99" href="#FNanchor99" class="label">[99]</a> Complete instructions for making a Bunsen burner will be -found in <i>The Magic of Science</i> by the present author and published -by Fleming H. Revell Co., New York.</p> - -</div><!--footnote--> - -<h4 class="inline"><i>What a Bunsen Burner Is.</i></h4> - -<p class="hinline">—This is a burner in -which a jet of ordinary illuminating gas is mixed with -air, the amount being regulated by a ring which opens -and closes the air holes in the burner.</p> - -<p>A Bunsen burner makes a very hot flame because the -gas in the tube moves faster than in an ordinary burner -and the oxygen in the air aids the gas to burn. A -plain Bunsen burner is shown at <a href="#Fig87">A, in Fig. 87</a>. If -you have no gas in your house you can use an<span class="pagenum" id="Page210">[210]</span> -<i>alcohol lamp</i><a id="FNanchor100" href="#Footnote100" class="fnanchor">[100]</a> which you can either buy or make for -yourself.</p> - -<div class="footnote"> - -<p><a id="Footnote100" href="#FNanchor100" class="label">[100]</a> -How to make an alcohol lamp out of an ink-bottle is explained -in <i>The Magic of Science</i>.</p> - -</div><!--footnote--> - -<h4 class="inline"><i>Bending the Glass Tube.</i></h4> - -<p class="hinline">—To bend a piece of glass -tube you should have a <i>fish tail jet</i> set in the end of the -Bunsen burner to give a wide flame like an illuminating -burner as shown at B. Hold the tube over the -flame of the burner, or alcohol lamp until it is heated -red hot all along the place you want to bend it.</p> - -<div class="container w50emmax" id="Fig87"> - -<img src="images/illo236.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 87. kinds of bunsen burners</span></p> - -</div><!--container--> - -<p>Now turn the tube in the flame with your fingers -until it is heated evenly all around and becomes soft; -take it from the flame and quickly but gently bend it -as you will which you can do very easily. With -very little practice you will be able to make a good -smooth bend just where you want it.</p> - -<p><span class="pagenum" id="Page211">[211]</span></p> - -<h3>How to Blow Glass</h3> - -<h3 class="inline"><b>To Round the Ends of a Tube.</b></h3> - -<p class="hinline">—When you cut a -tube either with a file or a glass cutter the edge of the -end will be sharp but not smooth. All you have to do -to round it is to heat it in the flame until it begins to -melt, when the glass will run and make a smooth -edge.</p> - -<h3 class="inline"><b>To Border the Ends of a Tube.</b></h3> - -<p class="hinline">—To <i>border</i> a -tube means to spread the edge out a little all around -so that a cork can be put in easier or a liquid poured -out better.</p> - -<div class="container w40emmax" id="Fig88"> - -<img src="images/illo237.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 88. bordering the end of a tube</span></p> - -</div><!--container--> - -<p>Take a piece of charcoal and shave it down with -your knife to form a cone the size you want the border -to be. Heat the end of the tube by turning it in the -flame until it is quite soft and then push in the charcoal -cone, as shown in <a href="#Fig88">Fig. 88</a>.</p> - -<h3 class="inline"><b>To Seal Off the End of a Tube.</b></h3> - -<p class="hinline">—To close one -end of a tube, or <i>seal it off</i> as it is called, heat it in -a fish-tail burner just as I explained for bending -glass.</p> - -<p>When the glass begins to get soft pull the two ends -of the tube apart until the walls of the tube are drawn -together as shown at <a href="#Fig89">A in Fig. 89</a>. Cut a nick in the -thin solid part with a file and break it off. If you -want a closed end as shown at <a href="#Fig89">B</a> heat the end of the<span class="pagenum" id="Page212">[212]</span> -tube you have sealed off and press it down on a piece -of iron.</p> - -<div class="container w40emmax" id="Fig89"> - -<img src="images/illo238a.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 89. sealing off the end of a tube</span></p> - -</div><!--container--> - -<div class="container w35emmax" id="Fig90"> - -<img src="images/illo238b.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 90. how to make a hole in a tube</span></p> - -</div><!--container--> - -<h3 class="inline"><b>To Make a Glass Nozzle.</b></h3> - -<p class="hinline">—In setting up chemical -apparatus it very often happens that a glass nozzle is -needed. To make a nozzle seal off a piece of glass -tube as described above and by nicking it with a file<span class="pagenum" id="Page213">[213]</span> -you can have the hole in the end of the tube any size -you want it.</p> - -<h3 class="inline"><b>To Make a Hole in a Tube.</b></h3> - -<p class="hinline">—To make a hole of -any size in a tube, or <i>piercing</i> it, as it is called, you -ought to have a sharp pointed flame and a <i>blow-pipe</i>, -which is <a href="#Ref16">described</a> farther on.</p> - -<p>Cork up one end of the tube, heat the point, see <a href="#Fig90">A -in Fig. 90</a>, where you want the hole and then stick -the other end in your mouth and blow gentle puffs -in it until a little bulb is formed. When the bulb -is cold take a file and gently crack the thin glass -and trim it away; now heat the tube around the edge -of the hole again until the glass begins to run when a -round smooth hole will be produced as shown at <a href="#Fig90">B</a>.</p> - -<div class="container w45emmax" id="Fig91A"> - -<img src="images/illo239.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 91a. welding two tubes together. -b. making a <b><span class="sstype">T</span></b> tube</span></p> - -</div><!--container--> - -<h3 class="inline"><b>To Join Two Tubes of the Same Size.</b></h3> - -<p class="hinline">—Put a -cork into one end of one of the tubes and hold the<span class="pagenum" id="Page214">[214]</span> -other end in the flame as well as one end of the other -tube as shown at A in <a href="#Fig91A">Fig. 91</a>.</p> - -<p>Let the ends of the tubes get hot enough to melt but -not thicken; now press the melted ends together hard -enough to make them stick together but not hard -enough to make them form a thick ring.</p> - -<div class="container w20emmax" id="Fig92A"> - -<img src="images/illo240.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 92a. a regular blow-pipe</span></p> - -</div><!--container--> - -<p>To make a good job you should now use a pointed -flame and heat the juncture all around red hot and -blow into the open end of the tube to spread the -glass a trifle. While you are blowing keep turning -the glass in the flame to make the joint nice and -smooth.</p> - -<p><span class="pagenum" id="Page215">[215]</span></p> - -<h3 class="inline"><b>To Join One Tube to the Side of Another One.</b></h3> - -<p class="hinline">—First -make a hole in the side of the tube in the -manner already described and then cork up both ends; -heat the tube around the hole and one end of the other -tube as shown at <a href="#Fig91A">B, in Fig. 91</a>. When they are soft -press them together hard enough to make a good joint.</p> - -<p>It is a good scheme to wrap cotton around the joint -while it is still hot to <i>anneal</i> the glass, which means to -make it less brittle by letting it get cold slowly.</p> - -<div class="container w50emmax" id="Fig92B"> - -<img src="images/illo241.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 92b. cross section of a home made blow-pipe</span></p> - -</div><!--container--> - -<h3 class="inline"><b>To Blow a Bulb on the End of a Tube.</b></h3> - -<h4 class="inline noindent" id="Ref16">—<i>How to -Make a Blow-Pipe.</i></h4> - -<p class="hinline">—For blowing bulbs on tubes, for -flasks and the like, you need a regular glassblower’s -<i>blow-pipe</i> in order to get a hotter flame than a Bunsen -burner gives.</p> - -<p>You can buy a blow-pipe as shown at <a href="#Fig92A">A in Fig. 92</a> -for $1.50,<a id="FNanchor101" href="#Footnote101" class="fnanchor">[101]</a> -or you can easily make one as follows: get<span class="pagenum" id="Page216">[216]</span> -a brass tube ³⁄₄ inch in diameter and 10 inches long -and drill a ¹⁄₂ inch hole in it 3 inches from one end; -fit another pipe of the same size and length at an angle -of about 30 degrees to the first one; put a <i>stopcock</i> in -the latter pipe and solder it to the first pipe over the -hole as shown at <a href="#Fig92B">B in Fig. 92</a>.</p> - -<div class="footnote"> - -<p><a id="Footnote101" href="#FNanchor101" class="label">[101]</a> Blowpipes and bellows can be bought of Hammacher, -Schlemmer and Co., Fourth Ave. and 13th St., New York.</p> - -</div><!--footnote--> - -<p>Next take a glass tube ¹⁄₄ inch in diameter and 14 -inches long and make a bend in it 3 inches from one -end. Make a hole through a cork and push it over the -glass tube; slip the tube into the brass pipe and force -the cork into the end of the latter tight enough to hold -the glass tube exactly in the middle of it.</p> - -<div class="container w50emmax" id="Fig92C"> - -<img src="images/illo242.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 92c. the glass blowing arrangement ready to use</span></p> - -</div><!--container--> - -<p>Connect the lower end of the glass tube with a rubber -tube about 3 inches long to a brass tube of the -same size and 8 inches long and fit a stopcock into this -pipe. This completes the burner but you want to set -the lower ends of the two tubes into and through the<span class="pagenum" id="Page217">[217]</span> -top of your table so that the stopcocks are above it and -the lower ends of the tubes project below the table.</p> - -<p>Next connect the large brass tube with a gas jet or -other source of illuminating gas and the small brass -tube with a <i>foot blower</i> or other source of compressed -air as shown at <a href="#Fig92C">C</a>. The blower can be an ordinary -<i>molders’ bellows</i> which you can buy for about $1.50, -or you can make a pair, or you can buy a regular blowpipe -bellows as shown at <a href="#Fig92D">D</a>, which are very much -better, for about $8.00.</p> - -<div class="container w30emmax" id="Fig92D"> - -<img src="images/illo243.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 92d. a regular foot bellows</span></p> - -</div><!--container--> - -<p>By adjusting the mouth of the glass tube—which -is the air tube—that is, drawing it in and out of the -mouth of the brass tube which is the gas tube, and by -regulating the amount of air and gas, a <i>pointed</i> flame -or a <i>brush</i> flame, that is, a flame of large size, can be -had at the mouth of the blowpipe according to the -work you are doing.</p> - -<h4 class="inline"><i>How to Blow a Bulb.</i></h4> - -<p class="hinline">—Take a good piece of glass -tube about ³⁄₄ inch in diameter and 15 inches long;<span class="pagenum" id="Page218">[218]</span> -draw one end out long and thin for about 3 inches as -shown at <a href="#Fig93">A in Fig. 93</a>.</p> - -<div class="container w50emmax" id="Fig93"> - -<img src="images/illo244a.jpg" alt=""> - -<p class="caption nobot"><span class="smcap">Fig. 93. first steps in blowing a glass bulb</span></p> - -<div class="centerblock"> - -<p class="caption subcaption">A. Drawing out the tube.<br> -B. Forming glass rings on the tube.</p> - -</div><!--centerblock--> - -</div><!--container--> - -<p>Then heat a small part of the tube in a large, or -brush flame, turn the glass in the flame all the time -until it is soft and then press on both ends to make -the glass thicker at this point. Do the same thing -above the ring thus formed, and so on until you have -several rings of glass as shown at <a href="#Fig93">B</a>, which are thick -enough to make the sized bulb you want.</p> - -<div class="container w50emmax" id="Fig93C"> - -<img src="images/illo244b.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 93c. making a thick ring of glass</span></p> - -</div><!--container--> - -<p><span class="pagenum" id="Page219">[219]</span></p> - -<p>Next heat the narrower parts marked <i>a a a a</i> and -blow gently and press gradually on the ends to -make the thick rings melt and flow together into one -large ring of thick glass as shown at <a href="#Fig93C">C</a>; and in doing -so be mighty careful that the walls do not cave -in.</p> - -<p>Now melt and seal off the tail and heat the -whole bulb in as large a flame as you can get and at -the same time turn the tube till the rings run together. -At this instant take it from the flame and, still turning -it, blow into it with a few little quick blasts until you -get the size and shape you want as shown at <a href="#Fig93D">D</a>.</p> - -<div class="container w30emmax" id="Fig93D"> - -<img src="images/illo245.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 93d. last step in blowing a glass bulb</span></p> - -</div><!--container--> - -<h3 class="inline"><b>How to Etch Glass.</b></h3> - -<p class="hinline">—There are two ways to etch -glass and these are (1) with a <i>sand blast</i> and (2) with -<i>acid</i>.</p> - -<h4 class="inline"><i>The Sand Blast Process.</i></h4> - -<p class="hinline">—The process which follows -is a simplified form of the regular sand-blast way -of doing it, and with it you can easily make a ground<span class="pagenum" id="Page220">[220]</span> -glass surface or etch a stencilled name or a design on -a sheet of glass.</p> - -<p>All you need is (1) a box with a tight fitting lid 5 -inches wide, 5 inches high and 10 inches long as -shown at <a href="#Fig94A">A in Fig. 94</a>. Cut a hole in one end, say -4¹⁄₂ × 4¹⁄₂ inches, thus leaving a margin of wood ¹⁄₂ an -inch wide all around; (2) a pound of rather coarse -emery, and (3) a pound of shot.</p> - -<div class="container w40emmax" id="Fig94A"> - -<img src="images/illo246.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 94a. parts of the apparatus for sand blast etching</span></p> - -</div><!--container--> - -<p>Clean the surface of the glass you are going to -etch with warm water with a little soda in it, wash it -off and rub it dry. Next cut a stencil with your -name on it or you can make a geometrical design by<span class="pagenum" id="Page221">[221]</span> -folding a sheet of paper and cutting it out with a -pair of shears. Coat the glass with a thin layer of -mucilage, lay the stencil on it and rub it down flat. -Rub the mucilage off clean in the cut out parts with a -slightly moist sponge and be sure to get it all off too.</p> - -<p>Now cut out a piece of cloth the size of the end of -the box and cut a hole in it the exact size of the hole -in the box. Lay this on the end of the box with -the hole in it, lay the glass over it and fix them all -together tight with rubber bands as shown at <a href="#Fig94B">B in Fig. -94</a>, or tie it up with string. The cloth cut-out between -the box and glass will prevent the emery from sifting -through.</p> - -<div class="container w30emmax" id="Fig94B"> - -<img src="images/illo247.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 94b. sand blast apparatus put together ready for etching</span></p> - -</div><!--container--> - -<p>Put the shot and emery in the box, fasten the lid on -tight and then shake it hard up and down so that -the emery and shot will strike the surface of the glass<span class="pagenum" id="Page222">[222]</span> -with as much force as possible. Keep this up for 15 -minutes or half an hour when the glass will be etched -deep enough.</p> - -<p>When you open the box you will find that the -particles of emery have been embedded in the lead -shot and each of the latter has become a cutting tool. -This process of etching can be used for metals as well -as for glass.</p> - -<h4 class="inline" id="Ref09"><i>How to Make Ground Glass.</i></h4> - -<p class="hinline">—To make <i>ground -glass</i> go about it as above described but in this case -no stencil is needed.</p> - -<h4 class="inline"><i>The Acid Process.</i></h4> - -<p class="hinline">—<i>Hydrofluoric acid</i> is made by -treating <i>fluor-spar</i><a id="FNanchor102" href="#Footnote102" class="fnanchor">[102]</a> -with <i>sulphuric acid</i>. The acid -which is thus formed acts on glass by eating into it -and for this reason it must be kept in either rubber, -lead or platinum bottles upon which it has no effect. -In etching large surfaces the acid is not put on the -glass directly; because it eats so smoothly the effect -is not striking enough; instead the following process -is used which leaves a rough surface more nearly like -that of the sand blast.</p> - -<div class="footnote"> - -<p><a id="Footnote102" href="#FNanchor102" class="label">[102]</a> -Fluor-spar is <i>calcium fluoride</i>; you can buy it of Eimer and -Amend, 4th Ave. and 18th St., New York, or of the L. E. Knott -Apparatus Co., Boston, Mass.</p> - -</div><!--footnote--> - -<p>Make a lead dish the size of the glass you want -to etch and with the sides an inch high. Put about -an ounce of powdered fluor-spar into the dish and -pour enough concentrated sulphuric acid on it to make -a thick paste.</p> - -<p>Coat the surface of the glass with paraffin, or beeswax<span class="pagenum" id="Page223">[223]</span> -and rosin, and then with a steel <i>scriber</i>, or other -pointed instrument scratch on your name or the design -you intend to etch, clear through to the glass. -Lay the glass with the waxed side down on the dish -containing the fluor-spar mixture, as shown at A in -<a href="#Fig95">Fig. 95</a>, and let it stand over night. The vapor formed -by generating hydrofluoric acid in this way attacks the -<i>silica</i>, that is the sand, of the glass with which it has -a great tendency to unite, and thus the glass disintegrates -or is eaten away.</p> - -<div class="container w45emmax" id="Fig95"> - -<img src="images/illo249.jpg" alt=""> - -<p class="caption nobot"><span class="smcap">Fig. 95. etching glass with acid</span></p> - -<div class="centerblock"> - -<p class="caption subcaption">A. Etching a sheet of glass with fluor-spar.<br> -B. Etching a thermometer tube with hydrofluoric acid.</p> - -</div><!--centerblock--> - -</div><!--container--> - -<p>The next morning when you take off the glass, -scrape off the wax and you will find the name or design -etched on it.</p> - -<p><span class="pagenum" id="Page224">[224]</span></p> - -<p>To etch the graduations on thermometers, burettes, -etc., coat them with wax and scratch the lines and -figures on them just as described above—but in this -case you can put the hydrofluoric acid on direct as -shown at <a href="#Fig95">B</a>, using a splinter of wood for the purpose.</p> - -<h3 class="inline"><b>How to Cement Glass.</b></h3> - -<p class="hinline">—To cement glass clean -the edges or surfaces to be fixed together with hot -water in which you have put a little soda; dry well -with a clean cloth and then be careful not to let your -fingers touch the cleaned parts.</p> - -<p>Brush over the edges or surfaces of the glass with -the cement made according to the directions which -follow and press and bind the parts together as tightly -as possible.</p> - -<p>To make the cement dissolve 2 ounces of the best -<i>gum arabic</i> in some hot water and then add 1¹⁄₂ ounces -of pulverized starch and ¹⁄₂ ounce of sugar and stir -until they are dissolved. Heat the mixture in a pot or -a tin can which sets in a larger pot or tin of water—or -<i>water bath</i> as it is called.</p> - -<p>When the starch gets clear take it from the fire, put -in a few drops of oil of cloves to keep the cement -sweet and let it get cold, when it should be about as -thick as cream.</p> - -<h3 class="inline"><b>A Simple Way to Frost Glass.</b></h3> - -<p class="hinline">—Make a <i>saturated -solution</i> of <i>alum water</i>, which means to dissolve as -much alum in hot water as possible.</p> - -<p>Lay the glass on a perfectly level table and pour on -as much of the alum water as you can without its -running off and let it cool slowly, when the alum will<span class="pagenum" id="Page225">[225]</span> -cover the glass with fine crystals. This is a good -substitute for ground glass.</p> - -<p>A cheap frosting for windows can be made by dissolving -Epsom salts in hot water and then mixing it -with a clear solution of gum arabic.</p> - -<h3 class="inline"><b>Substitutes for Glass.</b></h3> - -<p class="hinline">—There are a number of -substances that can be used instead of glass. In some -cases a substitute is better than glass but generally they -are used because they are cheaper.</p> - -<h4 class="inline"><i>Mica.</i></h4> - -<p class="hinline">—This mineral, which is also but wrongly -called <i>isinglass</i>, is found in Farther India; it is a -silicate and can be split into thin sheets; in color it -ranges from colorless to a jet black and from the -transparent to the translucent. It is useful in many -ways because it is fireproof.</p> - -<h4 class="inline"><i>Gelatine.</i></h4> - -<p class="hinline">—Gelatine is obtained from the skins, -hoofs and horns of animals. <i>Isinglass</i> is a nearly -pure gelatine and is a white, tough, partly transparent -substance which is obtained chiefly from the air-bladders -of fish.</p> - -<p>To make sheets of either gelatine, or isinglass, dissolve -some of the finest glue, or isinglass—the latter -is the best—in enough hot water so that it will -form a flexible solid sheet when it is cold.</p> - -<p>While it is still hot strain it through a piece of -cheese cloth; this done, grease a clean sheet of glass -and build up the edges with some putty; warm the -glass and pour on the gelatine to a thickness of ¹⁄₈ inch. -Now lay another greased and hot sheet of glass on top -of the gelatine and let it stay there until it is cold.<span class="pagenum" id="Page226">[226]</span> -The sheets of gelatine can be given any color by adding -a little aniline to the gelatine while it is hot.</p> - -<h3 class="inline"><b>How to Silver a Mirror.</b></h3> - -<p class="hinline">—While it is much -cheaper to buy a mirror than it is to make one still -there are times when it is useful to know how to -make one.</p> - -<p>As you know, a mirror is a sheet of clear glass -free from air bubbles and upon the back of which is a -film of silver. The silver bath is made by mixing a -weak solution of <i>silver nitrate with ammonium -hydroxide</i> until the solution is clear and then adding -a little <i>caustic potash</i> to it. This done, put in a few -more drops of ammonia and finally a very little -<i>glycerine</i>.</p> - -<p>Now float the glass on this mixture when the surface -will soon be coated with silver. When the film -is thick enough take the glass from the bath, wash -the film of silver on the back of it with clean, cold -water, dry and varnish it and your mirror is done.</p> - -<hr class="chap"> - -<div class="chapter"> - -<p><span class="pagenum" id="Page227">[227]</span></p> - -<h2 class="nobreak">CHAPTER X<br> -<span class="chaptitle">TOYS FOR THE KIDDIES</span></h2> - -</div><!--chapter--> - -<p>If there is as much pleasure in giving as there is in -receiving you can get twice as much pleasure out of -making toys with your own hands and giving them to -your little brothers and sisters—if you have any, and -if you haven’t, then I’m truly sorry for you.</p> - -<p>Since you know how to use wood and metal working -tools it will be easy for you to make any and all -of these toys I have described in this chapter and some -of them are quite useful too. And when you are -making them let the little folks watch you for this -will please them greatly and make them doubly happy.</p> - -<p>Now some grown-ups don’t know it but however -small a kiddie is he or she likes to play with things -that look like those the older folks work with. Of -course all toys cannot be of this kind for some of -them are made to be funny and others are made to be -lifelike, but these are the three chief kinds of toys.</p> - -<h3 class="inline"><b>How to Make a Policeman’s Puzzle.</b></h3> - -<p class="hinline">—Get two -strips of wood ¹⁄₄ inch thick, ¹⁄₂ an inch wide and 11 -inches long and cut handles on one end of each strip. -Saw with your scroll saw out of ¹⁄₈ inch thick wood, -two policemen 6 inches high and also one Baxter<span class="pagenum" id="Page228">[228]</span> -Street clothier of Semitic persuasion, 3 inches high as -shown in <a href="#Fig96">Fig. 96</a>.</p> - -<p>Pivot the leg near the foot of each policeman to -the ends of both of the strips by driving a couple of -<i>brads</i> through and into them and then nail the Israelite -fast to the top strip with a couple of brads. Now -when you pull the strips apart one of the long arms -of the law will crack Ikey on the cranium and when -the strips are pushed together again the other minion -of authority will bounce his club on the place where -his brains ought to be. A little red and blue water -color will add to the realism of the toy.</p> - -<div class="container" id="Fig96"> - -<img src="images/illo254.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 96. a policeman’s puzzle, or now will you be good</span></p> - -</div><!--container--> - -<h3 class="inline"><b>How to Make an Automobile Truck.</b></h3> - -<p class="hinline">—This little -toy will bring a lot of unalloyed joy to any tiny, weentie -fellow and it’s easy to make, too.</p> - -<p>Cut out a board for the bottom ³⁄₄ inch thick, 4¹⁄₂ -inches wide and 14 inches long; trim down one end of it -so that it is 2 inches wide in front as shown at A -<a href="#Fig97">Fig. 97</a>. Bore a ¹⁄₄ inch hole 2³⁄₄ inches from the -front end.</p> - -<p><span class="pagenum" id="Page229">[229]</span></p> - -<p>Saw off a block of wood 1 inch square and 2¹⁄₂ -inches long—this is to brace the seat with—and glue -this block across the body 6¹⁄₂ inches from the back as -shown by the dotted line in <a href="#Fig97">Fig. 97</a>. Make a seat of -a board ¹⁄₄ inch thick, 1¹⁄₂ inches wide and 3¹⁄₂ inches -long and glue or nail it to the block.</p> - -<div class="container" id="Fig97"> - -<table class="images"> - -<colgroup> -<col class="w25pc"> -<col class="wauto"> -</colgroup> - -<tr> -<td class="image"><img src="images/illo255a.jpg" alt=""></td> -<td class="image"><img src="images/illo255b.jpg" alt=""></td> -</tr> - -<tr> -<td class="caption"><i>C—THE HOOD</i></td> -<td class="caption"><i>B—SIDE VIEW</i></td> -</tr> - -<tr> -<td> </td> -<td class="image"><img src="images/illo255c.jpg" alt=""></td> -</tr> - -<tr> -<td> </td> -<td class="caption"><i>TOP VIEW</i></td> -</tr> - -</table> - -<p class="caption"><span class="smcap">Fig. 97. plans for the automobile truck</span></p> - -</div><!--container--> - -<p>To make the body or box, cut out two strips of -wood ¹⁄₄ inch thick and make one 2 inches wide and -the other 2¹⁄₂ inches wide and 4¹⁄₂ inches long for the -front and back, and two strips of wood 2 inches wide -and 6³⁄₄ inches long for the sides. Nail one of the -short strips on the bottom close up to the seat and the -blocks of wood it rests on and nail the side strips on -the bottom.</p> - -<p>Next round off the lower edge of the short board<span class="pagenum" id="Page230">[230]</span> -that is left; set it in between the ends of the sideboards -and drive a brad through each of the sideboards -and into the tail-board near the bottom; this -brings the tail-board so that it can be closed up or let -down as the side view at <a href="#Fig97">B</a> shows.</p> - -<p>Saw off two ³⁄₄ inch square blocks and have both of -them just a shade over 4¹⁄₂ inches long and these are -for the axles. Nail one fast near the rear of the bottom -2 inches from the back end, and nail the other -one fast to the front of the bottom 1 inch from the -end.</p> - -<div class="container" id="Fig97D"> - -<img src="images/illo256.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 97d. the automobile truck ready to run</span></p> - -</div><!--container--> - -<p>Make a hood out of a block of wood 1³⁄₄ inches -wide and long and 2 inches high and bevel off the top -as shown at <a href="#Fig97">C</a>; nail this to the bottom in front as -shown in the top and side views. For the steering -wheel saw out a wheel ¹⁄₄ inch thick and 1¹⁄₂ inches in -diameter.</p> - -<p>The last thing to do is to saw out four wheels ¹⁄₄ -inch thick and 2³⁄₄ inches in diameter; drill a ¹⁄₈ inch -hole in the exact center of each wheel and screw it on -the end of the axle with a 1 inch long, round head,<span class="pagenum" id="Page231">[231]</span> -wood screw. Paint the automobile a bright red when -it will look like <a href="#Fig97D">D</a> and run like a fire engine.</p> - -<h3 class="inline"><b>How to Make a Swell Coaster.</b></h3> - -<p class="hinline">—This is a practical -toy that every little tot will like immensely. It -is just as simple as the automobile but it must be made -very much stronger.</p> - -<div class="container w50emmax" id="Fig98"> - -<table class="images"> - -<colgroup> -<col class="w53pc"> -<col class="w07pc"> -<col class="w30pc"> -<col class="wauto"> -</colgroup> - -<tr> -<td class="caption"><i><b>A</b>—TOP VIEW</i></td> -<td rowspan="2" colspan="3" class="image"><img src="images/illo257b.jpg" alt=""></td> -</tr> - -<tr> -<td class="image"><img src="images/illo257a.jpg" alt=""></td> -</tr> - -<tr> -<td rowspan="2" colspan="2" class="image"><img src="images/illo257c.jpg" alt=""></td> -<td colspan="2" class="caption"><i><b>D</b>—STEERING HANDLE</i></td> -</tr> - -<tr> -<td class="image"><img src="images/illo257d.jpg" alt=""></td> -<td rowspan="2"> </td> -</tr> - -<tr> -<td colspan="2" class="caption"><i><b>C</b>—SIDE VIEW</i></td> -<td class="caption"><i><b>B</b>—AXLE SUPPORT</i></td> -</tr> - -</table> - -<p class="caption"><span class="smcap">Fig. 98. plans for a swell coaster</span></p> - -</div><!--container--> - -<p>Get a board, hardwood is the best, ⁷⁄₈ or 1 inch -thick, 5³⁄₄ inches wide and 14 inches long and saw it -out so that one end is 2¹⁄₂ inches wide as shown at -<a href="#Fig98">A in Fig. 98</a>; bore a hole 1 inch in diameter in the -front end and ³⁄₁₆ inch holes across the back at the -places marked with circles.</p> - -<p>Next make the rear axle support and for this saw -out of a 1 inch thick board a piece 4 inches wide and<span class="pagenum" id="Page232">[232]</span> -7 inches long and saw out of one end of it a piece 2 -inches square. Take your brace and bit and bore a -¹⁄₄ inch hole through the hangers as shown at <a href="#Fig98">B</a>.</p> - -<p>Screw this support to the seat across it 1¹⁄₂ inches -from the rear end. Brace the support by screwing an -angle brace, as shown in the side view <a href="#Fig98">C</a>, to it and the -seat. This done make the steering handle, and for -it you want to use a stick of hardwood 1 inch -thick, 2 inches wide and 15 inches long; saw a piece -out of one end 1¹⁄₈ inches wide and 2¹⁄₂ inches deep -for the axle support for the front wheel; saw the other -end down until it is 1 inch wide and 6 inches deep.</p> - -<div class="container w45emmax" id="Fig98E"> - -<img src="images/illo258.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 98e. the coaster ready to ride on</span></p> - -</div><!--container--> - -<p>Round off this smaller end for the handle, as shown -at <a href="#Fig98">D</a>, and bore a ¹⁄₂ inch hole close to the end for the -handle bar. Slip the rounded end through the hole -in the front part of the seat, drive a nail through it -just above the seat and glue in a piece of wood ¹⁄₂ an<span class="pagenum" id="Page233">[233]</span> -inch in diameter and 6 inches long, for the handle -bar.</p> - -<p>Saw out three wheels each of which is 4 inches in -diameter, bore a ¹⁄₄ inch hole in the center of each -one. Set one of the wheels between the hangers of -the steering handle, slip a bolt through them and screw -on a nut.</p> - -<p>Push a bolt through each of the other wheels and -through a hanger of the axle support and screw on a -nut, when the coaster is ready to run, as shown at <a href="#Fig98E">E</a>. -A coat of bright paint will make it more attractive but -it won’t run any better.</p> - -<h3 class="inline"><b>How to Make a Nifty Wheelbarrow.</b></h3> - -<p class="hinline">—This is a -cute wheelbarrow and will tickle any little <i>choptie</i> -’most half to death and you can make it in no time.</p> - -<p>Get two sticks of wood ³⁄₄ inch square and 24 inches -long and round off one end of each one about 3 inches -down for the handle. Next bore ¹⁄₂ inch holes half -way through in the other ends of the sticks 4 inches -back for the axle; bore two more ¹⁄₂ inch holes 6¹⁄₄ -inches back of the first two, and finally 5³⁄₄ inches back -of the last ones bore two more ¹⁄₂ inch holes, as shown -at <a href="#Fig99">A in Fig. 99</a>.</p> - -<p>This done cut off four sticks ¹⁄₂ an inch in diameter—or -³⁄₄ inch square ones will do—and make one of -them 4¹⁄₂ inches long; the next one 6³⁄₈ inches long, -the third 8 inches long, and the last one 10¹⁄₂ inches -long.</p> - -<p>Out of a board 1 inch thick saw a wheel 5 inches in -diameter and bore a hole in its center ¹⁄₂ an inch in<span class="pagenum" id="Page234">[234]</span> -diameter. Smear some glue on the middle of the -shortest stick and slip the wheel on it so that it is -exactly in the middle.</p> - -<p>Make the body, that is the box, of the barrow of -wood ¹⁄₄ inch thick and have it 4¹⁄₄ inches wide at one -end, 6¹⁄₄ inches wide at the other end, 5 inches high -and 7 inches long. Through the middle, but a little -toward the back and near the upper edge, bore two -holes a shade larger than ¹⁄₂ an inch in diameter and -slip the third longest stick through the holes in the -body; drive a brad through the stick on each side of -the body to keep the latter from slipping from side to -side, but it must swing easily on the stick.</p> - -<div class="container w40emmax" id="Fig99"> - -<img src="images/illo260a.jpg" alt=""> - -<p class="caption nobot"><i><b>A</b>—TOP VIEW OF WHEELBARROW</i></p> - -<img src="images/illo260c.jpg" alt=""> - -<p class="caption nobot"><i><b>B</b>—SIDE VIEW</i></p> - -<img src="images/illo260b.jpg" alt=""> - -<p class="caption"><i><b>C</b>—WHEELBARROW COMPLETE</i></p> - -<p class="caption"><span class="smcap">Fig. 99. a, b. plans for the nifty wheelbarrow, c. the -barrow ready to wheel</span></p> - -</div><!--container--> - -<p>You are now ready to <i>assemble</i> the wheelbarrow -and if you intend to paint it you must do so before you<span class="pagenum" id="Page235">[235]</span> -put it together. To assemble it smear glue on the -ends of all the cross-sticks, except the one with the -wheel on it for this one must revolve, and drive on -the handles, being careful that the axle of the wheel -does not bind. A side view of the wheel barrow is -shown at <a href="#Fig99">B</a>.</p> - -<p>When it is done, see <a href="#Fig99">C</a>, you will see that however -high or low the handle-bars are held the body always -sets level and if it is a good idea for a toy why -wouldn’t it be a good idea for a full grown wheelbarrow?</p> - -<h3 class="inline"><b>How to Make a High-Low Swing.</b></h3> - -<p class="hinline">—Here is a -peace promoter and a queller of disturbances wherever -there are very little kiddies around. It is an indoor -swing that can be hung from the top of a door-case. -Further, though it may look a little complicated -in the drawing, it is simplicity itself.</p> - -<p>First take the seat and for this, as for all of the -wood for the swing, use ¹⁄₂ inch thick stuff. Cut out -two side bars 1 inch wide and 13 inches long and drill -a ³⁄₈ inch hole in the end of each one. Across these -bars nail four cross bars 2 inches wide and 14 inches -long as shown at <a href="#Fig100">A in Fig. 100</a>.</p> - -<p>Next make the sides of the swing and from each of -these saw off two strips 1 inch wide and 13 inches -long as shown at <a href="#Fig100">B</a>. Bore a hole in each end of both -sticks to match the holes in the side bars of the seat -and then bore two ¹⁄₂ inch holes in both sticks and -have each hole 2¹⁄₂ inches from the end.</p> - -<p>Saw off two strips of wood ¹⁄₂ inch thick and 1 inch<span class="pagenum" id="Page236">[236]</span> -wide for each side, cut down and round the ends, -smear glue on them and drive them into the cross-sticks. -The backs of the swing, as you will see at <a href="#Fig100">C</a>, -are made exactly like the sides except that they are -14 inches long, and finally a single bar 1 inch thick -and wide and 14 inches long with a ¹⁄₂ inch hole in -each end goes across the front of the swing to keep -the little fellow from falling out.</p> - -<div class="container w45emmax" id="Fig100"> - -<table class="images"> - -<colgroup> -<col class="w07pc"> -<col class="w70pc"> -<col class="w05pc"> -<col class="wauto"> -</colgroup> - -<tr> -<td colspan="3" class="image"><img src="images/illo262a.jpg" alt=""></td> -<td class="image"><img src="images/illo262b.jpg" alt=""></td> -</tr> - -<tr> -<td colspan="3" class="caption"><i><b>A</b>—THE SEAT</i></td> -<td class="caption"><i><b>B</b>—THE SIDES</i></td> -</tr> - -<tr> -<td rowspan="2"> </td> -<td class="image"><img src="images/illo262c.jpg" alt=""></td> -<td rowspan="2" colspan="2"> </td> -</tr> - -<tr> -<td class="caption"><i><b>C</b>—FRONT BAR</i></td> -</tr> - -</table> - -<p class="caption"><span class="smcap">Fig. 100. plans for the high-low swing</span></p> - -</div><!--container--> - -<p>Now get two pieces of good ³⁄₈ inch thick manila -rope about 10 feet long; double each piece in the -middle and pass one end through the hole in the -front bar, thence through two holes in the side-strips -and finally through the hole in the cross-bar of the -seat and then knot it.</p> - -<p><span class="pagenum" id="Page237">[237]</span></p> - -<p>This done pass the other end through the holes in -the cross-strips of the back, then through the holes -in the cross-strips of the side and last of all through -the cross-bars of the seat. Fix the other piece of rope -the same way and swing is done, as shown at <a href="#Fig100D">D</a>.</p> - -<div class="container w40emmax" id="Fig100D"> - -<img src="images/illo263.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 100d. the swing ready to swing low, swing high</span></p> - -</div><!--container--> - -<p>All you have to do now is to loop the top of the -ropes over a couple of hooks screwed into the top -of the door-case, put the little tot in and give him or -her a swing.</p> - -<h3 class="inline"><b>How to Make a Stick Horse.</b></h3> - -<p class="hinline">—This is a great -improvement over riding a broomstick because it -doesn’t take so much imagination to change it into a -runaway horse.</p> - -<p>Saw out of a board 5 inches square the head of<span class="pagenum" id="Page238">[238]</span> -a fiery steed as shown at <a href="#Fig101">A in Fig. 101</a> and paint it -a dapple-gray, with a mane on its neck to look like a -real pony. Make a rein of webbing and then nail -the head on a stick ³⁄₄ or 1 inch square and 3 feet long -for the rider to straddle.</p> - -<div class="container w40emmax" id="Fig101"> - -<p class="caption fig101 tp">THE HEAD OF THE HORSE</p> - -<img src="images/illo264.jpg" alt=""> - -<p class="caption fig101 btm">THE STICK HORSE -COMPLETE</p> - -<p class="caption"><span class="smcap">Fig. 101. ride a stick horse to banbury cross</span></p> - -</div><!--container--> - -<p>Make an axle of a stick 1 inch square and 4 inches -long; whittle the ends down until they are ¹⁄₂ an inch -in diameter and nail the axle to the free end of the -long stick. Saw out a pair of wheels of ³⁄₄ inch thick -stuff, 4 inches in diameter and bore a ¹⁄₂ inch hole -through their centers.</p> - -<p>Slip a wheel over each end of the axle and drive -a thin nail through each end to prevent the wheels -from coming off, and it will be fit and ready to ride -as shown at <a href="#Fig101">B</a>.</p> - -<p><span class="pagenum" id="Page239">[239]</span></p> - -<h3 class="inline"><b>How to Make a Pony and Cart.</b></h3> - -<p class="hinline">—If this little -pony and cart are to be played with in the house you -can make it the size marked in <a href="#Fig102">Fig. 102</a> but if it is -to be used out-of-doors then you should make it twice -the size.</p> - -<p>Get a nice smooth board ¹⁄₂ an inch thick, draw on it -a horse, at least as good as the one shown in the picture, -and then saw it out. Paint it any color but red -or green, for ponies, even in little picture books, are -never of these colors.</p> - -<p>Make a frame 1⁵⁄₈ inches wide and 4 inches long -by nailing two strips of wood ¹⁄₂ an inch square with -a block of wood ¹⁄₂ an inch square and 1 inch long -between them. This leaves an opening ¹⁄₂ an inch -wide and 1³⁄₄ inches long as shown at <a href="#Fig102">A</a>. Saw out -of a piece of ³⁄₈ inch thick wood a wheel 1 inch in -diameter and drill a ¹⁄₁₆ inch hole through its center. -Set the wheel in the opening and drive a wire nail -through the frame and the center of the wheel for it -to run on. This done nail, glue or screw the horse -to it as shown at <a href="#Fig102">B</a>.</p> - -<p>Make the cart next, see <a href="#Fig102">C</a>, which is simply a box -made of ¹⁄₄ or ³⁄₈ inch stuff, 3 inches high, 4 inches -wide and 6 inches long. Nail a strip of wood ¹⁄₂ an -inch square and 4¹⁄₈ inches long on the bottom and in -the middle of it. Saw out a pair of wheels 2⁵⁄₈ inches -in diameter and screw them to the ends of the strip -of wood so that they can turn freely.</p> - -<p>Next make the shafts; these are formed of two -strips of wood ¹⁄₄ inch thick and about 5¹⁄₂ inches long.<span class="pagenum" id="Page240">[240]</span> -Nail the ends of these to the front end of the cart in -the middle and at a distance apart so that the horse -will just slip in between them.</p> - -<div class="container w40emmax" id="Fig102"> - -<table class="images"> - -<colgroup> -<col class="wauto"> -<col class="w40pc"> -</colgroup> - -<tr> -<td colspan="2" class="image"><img src="images/illo266a.jpg" alt=""></td> -</tr> - -<tr> -<td rowspan="3" class="image"><img src="images/illo266b.jpg" alt=""></td> -<td class="caption"><i>COMPLETE</i></td> -</tr> - -<tr> -<td class="image"><img src="images/illo266c.jpg" alt=""></td> -</tr> - -<tr> -<td class="caption"><i>FRAME FOR THE WHEEL</i></td> -</tr> - -<tr> -<td class="caption"><i>PONY</i></td> -<td> </td> -</tr> - -<tr> -<td colspan="2" class="caption"><i>CART</i></td> -</tr> - -<tr> -<td colspan="2" class="images"><img src="images/illo266d.jpg" alt=""></td> -</tr> - -</table> - -<p class="caption"><span class="smcap">Fig. 102 a, b. plans for a pony and cart. c, d. the pony and -cart when done</span></p> - -</div><!--container--> - -<p>Glue, or otherwise fasten the shafts to the horse, -as shown at <a href="#Fig102">D</a>, and you can then show your little -brother how to play with it, but don’t break it before -you give him a chance to play with it too. The -finished pony and cart will then look like the picture.</p> - -<p><span class="pagenum" id="Page241">[241]</span></p> - -<h3 class="inline"><b>How to Make a Life-like Goose.</b></h3> - -<p class="hinline">—Nearly all -geese, including goslings, are lifelike unless they are -being made ready for the pot but this gray-goose is -lifelike in that her head moves out from and back -toward her body when she is drawn over the floor by a -string.</p> - -<div class="container" id="Fig103"> - -<img src="images/illo267.jpg" alt=""> - -<p class="caption nobot"><span class="smcap">Fig. 103. how the life-like goose is made</span></p> - -<div class="centerblock"> - -<p class="caption subcaption">A. The size of the board for the body.<br> -B. The size of the board for the head and neck.<br> -C. The crank shaft which makes the goose life-like.</p> - -</div><!--centerblock--> - -</div><!--container--> - -<p>Get two pieces of thin wood ¹⁄₄ inch thick, 3¹⁄₂ inches -wide and 6 inches long; draw the outline of a goose’s -body on one of them, as shown at <a href="#Fig103">A in Fig. 103</a>, and -then fasten them together with a couple of brads. -Saw them out and drill a ¹⁄₁₆ inch hole through them -in the center of the circle which is the wheel; also -drill, or bore, three ¹⁄₄ inch holes at the points near -the edge of the body as shown by the larger circles.</p> - -<p><span class="pagenum" id="Page242">[242]</span></p> - -<p>On a board ¹⁄₄ inch thick, 2³⁄₈ inches wide and 5¹⁄₄ -inches long draw out the head and the neck of a -goose, as shown at <a href="#Fig103">B</a>, saw it out and drill a ¹⁄₁₆ inch -hole near the end of its neck. Now paint the bird’s -body and the <i>anterior</i> part of its <i>anatomy</i>—by which -I mean its head and neck. Saw out two wooden -wheels 2 inches in diameter and drill a ¹⁄₁₆ hole in -the center of each one.</p> - -<p>Cut off a piece of iron wire ¹⁄₁₆ inch thick, slip it -through the hole in the goose’s neck and bend the -wire on both sides of it to form a crankshaft as shown -at <a href="#Fig103">C</a>. The next move is to put each end of the -wire through the small hole in the body, then force a -wheel on each end of the wire tight and bend up what -is left of the latter.</p> - -<div class="container" id="Fig103C"> - -<img src="images/illo268.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 103c. goosie, goosie gander, where shall i wander</span></p> - -</div><!--container--> - -<p>Make three pins of wood ¹⁄₄ inch in diameter and -⁷⁄₈ inch long; smear some glue on the ends and drive -them gently through the holes; these pins will keep -the boards which form the body the right distance -apart and the pins in front also act as a guide for the -goose’s head. When finished it will look like <a href="#Fig103C">C</a>.<span class="pagenum" id="Page243">[243]</span> -Now when a string is tied to the front part of the -goose’s body and your little sister (or you) pulls it -over the floor, the goose will run its head to and fro -and forth and back in a most real and life-like fashion.</p> - -<h3 class="inline"><b>How to Make a Dancing Sambo.</b></h3> - -<p class="hinline">—Here is a -chance for you to get in your fine work with your -scroll saw and to do a bit of wood carving at the same -time if you want to.</p> - -<div class="container w40emmax" id="Fig104A"> - -<img src="images/illo269.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 104a. the dancing sambo</span></p> - -</div><!--container--> - -<p>Saw out, or carve out, or both, the head and body -of a black rascal named Sambo, and make them of -a single piece of wood; saw out a pair of arms and -legs but make each one of the latter in two parts and -joint them at the knees as shown at <a href="#Fig104A">A in Fig. 104</a>.</p> - -<p>Fasten the arms and legs to the body with pins so -that they will swing freely. The figure should be -about 6 inches high and painted in 3 or 4 bright colors. -When you have it done fix the end of a wire ¹⁄₁₆ inch -in diameter and 5 inches long, firmly into the back of -Sambo’s body.</p> - -<p><span class="pagenum" id="Page244">[244]</span></p> - -<p>Make a box 3 inches wide, 3 inches high and 6 -inches long; bore or cut a hole ³⁄₄ inch in diameter in -one end; turn it upside down and drill a ¹⁄₁₆ hole -through the middle of the top and drill a ¹⁄₁₆ inch -hole through both sides 2 inches back from the large -hole in it as shown at <a href="#Fig104B">B</a>.</p> - -<div class="container w40emmax" id="Fig104B"> - -<img src="images/illo270.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 104b. the mechanism of the dancing sambo</span></p> - -</div><!--container--> - -<p>Cut off a strip of wood ¹⁄₂ an inch square and as -long as the box is wide, drill a ¹⁄₁₆ inch hole through -it and glue it inside the box so that the hole in the -strip and the one in the top of the box will be in a -line.</p> - -<p>Now cut off a strip of hardwood ¹⁄₄ inch thick and -3¹⁄₂ inches long for the lever and drill a ¹⁄₁₆ inch hole -through it 2 inches from one end; slip the lever -through the hole in the end of the box with its end -under the cross-bar; pivot the lever by running a wire -through the hole in it and the sides of the box as -shown at <a href="#Fig104B">B</a>.</p> - -<p><span class="pagenum" id="Page245">[245]</span></p> - -<p>Slip the wire which is fixed to Sambo through the -hole in the top of the box and on down through the -hole in the cross-bar so that its free end rests on the -end of the lever. This is all there is to the working -mechanism of Sambo.</p> - -<p>By working the end of the lever with your fingers -as though you were sending a telegraph message, as -shown at <a href="#Fig104A">A</a>, the small time Ethiopian will execute all -sorts of fancy dance steps and cut up antics that will -keep the children, and the grown-ups too, in great -good humor for a long time.</p> - -<p>By working the lever cleverly you can give the -darkey distinctive characteristics that not even a member -of his own race ever possessed.</p> - -<div class="container w45emmax" id="Fig105A"> - -<img src="images/illo271.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 105a. the wireless pup. the slot in the floor of the -dog house</span></p> - -</div><!--container--> - -<h3 class="inline"><b>How to Make a Wireless Pup.</b></h3> - -<p class="hinline">—This is a most -remarkable bull-pup for he will jump out of the kennel -when you or any one else calls him, when you clap your<span class="pagenum" id="Page246">[246]</span> -hands or on any other occasion when a loud noise is -made.</p> - -<p>Always make a dog-house for a pup before you -catch him so that when he gets home he’ll know he’s -there. Use smooth ¹⁄₂ inch thick pine boards for the -house and cut out a piece 7 inches wide and 8 inches -long for the floor. Cut a slot clear through the board -1³⁄₄ inches from one end and parallel with the edge of -the back and have it ¹⁄₂ an inch wide and 1¹⁄₄ inches -long; then on each end of the slot cut a groove ¹⁄₂ an -inch long and ¹⁄₄ inch deep as shown at <a href="#Fig105A">A in Fig. 105</a>.</p> - -<div class="container w40emmax" id="Fig105B"> - -<img src="images/illo272.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 105b. the back end of the dog house</span></p> - -</div><!--container--> - -<p>Cut out two pieces for the sides of the house 4 -inches wide and 8 inches long and screw them to the -floor. Now bevel off the top edges of the sides with -a plane to allow for the slope of the roof but before<span class="pagenum" id="Page247">[247]</span> -you put it on you must install the wireless apparatus -that makes the pup jump out of the dog-house. Make -a back out of a board 7 inches square as shown at <a href="#Fig105B">B</a>.</p> - -<p>This apparatus consists of five chief parts and these -are (1) a <i>spanker</i>; (2) a <i>solenoid</i>; (3) a stiff piece of -<i>clock-spring</i>; (4) a <i>telephone transmitter</i> and (5) two -or three cells of <i>dry battery</i>.</p> - -<div class="container w45emmax" id="Fig105C"> - -<img src="images/illo273.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 105c. the spanker with electric solenoid control</span></p> - -</div><!--container--> - -<p>The spanker, so called because it spanks the pup out -of his kennel, is shown at <a href="#Fig105C">C</a>; it is simply a strip of -wood ¹⁄₈ inch thick, 1 inch wide and 3¹⁄₂ inches long. -Tack, or otherwise fix, a piece of tin to one side of it -to form an electrical contact; cut a ³⁄₈ inch hole in the -middle of it and then drive a brad in each edge near -one end. The spanker sets in the slot in the floor and -the brads rest in the grooves and serve as pivots.</p> - -<p>A solenoid is merely an electromagnet with a loose<span class="pagenum" id="Page248">[248]</span> -iron core in it. Make a cardboard spool 1¹⁄₄ inches -long and 1¹⁄₂ inches in diameter and have the hole in -it ⁷⁄₁₆ inch in diameter; wind it full of No. 20 or 22 -double <i>cotton covered magnet wire</i> and your solenoid -is done. An iron bolt ³⁄₈ inch in diameter and 1¹⁄₄ -inches long makes a good plunger, as the loose iron -core is called. Slip it through the hole in the spanker -and screw the solenoid to the inside of the back of the -house as shown in the cross section drawing at <a href="#Fig105D">D</a>.</p> - -<div class="container w50emmax" id="Fig105D"> - -<img src="images/illo274.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 105d. cross section side view of the wireless pup ready -for action</span></p> - -</div><!--container--> - -<p>Make a <i>contact plate</i> of a strip of tin or sheet brass -and screw this to the floor back of the spanker so that -when the plunger is drawn into the solenoid and the -spanker is back as far as it will go the plate will come<span class="pagenum" id="Page249">[249]</span> -in contact with the tin on the spanker. Put a <i>stop</i> in -front of the spanker to prevent the latter from falling -too far forward.</p> - -<div class="container w35emmax" id="Fig105E"> - -<img src="images/illo275.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 105e. the front end view of the wireless pup -house</span></p> - -</div><!--container--> - -<p>Next get a strong, stiff piece of clock-spring, punch -two holes in one end and screw it to the back of the -house near the top, with the free end of the spring -pressing out the spanker. Fasten by means of hangers, -or otherwise, an ordinary telephone transmitter to -the roof of the house as shown at <a href="#Fig105D">D</a>. Now make -the front of the house and cut 4 × 5 opening in it -for the pup to get in and out, and a hole 1¹⁄₂ inches in -diameter, as shown at <a href="#Fig105E">E</a>, so that when you put the -front on, the hole will be directly over the mouthpiece -of the transmitter.</p> - -<p><span class="pagenum" id="Page250">[250]</span></p> - -<p>Before putting on the front connect up the apparatus -as shown at <a href="#Fig105D">D</a>, that is, connect one of the wires -of the transmitter to the contact plate; join the other -wire of the transmitter to the battery; lead one of the -wires of the solenoid to the tin on the spanker. When -these connections are made the <i>circuit</i> will be complete -if a battery is connected in and the spanker is -pushed back. Now put on the front of the house -and then make the pup.</p> - -<div class="container w40emmax" id="Fig105F"> - -<img src="images/illo276.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 105f. when you call the wireless pup or clap your hands -he comes out of his dog house in a hurry</span></p> - -</div><!--container--> - -<p>Saw the body of the pup and his legs out of separate -pieces of wood and glue them together. He should -be 2³⁄₄ inches high and 5 inches long when done and -he must slide easily on the floor. See <a href="#Fig105F">F, Fig. 105</a>.</p> - -<p><span class="pagenum" id="Page251">[251]</span></p> - -<p>The action of the wireless pup is like this: You -push the pup into the house and back against the -spanker as far as he will go; this presses the spring -back and at the same time makes connection with the -contact plate which closes the circuit.</p> - -<p>The current from the battery then flows through the -solenoid and transmitter and this magnetizes the iron -plunger core and holds the spanker back against the -force of the spring.</p> - -<p>If now you call loudly, or clap your hands, the -<i>carbon granules</i> in the transmitter will vibrate and -this will suddenly weaken the current, and, hence, the -magnetism of the solenoid. The instant the magnetic -pull of the solenoid is weaker than the spring the latter -will force the spanker against the posterior end of the -pup’s anatomy and boost him out of his kennel.</p> - -<hr class="chap"> - -<div class="chapter"> - -<p><span class="pagenum" id="Page252">[252]</span></p> - -<h2 class="nobreak">CHAPTER XI<br> -<span class="chaptitle">HOME MADE MUSICAL INSTRUMENTS</span></h2> - -</div><!--chapter--> - -<p>There is music in everything if you only know how -to get it out without cracking it. When a small boy -beats a pie-pan with a stick, or drums on a wooden -fence he is making music, only the neighbors won’t -believe it.</p> - -<p>This is because he sets up the same note in succession -and after a while the constant repetition of this -single note gets on a grown-up’s nerves, especially if -he is writing a book; hence he thinks the sounds are -<i>noise</i> but it is really <i>music</i> of a -<i>bombastic</i><a id="FNanchor103" href="#Footnote103" class="fnanchor">[103]</a> <i>order</i>.</p> - -<div class="footnote"> - -<p><a id="Footnote103" href="#FNanchor103" class="label">[103]</a> The gong, -drum, bell, and cymbals all set up sound by concussion -and these are called <i>bombastic</i> instruments.</p> - -</div><!--footnote--> - -<p>By this I mean that what we call <i>noise</i> is sound set -up by uneven <i>air waves</i><a id="FNanchor104" href="#Footnote104" class="fnanchor">[104]</a> in time and volume while -<i>music</i> is made by a tone, or tones, of even air waves. -Any musical instrument that produces sound by shock, -or <i>concussion</i> as it is called, is said to be bombastic.</p> - -<div class="footnote"> - -<p><a id="Footnote104" href="#FNanchor104" class="label">[104]</a> For the theory of air waves and sound see <i>The Magic of -Science</i> by the present author, published by Fleming H. Revell -and Co., New York.</p> - -</div><!--footnote--> - -<p>When a bombastic instrument is played alone the -sounds set up by it are not very sweet or musical but if -you will use a set of eight of them, or <i>octave</i> as it is<span class="pagenum" id="Page253">[253]</span> -called, and <i>tune</i> them so that the <i>pitch</i>—which is the -number of air waves that are produced and heard in -a second of time—of each one is a note higher than -the one before it and then make first one and the other -<i>vibrate</i> you will produce pleasing tones, and by combining -these tones properly you will have a resemblance -of what we call music.</p> - -<h3 class="inline"><b>The Musical Coins.</b></h3> - -<h4 class="inline noindent">—<i>How to Make Them.</i></h4> - -<p class="hinline">—A -simple and very pleasing way to show that there is -music even in cold brass is to take a piece of sheet -brass, or, better, sheet steel, about ¹⁄₁₆ inch thick and -<i>scribe</i> on it with a pair of compasses eight circles -whose diameters range from 2 inches to 3 inches.</p> - -<div class="container w15emmax" id="Fig106A"> - -<img src="images/illo279.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 106a. the musical coin</span></p> - -</div><!--container--> - -<p>Saw them out and file them down so that each one -will ring out a <i>whole number</i>, as it is called in physics; -that is, if the largest and deepest toned coin, or disk, -makes 250 vibrations a second, the next one must make -500 vibrations a second, the next 750 and so on -until the smallest and highest pitched coin will make -2000 vibrations a second.</p> - -<p><span class="pagenum" id="Page254">[254]</span></p> - -<p>When each coin rings out its whole number, or -nearly so, you will have what is known as a <i>harmonic -series</i>. Now saw notches in the edges of each one -as shown at <a href="#Fig106A">A in Fig. 106</a> and then file them until the -tone of each one is just right.</p> - -<h4 class="inline"><i>How to Play Them.</i></h4> - -<p class="hinline">—To play a tune with the -musical coins spin them on the top of a table—a -marble top table is the best—and as each coin <i>dies -down</i><a id="FNanchor105" href="#Footnote105" class="fnanchor">[105]</a> and its edge strikes progressively against the -surface of the table it will ring out in a clear, loud -tone.</p> - -<div class="footnote"> - -<p><a id="Footnote105" href="#FNanchor105" class="label">[105]</a> If you will look closely at the spinning coin you will see -that when it spins fast at first the <i>axis</i> about which it rotates is -its diameter and that the coin stands upright. As the coin commences -to <i>die down</i> the axis about which it spins gradually begins -to shift from the diameter to the center of the coin until finally -at the finish the coin is spinning directly about its center. This -motion is the same as the processional motion of the earth.</p> - -</div><!--footnote--> - -<div class="container w20emmax" id="Fig106B"> - -<img src="images/illo280.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 106b. how to hold the musical coin to spin it</span></p> - -</div><!--container--> - -<p>The coins should be laid in a row on the table and<span class="pagenum" id="Page255">[255]</span> -whatever note you want to ring out pick up the coin -which will produce it, hold it as shown at <a href="#Fig106B">B</a>, and give -it a little spin. You can soon learn to spin them with -either hand and keep two or more of them going at -the same time, when you will have that agreeable -combination of tones that is known in music as <i>harmony</i>.</p> - -<p>The musical coins are easy to learn to play and at -a little distance off they look like real coins and are -a very pleasing novelty.</p> - -<h3 class="inline"><b>The Musical Tomato Cans.</b></h3> - -<h4 class="inline noindent">—<i>How to Make -Them.</i></h4> - -<p class="hinline">—The musical tomato cans make a bombastic -instrument—very bombastic I should say. Be that -as it may, get eight tomato cans, soak the labels off -carefully and keep them. Next melt off the tops of -the cans and paste the labels on them again. Set each -can on a piece of felt as shown in <a href="#Fig107">Fig. 107</a>.</p> - -<div class="container w40emmax" id="Fig107"> - -<img src="images/illo281.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 107. the chopin tomato can</span></p> - -</div><!--container--> - -<p>Now by pouring water in the cans you can tune<span class="pagenum" id="Page256">[256]</span> -them so that each one will send forth a whole number -note and all of them together will give the notes in the -regular order of an octave. You do not need to put -any water in the first can but use this one for the <i>fundamental</i> -note, that is the note on which the <i>chord</i> is -formed.</p> - -<p>Make a couple of <i>mallets</i>, as the sticks to beat the -cans with are called, of a pair of sticks about as thick -as a lead-pencil and twice as long and glue a wooden -ball ⁵⁄₈ inch in diameter on one end of each one.</p> - -<h4 class="inline"><i>To Play the Tomato Cans.</i></h4> - -<p class="hinline">—When you have tuned -the cans set them in a row on a piece of felt, or a -couple of thicknesses of thick woolen cloth will do, -and with a mallet in each hand tap them softly.</p> - -<p>While some folks who have no ear for <i>melody</i>, -<i>harmony</i> and <i>dissonance</i><a id="FNanchor106" href="#Footnote106" class="fnanchor">[106]</a> -may say that both the instrument -and the performer ought to be <i>canned</i> still -the instrument is a great one to play Chopin’s<a id="FNanchor107" href="#Footnote107" class="fnanchor">[107]</a> -funeral dirge<a id="FNanchor108" href="#Footnote108" class="fnanchor">[108]</a> on. Undertakers are crazy about -the musical tomato cans.</p> - -<div class="footnote"> - -<p><a id="Footnote106" href="#FNanchor106" class="label">[106]</a> -These are the three chief factors that make up the various -combinations of tones which we call music.</p> - -<p><a id="Footnote107" href="#FNanchor107" class="label">[107]</a> -Chopin (pronounced Sho′-pan) was a Polish musical composer.</p> - -<p><a id="Footnote108" href="#FNanchor108" class="label">[108]</a> -A <i>dirge</i> is a tune expressing grief and mourning.</p> - -</div><!--footnote--> - -<h3 class="inline"><b>The Musical Glasses.</b></h3> - -<h4 class="inline noindent">—<i>How to Make Them.</i></h4> - -<p class="hinline">—Different -from the tomato cans, the musical glasses -make about the sweetest music ever heard. To make -a set get eight very thin glass goblets and mount them -on a board 12 inches wide and 2 feet long. An easy -way to do this is to fasten the foot of each goblet down<span class="pagenum" id="Page257">[257]</span> -with a couple of thin strips of tin or brass placed -across it and screwing the ends of these to the board -as shown in <a href="#Fig108">Fig. 108</a>.</p> - -<p>To tune the glasses pour water in them until each -has exactly the right pitch and together they form an -octave. When you have learned to play simple tunes -on an octave of musical glasses you can build up the -set to 22 glasses or three octaves, which will give you -enough notes to play almost any of the popular airs.</p> - -<div class="container" id="Fig108"> - -<img src="images/illo283.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 108. the musical glasses</span></p> - -</div><!--container--> - -<h4 class="inline"><i>How to Play the Glasses.</i></h4> - -<p class="hinline">—Before starting in to -play moisten the rims of the glasses and rub your -fingers with water in which you have put some vinegar, -or better, a little <i>acetic acid</i>,<a id="FNanchor109" href="#Footnote109" class="fnanchor">[109]</a> -until they feel quite -rough.</p> - -<div class="footnote"> - -<p><a id="Footnote109" href="#FNanchor109" class="label">[109]</a> -This is the acid contained in vinegar that gives it its value.</p> - -</div><!--footnote--> - -<p>Now when you lay the tips of your fingers flat on -the rim of a glass and rub them around it, the friction -between the skin of your roughened fingers and the -edge of the glass will set the latter into vibration and -a wonderfully sweet tone will be sent out. By varying -the pressure of your fingers on the glasses you can produce -a very beautiful <i>tremolo</i> effect.</p> - -<p><span class="pagenum" id="Page258">[258]</span></p> - -<p>It is a good scheme to put a few drops of acetic acid -into each goblet so that just as quickly as the volume -of sound begins to fall off you can dip your finger -tips into whatever glass they are nearest to and so increase -the friction between them and the glass.</p> - -<p>If you can play a set of musical glasses well your -services will be in demand for all kinds of entertainments.</p> - -<h3 class="inline"><b>The Tubular Harp.</b></h3> - -<h4 class="inline noindent">—<i>How to Make It.</i></h4> - -<p class="hinline">—This -easily made instrument gives out tones very much like -those of the musical glasses but they are much deeper -and louder.</p> - -<div class="container" id="Fig109"> - -<img src="images/illo284.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 109 a, b. the harp of a thousand thrills</span></p> - -</div><!--container--> - -<p>To make this harp you will need 12 feet of ¹⁄₂ inch -<i>bell-metal</i><a id="FNanchor110" href="#Footnote110" class="fnanchor">[110]</a> tube—brass tube will do but it is not as -good—and cut it into eight pieces; saw off the first<span class="pagenum" id="Page259">[259]</span> -tube 2 feet long and cut off each of the other pieces -¹⁄₂ an inch shorter than the one before it. Cylindrical -sticks of wood can also be used for the tubes.</p> - -<div class="footnote"> - -<p><a id="Footnote110" href="#FNanchor110" class="label">[110]</a> Brass and bell metal tubing can be bought of the U. T. -Hungerford Brass & Copper Co., 89 Lafayette St., New York.</p> - -</div><!--footnote--> - -<p>Get two strips of wood 1 inch square and 3 feet -long and screw them together as shown at <a href="#Fig109">A in Fig. -109</a> with a couple of thumb screws; this done bore -eight ¹⁄₂ inch holes in the sticks every 4 inches apart -and smooth them out with a half-round file.</p> - -<p>Glue a strip of cloth on the side of each strip that -is bored out, set each tube with the middle in the -groove so that they grow shorter in steps and screw -the strips together tight with the thumb screws to -hold the tubes in securely as shown at <a href="#Fig109">B</a>.</p> - -<div class="container w35emmax" id="Fig109C"> - -<img src="images/illo285.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 109c. how to play the harp</span></p> - -</div><!--container--> - -<p>To tune the tubes saw off and file off the end of -each tube until it gives forth the proper note. When -you have tuned them make a stand to hold the instrument<span class="pagenum" id="Page260">[260]</span> -and this can be of either wood, or metal tubing -if you want the harp to look nice and you don’t care -about the expense. The harp is shown complete at C.</p> - -<h4 class="inline"><i>How to Play the Harp.</i></h4> - -<p class="hinline">—When you have made the -stand get a pair of old gloves and cut off the fingers; -powder some rosin and rub it well into the palms of -the gloves.</p> - -<p>This done, put on the gloves, grip the top of the -tube and draw your hand slowly down toward the -sounding board, as shown at <a href="#Fig109C">C</a>, and a beautiful tone -will be emitted. Not only does the tube vibrate to -make the sound but as it is hollow it acts as a <i>resonator</i>, -that is, the sound will set up <i>sympathetic</i> vibrations -in the tube which will reënforce the simple vibrations -of the tube both in strength and quality.</p> - -<p>By waving your finger over the top of the tube -while you are playing it with the other hand a tremolo -effect can be produced that is very beautiful and if -you are versatile you can make it sound almost like a -human voice.</p> - -<h3 class="inline"><b>The Musical Push Pipe.</b></h3> - -<h4 class="inline noindent">—<i>How to Make It.</i></h4> - -<p class="hinline">—This -musical instrument is an organ pipe but it is -played like a <i>slide trombone</i>, that is by pushing in and -pulling out a slide that fits inside of it.</p> - -<p>Spruce is the best wood to make the organ pipe of -but you can use any other kind you have at hand. -Saw off four strips of wood ¹⁄₄ inch thick and 16 inches -long and have two of them 3 inches wide and the -other two 2¹⁄₂ inches wide, as shown in <a href="#Fig110">Fig. 110</a>. Saw -off one of the 3 inch wide boards so that it will be<span class="pagenum" id="Page261">[261]</span> -12¹⁄₄ inches long and plane down one end to a sharp -edge as shown at <a href="#Fig110">B</a>.</p> - -<p>Take another board ¹⁄₂ an inch thick and make it -2¹⁄₂ inches high and 3 inches wide as shown at <a href="#Fig110">D</a>. -Cut out a board for the end ¹⁄₄ inch thick, 2¹⁄₂ inches -wide and 2¹⁄₂ inches long and bore a ¹⁄₂ inch hole in it -as shown at <a href="#Fig110">E</a>.</p> - -<div class="container w40emmax" id="Fig110"> - -<img src="images/illo287.jpg" alt=""> - -<div class="illotext w12em"> - -<div class="centerblock"> - -<p><i>THE PUSH</i><br> -<i>THE PIPE</i><br> -<i>BACK BOARD</i><br> -<i>TOP FRONT BOARD</i><br> -<i>LOWER FRONT BOARD</i><br> -<i>LIP</i><br> -<i>SIDE BOARDS</i><br> -<i>END</i><br> -<i>MOUTH PIECE</i></p> - -</div><!--centerblock--> - -</div><!--illotext--> - -<p class="caption"><span class="smcap">Fig. 110. parts of a musical push pipe</span></p> - -</div><!--container--> - -<p>As you supply this pipe with air by blowing in it, -take a common thread spool and trim down one end -of it as shown at <a href="#Fig110">F</a> so that you can get it into your -mouth; then glue the large end over the hole in the -bottom board. Next glue the sides together to form -a square tube and make and glue into the lower end a<span class="pagenum" id="Page262">[262]</span> -three-cornered piece of wood 2 inches wide, 3 inches -high and 2¹⁄₈ inches thick as shown at <a href="#Fig110">G</a>. This will -bring one of its sharp edges just under and very close -to the sharp edge of the short side of the pipe.</p> - -<p>Glue the thick piece of wood shown at <a href="#Fig110">D</a> to the -lower end of the pipe so that it leaves a ¹⁄₄ inch space -between its top edge and the sharp edge of the short -side of the pipe. Finally glue the mouthpiece in the -lower end of the tube and this part of the push pipe is -done.</p> - -<p>If now you will place your hand over the open top -of the pipe and blow through the mouthpiece, a soft -note like that of a steamboat whistle will issue from -it. To play a tune on the pipe it must have a range -of an octave but if it will sound an octave and a half -you can play many of the popular airs on it.</p> - -<p>To do this fit the organ pipe with a <i>movable stop</i>, -or <i>push</i>, which slides in and out of the pipe. Make -this push of two strips of ¹⁄₈ inch thick wood, 2¹⁄₂ -inches wide and 12 inches long; screw one end of each -of these boards to a block of wood the size of the -top of the organ pipe and screw a knob—the head -of a clothespin will do—on it in the center for a -handle. The stop, or slide, will of course be open -on two sides and must slip snugly but easily in the -pipe.</p> - -<h4 class="inline"><i>To Play the Push Pipe.</i></h4> - -<p class="hinline">—If now you will blow -through the mouthpiece and slide the stop in and out -various tones and semi-tones will be produced. It takes -very little practice to learn just where to stop the slide<span class="pagenum" id="Page263">[263]</span> -to make a given note—that is if you are at all apt in -playing musical instruments. A push pipe<a id="FNanchor111" href="#Footnote111" class="fnanchor">[111]</a> is just -the thing for a black-face musical act.</p> - -<div class="footnote"> - -<p><a id="Footnote111" href="#FNanchor111" class="label">[111]</a> A push pipe can be bought for $4.00 of the L. E. Knott -Apparatus Co., Boston, Mass.</p> - -</div><!--footnote--> - -<div class="container w40emmax" id="Fig110J"> - -<img src="images/illo289.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 110j. how the push pipe is played</span></p> - -</div><!--container--> - -<h3 class="inline"><b>The Curious Xylophone.</b></h3> - -<h4 class="inline noindent">—<i>How to Make It.</i></h4> - -<p class="hinline">—This -instrument, which is pronounced <i>zil-o-fon´</i>, is -cheap to make or buy<a id="FNanchor112" href="#Footnote112" class="fnanchor">[112]</a> and is easy to learn to play.</p> - -<div class="footnote"> - -<p><a id="Footnote112" href="#FNanchor112" class="label">[112]</a> Can be bought of any dealer in musical instruments or of -the L. E. Knott Co., Boston.</p> - -</div><!--footnote--> - -<p>To make one cut off fifteen bars of a stick of maple -¹⁄₂ an inch thick, ⁷⁄₈ inch wide and make the longest one -5 inches. To get the right lengths of all the others -you will have to saw them off a little at a time and -try them out for tone, because any variation in thickness -will make a difference in the length of them. -Hence the above rule-of-thumb method for determining -the sizes of them.</p> - -<p>Drill a ¹⁄₁₆ inch hole through both ends of each bar<span class="pagenum" id="Page264">[264]</span> -and string them on a wire to keep them in place. -Make two rolls of straw ³⁄₄ inch in diameter and 20 -inches long; fix the ends of these rolls on a board as -shown in <a href="#Fig111">Fig. 111</a> and lay the maple bars on them -when they are ready to be played on.</p> - -<h4 class="inline"><i>How to Play the Xylophone.</i></h4> - -<p class="hinline">—The xylophone is -played with a pair of hammers. To make the latter -cut off two sticks ¹⁄₄ inch in diameter and 8 inches long; -get or turn two wooden balls 1 inch in diameter; bore -a ¹⁄₄ inch hole in each one and glue in one of the -sticks.</p> - -<div class="container" id="Fig111"> - -<img src="images/illo290.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 111. a xylophone. the bars are made of wood</span></p> - -</div><!--container--> - -<p>Take a hammer in each hand and hold it loosely; -stand over the xylophone so that the sticks of the -hammers are parallel with and about 6 inches above -the bars of the xylophone and with the ball ends in -the middle of the bar it is over. Now pound the bars -for dear life and the faster the tune the more musical -it will sound. For this reason pieces like the <i>Circus -Life Gallop</i> are especially adapted for the xylophone.</p> - -<h3 class="inline"><b>The Peculiar Tubaphone.</b></h3> - -<h4 class="inline noindent">—<i>How to Make It.</i></h4> - -<p class="hinline">—By -using brass tubes, or better, tubes made of bell -metal, you can have a xylophone of another order. -Use tubing ³⁄₄ inch in diameter and have the first one -5 inches long for the fundamental.</p> - -<p><span class="pagenum" id="Page265">[265]</span></p> - -<p>Keep on sawing them off and filing them down until -you have them all done and all in tune. Make a -wooden frame of ¹⁄₂ inch stuff and have the bottom 2 -inches wide at one end, 4 inches wide at the other end -and 17 inches long.</p> - -<div class="container" id="Fig112"> - -<img src="images/illo291.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 112. a tubaphone. the bars are made of metal tubes</span></p> - -</div><!--container--> - -<p>Saw off two strips of wood ¹⁄₂ an inch thick, 1 inch -wide and 17 inches long. Bore fifteen ³⁄₄ inch holes -1 inch apart measured from their centers in them; -glue a strip of felt or thick cloth to the wood in each -one and slip the tubes in the felt lined holes as shown -in <a href="#Fig112">Fig. 112</a>.</p> - -<h4 class="inline"><i>How to Play the Tubaphone.</i></h4> - -<p class="hinline">—To play this peculiar -instrument use a couple of felt covered mallets; these -can be made by winding a little ball of string around -one end of each stick which should be about ¹⁄₄ inch -in diameter and 8 inches long, and then covering it -with felt. Beat the tubes with the felt mallets in -exactly the same way you do when you play the xylophone.</p> - -<h3 class="inline"><b>The Cathedral Chimes.</b></h3> - -<h4 class="inline noindent">—<i>How to Make Them.</i></h4> - -<p class="hinline">—This -is one of the easiest musical instruments to make -and the music produced by it is impressive in its tone -and depth.</p> - -<p><span class="pagenum" id="Page266">[266]</span></p> - -<p>To make it saw off a board, ³⁄₄ or ⁷⁄₈ inch thick, -about 12 inches wide and 22 inches long and screw -a block 1 inch square to each corner for it to rest on. -Get eight <i>binding posts</i><a id="FNanchor113" href="#Footnote113" class="fnanchor">[113]</a> -of the size shown at <a href="#Fig113">A in -Fig. 113</a>; drill eight ¹⁄₈ inch holes in the board, 4 in a -row with the holes 5 inches apart and have the rows -also 5 inches apart, and then screw a binding post into -each hole.</p> - -<div class="footnote"> - -<p><a id="Footnote113" href="#FNanchor113" class="label">[113]</a> These can be bought of the Manhattan Electrical Supply -Co., Park Place, New York City.</p> - -</div><!--footnote--> - -<div class="container w40emmax" id="Fig113"> - -<img src="images/illo292.jpg" alt=""> - -<p class="caption nobot"><span class="smcap">Fig. 113. the cathedral chimes</span></p> - -<div class="centerblock"> - -<p class="caption subcaption">A. A full sized binding post.<br> -B. The chimes on the sounding board.</p> - -</div><!--centerblock--> - -</div><!--container--> - -<p>Make eight spirals of No. 14 spring brass, steel or, -better, <i>phosphor-bronze</i><a id="FNanchor114" href="#Footnote114" class="fnanchor">[114]</a> -wire; you can do this by<span class="pagenum" id="Page267">[267]</span> -cutting off eight pieces of the wire each of which is -20 inches long. Draw a spiral on a sheet of paper as -<a href="#Ref17">described</a> in Chapter V so that the inside turn of -wire is about ³⁄₄ inch in diameter, the outside turn -about 3¹⁄₂ inches in diameter and each turn of wire -will be separated from the other by a space of ¹⁄₄ inch -as shown at B.</p> - -<div class="footnote"> - -<p><a id="Footnote114" href="#FNanchor114" class="label">[114]</a> Get it of the U. T. Hungerford Brass and Copper Co., -Hungerford Building, New York.</p> - -</div><!--footnote--> - -<p>With your round nose pliers bend each length of -wire like the pattern you drew on the paper. When -you have made the spirals screw the inside end of -each wire in the binding post and your cathedral -chimes are done all except the tuning of them.</p> - -<p>Let the first spiral of the upper left hand side give -the fundamental tone and tune the others to it by cutting -off the free ends of the wires until they are all -tuned in unison. Make a couple of wood mallets and -cover the ends with leather or rawhide.</p> - -<h4 class="inline"><i>How to Play the Cathedral Chimes.</i></h4> - -<p class="hinline">—Strike the inside -turn of wire up close to the end that is fastened -to the binding post, and a tone will issue from the -spiral that is long, deep and loud, for the wire with -its free end forms a very perfect vibrating body.</p> - -<h3 class="inline"><b>The Æolian Harp.</b></h3> - -<h4 class="inline noindent">—<i>How to Make It.</i></h4> - -<p class="hinline">—This -harp is of very ancient origin and it gets its name -from <i>Æolus</i> who, in classic mythology, was the father -of the winds, and very appropriately is it named, too, -for it is the wind that plays it.</p> - -<p>Make a box of ¹⁄₂ inch thick wood, 2 inches deep, -5 inches wide and 3 feet long; use clear pine, or deal -will do, for the sides of it but the ends should be of<span class="pagenum" id="Page268">[268]</span> -beech to hold the <i>tuning pins</i> and the <i>hitch pins</i>. Cut -a <i>sound hole</i> 3 inches in diameter near both ends of the -board which is to be used for the top; then glue the -box together and screw up the ends with your wood -clamps to hold it together tight while it is drying.</p> - -<div class="container" id="Fig114"> - -<img src="images/illo294.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 114. the harp of aeolus</span></p> - -</div><!--container--> - -<p>When it is thoroughly dry, drill a dozen ¹⁄₄ inch -peg holes ³⁄₄ inch deep in one end, six in a row as -shown at A in <a href="#Fig114">Fig. 114</a>. Make a dozen pegs to fit -the holes and these should have <i>wings</i> on them as -shown at <a href="#Fig114">B</a> like violin pegs. Each peg should be -about 1¹⁄₂ inches long and each one should have a ¹⁄₃₂ -inch hole drilled near the top of the shank for the end -of the string to pass through. The hitch pins can be -brass brads driven into the other end of the box and in -a line with the holes, all of which is shown at <a href="#Fig114">A</a>.</p> - -<p>Make two <i>bridges</i> of hard wood ¹⁄₈ inch thick; have -each one 1 inch high and 5 inches wide and with 12 -notches cut in one side. Now get a dozen catgut<span class="pagenum" id="Page269">[269]</span> -strings of different thicknesses and put them on the -sounding board; to do this twist a loop on the end -of each one; thread the other end through the hole -in the peg and tighten it up a little.</p> - -<p>When you have all of the strings in place set a -bridge under each end and then tune the strings in -unison, but don’t stretch the strings on very tight or -the wind won’t make them vibrate. This done, cut -out another ¹⁄₂ inch thick pine board and glue a block -¹⁄₂ inch square and 1¹⁄₂ inches long to each corner and -set it on top of the harp. The purpose of this cover -is to make the wind blow with as much force as possible -over the strings.</p> - -<h4 class="inline"><i>How the Wind Plays It.</i></h4> - -<p class="hinline">—To the end that old -Æolus may play the harp to the best of his ability set -it on the sill of an open window so that the wind -strikes the strings at a slant. Pull the window down -on the harp in order to make all of the wind pass between -the cover and the strings.</p> - -<p>When the wind blows softly beautiful tones will be -emitted and when the wind blows hard discords will -be produced but as the wind subsides exquisite harmonies -will again prevail.</p> - -<h3 class="inline"><b>An Egyptian Fiddle.</b></h3> - -<h4 class="inline noindent">—<i>How to Make It.</i></h4> - -<p class="hinline">—The -early Egyptians invented the fiddle, or <i>rebab</i> as they -called it, but they did not play it with a bow. Later -in <i>medieval</i> times, that is in about the 9th century, -this fiddle came to be called a <i>rebec</i> and it was then -played with a bow. I’ll bet though that the fiddle I -shall tell you how to make and play sounds better<span class="pagenum" id="Page270">[270]</span> -than any Egyptian rebab ever made—though it is -not exactly a <i>Stradivarius</i>.<a id="FNanchor115" href="#Footnote115" class="fnanchor">[115]</a></p> - -<div class="footnote"> - -<p><a id="Footnote115" href="#FNanchor115" class="label">[115]</a> The priceless fiddles made by the famous old violin maker -Antonio Stradivari of Cremona, Italy, in the early part of the -17th century.</p> - -</div><!--footnote--> - -<p>To make a fiddle of this kind—it only has one -string and only one is needed by a master violinist—make -a sounding box of ¹⁄₈ or ³⁄₁₆ inch thick wood -except the ends which should be of ³⁄₈ inch thick stuff; -this box should be 4 inches high, 6 inches wide at one -end, 8 inches wide at the other end and 12 inches -long. Cut a hole 6 inches in diameter in the center -of the board which you are going to use for the <i>sounding -board</i>, and then glue all of the pieces together -using wood clamps to hold them tight.</p> - -<p>For the neck take a stick of wood 1¹⁄₂ inches wide, -2¹⁄₂ inches thick and 15 inches long; cut it down until -one end is 1 inch thick and cut a piece out of this end -³⁄₄ inch wide and 1 inch deep; bore a conical hole -through this end and fit in a peg. Next saw out the -other end 2 inches deep for a length of 3 inches back -and glue and screw this end of the neck to the narrow -end of the box. The shape of the neck with the peg -in it and the way it is fixed to the sounding box is -clearly shown in the top view A and the side view B -in <a href="#Fig115">Fig. 115</a>.</p> - -<p>Cut out a <i>bridge</i> of a piece of hard wood ¹⁄₈ inch -thick, 1 inch high and 1¹⁄₂ inches long as shown at <a href="#Fig115">C</a>; -and, finally, make a <i>tail-piece</i> of a bit of hard wood -¹⁄₈ inch thick ¹⁄₂ an inch wide at one end, 1 inch wide<span class="pagenum" id="Page271">[271]</span> -at the other end and 2 inches long. Drill a hole in -each end and whittle or plane the large end to a sharp -edge.</p> - -<p>In the middle of the large end of the sounding box -bore a ¹⁄₄ inch hole and glue in a hard wood peg for -a <i>hitch-pin</i>. Fasten the tail-piece to the hitch-pin with -a piece of catgut string. Slip the end of an A violin -string through the hole in the sharp end of the tail-piece; -knot it to keep it from pulling through, and -bring the other end up and thread it through the hole -in the peg in the neck. Finally put the bridge under -the string and tighten it up. Tune it to the treble, or -G <i>clef</i>, if you know enough about music to do it, or if -not tune it so that it gives a pleasing tone.</p> - -<div class="container" id="Fig115"> - -<img src="images/illo297.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 115. plans for an egyptian fiddle</span></p> - -</div><!--container--> - -<h4 class="inline"><i>How to Make the Bow.</i></h4> - -<p class="hinline">—The best kind of wood -to make a violin bow of is Brazilian lance-wood or of<span class="pagenum" id="Page272">[272]</span> -snake-wood, but for this one stringed fiddle of yours -you can use a piece of beech.</p> - -<p>Take a strip of wood ¹⁄₂ an inch thick, 1 inch wide -and 24 inches long and saw it out as shown at D; then -round up the stick and sandpaper it smooth. Cut out -two blocks to fit the ends, or <i>frogs</i> as they are called: -drill a hole in each one and screw it to the bow but -not very tight.</p> - -<div class="container" id="Fig115D"> - -<img src="images/illo298.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 115d. how the bow is made</span></p> - -</div><!--container--> - -<p>Now comes the hard part and that is putting on the -hairs; get 50 or 60 white horsehairs about 2 feet long; -I do not advise pulling them out of <i>Dobbin’s</i> tail but -rather to buy a bunch of them from Sears, Roebuck, -and Co., Chicago, Ill., for 10 or 20 cents.</p> - -<p>Having got them somehow put one end of each one -under one of the blocks and when you have them all -even and close together screw the block down tight; -this done fasten the other ends of the hairs under the -opposite block, and when you have them all drawn taut -screw down the block and put a little glue on the places -where they go under the blocks.</p> - -<p>If you will look at a horsehair through a microscope -you will see that it seems very like the scroll saw -blade I told you about in the second chapter, that is,<span class="pagenum" id="Page273">[273]</span> -it has a lot of fine teeth on it and all of them run the -same way. By rights then half of the hairs ought to -be put on the bow with the teeth running in one direction -and the other half with the teeth running in the -other direction so that the friction of the hairs is the -same on the string on the up and the down strokes.</p> - -<div class="container w30emmax" id="Fig115E"> - -<img src="images/illo299.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 115e. how the fiddle is played</span></p> - -</div><!--container--> - -<p>Do not use much rosin on the bow but rosin it often. -You can buy a piece of regular violin bow rosin for -5 cents but the kind that gives the best results is the -genuine <i>Bernardel</i> imported from France and which -costs about a quarter. It bites hard on the string -and makes a large volume of sound. The way the -fiddle is played is shown at <a href="#Fig115E">E</a>.</p> - -<hr class="chap"> - -<div class="chapter"> - -<p><span class="pagenum" id="Page274">[274]</span></p> - -<h2 class="nobreak">CHAPTER XII<br> -<span class="chaptitle">SOME EVENING ENTERTAINMENTS</span></h2> - -</div><!--chapter--> - -<p>There is a feature of home life that the heads of -too many families overlook and that is getting together -and having an evening of entertainment which the -youngest as well as the oldest member can enjoy.</p> - -<p>This is not at all a hard thing to do but as it takes -time to get the <i>props</i> together to give it with—which -neither your father or mother can well spare even if -they had the inclination—it is up to you as the boy -of the family to see that it is done.</p> - -<p>It is a noble plan to give a <i>divertisement</i>, or -<i>soirée</i><a id="FNanchor116" href="#Footnote116" class="fnanchor">[116]</a> (pronounced <i>swa´re</i>) as the old time magicians -used to call it, once every month and you will -find after you have given the first one that all of your -folks will look forward to the coming of the next one -with interest and with pleasure.</p> - -<div class="footnote"> - -<p><a id="Footnote116" href="#FNanchor116" class="label">[116]</a> This is a French word and it means an evening social -gathering.</p> - -</div><!--footnote--> - -<p>Moreover, you should let them know what the next -divertisement is to be a couple of weeks before it -comes off and then let all hands join in and talk about -it whenever the spirit moves them. Naturally since -you know all about it and they don’t know anything<span class="pagenum" id="Page275">[275]</span> -about it, questions will be in order and you are the -one who will have to answer them; and don’t try to -make a secret of anything you have done or are going -to do unless it is magic or some allied subject of -mystery. After the divertisement is over it will furnish -food for conversation for a long time to come.</p> - -<p>Now while I have used the words <i>entertainment</i> and -<i>divertisement</i>, both of which mean about the same -thing and that is amusement, and while you should -always strive to make your talks as light and recreational -as you can you do not need to stick to frothy -subjects altogether but instead you should alternate -them with scientific demonstrations. In this way you -will not only please and develop good fellowship in -the family, but you will instruct the members of it at -the same time.</p> - -<p>Finally, don’t make your divertisements too long. -Better by all means make each one only 15 or 20 minutes -long and have everybody in high good humor -and saying that it was all too short, than to give them -an hour and have everybody gappy and bored half-to-death.</p> - -<h3 class="inline"><b>Cartoons While You Wait.</b></h3> - -<p class="hinline">—This is a good feature -to start off your season’s divertisements with. -Make a substantial <i>easel</i> on which to set a large drawing -board as shown in <a href="#Fig116">Fig. 116</a>, or you can fasten the -paper to a wall with thumb tacks if you live in a home -and not in a residence.</p> - -<p>Get a dozen sheets of good white print paper—you -can buy a quire (24 sheets) 24 × 36 inches for 25<span class="pagenum" id="Page276">[276]</span> -cents—and tack ¹⁄₂ a dozen sheets to your drawing -board or the wall. Also buy a stick of black <i>marking -crayon</i>,<a id="FNanchor117" href="#Footnote117" class="fnanchor">[117]</a> which is better than chalk or charcoal for -it makes a heavy black line that will not smut, blur -or rub off.</p> - -<div class="footnote"> - -<p><a id="Footnote117" href="#FNanchor117" class="label">[117]</a> You can buy a marking crayon at a hardware or stationery -store.</p> - -</div><!--footnote--> - -<div class="container w30emmax" id="Fig116"> - -<img src="images/illo302.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 116. how an easel is made</span></p> - -</div><!--container--> - -<h4 class="inline"><i>Drawing the Cartoons.</i></h4> - -<p class="hinline">—Start in with your crayon -in hand and explain that what you propose to do is to -show the principles upon which free-hand drawing is -based. Then make a simple line drawing of the boxer<span class="pagenum" id="Page277">[277]</span> -reaching for the <i>maxillary</i> of his invisible opponent -as shown in <a href="#Fig42">Fig. 42</a>, over in the chapter called <i>Drawing -Simply Explained</i>, and then draw the horse galloping -home on the three-quarter stretch.</p> - -<p>Next draw around these simple line figures, which -are really the skeletons of the man and beast, the outlines -as shown in <a href="#Fig43">Fig. 43</a>. If you are not expert in -free hand drawing you can trace these figures on the -paper in faint lines with a lead-pencil before you begin -your performance, and then all you have to do is -to mark over the lines with the crayon.</p> - -<p>After you have made these drawings and explained -all about them tear off the sheet and on the clean one -draw the outline of a man as shown in <a href="#Fig44A">Fig. 44</a> and -mark on the proportions of the human body. Have -your next sheet ruled off into squares with the lines -2 inches apart; draw in the face and at the same time -explain that this makes it easy for any one to get the -features in proportion.</p> - -<p>Now comes the grand <i>finale</i><a id="FNanchor118" href="#Footnote118" class="fnanchor">[118]</a> (pronounced -<i>fi-na´-le</i>) and that is your -<i>cartoons</i>.<a id="FNanchor119" href="#Footnote119" class="fnanchor">[119]</a> You should -practice drawing these and also have some <i>patter</i><a id="FNanchor120" href="#Footnote120" class="fnanchor">[120]</a> -about each one so that when you do them for the -family audience your tongue will be as clever as your -fingers. You can begin by explaining how the expressions<span class="pagenum" id="Page278">[278]</span> -of one’s face—that is the way the features look -when the mind is at rest or is excited—can all be -represented by a few very simple lines.</p> - -<div class="footnote"> - -<p><a id="Footnote118" href="#FNanchor118" class="label">[118]</a> -The last part of an exhibition and it is generally the climax -of it.</p> - -<p><a id="Footnote119" href="#FNanchor119" class="label">[119]</a> -A cartoon is usually a caricature of a person or thing done -in sketchy style. The word comes from the French <i>carton</i>, -which means pasteboard.</p> - -<p><a id="Footnote120" href="#FNanchor120" class="label">[120]</a> Witty or amusing talk to help along the act.</p> - -</div><!--footnote--> - -<p>Draw eight circles 5 or 6 inches in diameter in a -double row on the paper with your marking crayon -as shown at <a href="#Fig117A">A in Fig. 117</a>. Now you say first that -<i>sleep</i> can be represented by four straight horizontal -lines and you draw them as shown in the first circle. -Next draw four vertical lines in the second circle and -before you can say <i>awake</i> your little audience will see -it and laugh its approval.</p> - -<div class="container" id="Fig117A"> - -<table class="images"> - -<colgroup> -<col span="4" class="w25pc"> -</colgroup> - -<tr> -<td class="image"><img src="images/illo304a.jpg" alt=""></td> -<td class="image"><img src="images/illo304b.jpg" alt=""></td> -<td class="image"><img src="images/illo304c.jpg" alt=""></td> -<td class="image"><img src="images/illo304d.jpg" alt=""></td> -</tr> - -<tr> -<td class="caption"><i>FAST ASLEEP</i></td> -<td class="caption"><i>WIDE AWAKE</i></td> -<td class="caption"><i>SOME JOY</i></td> -<td class="caption"><i>MORE SORROW</i></td> -</tr> - -<tr> -<td class="image"><img src="images/illo304e.jpg" alt=""></td> -<td class="image"><img src="images/illo304f.jpg" alt=""></td> -<td class="image"><img src="images/illo304g.jpg" alt=""></td> -<td class="image"><img src="images/illo304h.jpg" alt=""></td> -</tr> - -<tr> -<td class="caption"><i>QUITE MODEST</i></td> -<td class="caption"><i>MUCH DISDAIN</i></td> -<td rowspan="2" class="caption"><i>SOMEWHAT SURPRISED</i></td> -<td rowspan="2" class="caption"><i>A LITTLE ANGRY</i></td> -</tr> - -<tr> -<td class="caption"><b><i>A</i></b></td> -<td> </td> -</tr> - -</table> - -<p class="caption"><span class="smcap">Fig. 117a. first principles of cartooning</span></p> - -</div><!--container--> - -<p><i>Joy</i> is represented by four little <i>arcs</i>, or curved -lines with the ends of each pointing up, which you -draw in the third circle, while <i>sorrow</i> is, of course, -shown by four curved lines the ends of which point -down as in the fourth circle, since the emotion of sorrow -is the opposite to that of joy.</p> - -<p>Show how <i>modesty</i> is depicted by drawing four little<span class="pagenum" id="Page279">[279]</span> -angles in the fifth circle with the <i>vertex</i>, or point -of each one at the bottom, while <i>disdain</i>, which is the -<i>reciprocal</i> of modesty, can be illustrated in the sixth -circle by reversing the positions of the angles and having -their <i>vertices</i> at the top.</p> - -<p>To portray <i>surprise</i> all you have to do is to draw -four little circles inside the seventh large circle and -you will have caught the expression. Finally in the -eighth circle draw two slanting lines for the eyes, a -vertical line for the nose and an angle with the ends of -the lines pointed down and you will have a very good -representation of <i>anger</i>, (or maybe it’s a Chinaman.)</p> - -<div class="container" id="Fig117B"> - -<table class="images"> - -<colgroup> -<col span="3" class="w33pc"> -</colgroup> - -<tr> -<td class="image"><img src="images/illo305a.jpg" alt=""></td> -<td class="image"><img src="images/illo305b.jpg" alt=""></td> -<td class="image"><img src="images/illo305c.jpg" alt=""></td> -</tr> - -<tr> -<td class="caption"><i>BY DE LIGHT -OF DE SILVERY -MOON</i></td> -<td class="caption"><i>PAT AND -HIS POIPE</i></td> -<td class="caption"><i>HE HAS -JUST HEARD -A JOKE</i></td> -</tr> - -<tr> -<td class="caption"><i><b>B</b></i></td> -<td class="caption"><i><b>C</b></i></td> -<td class="caption"><i><b>D</b></i></td> -</tr> - -</table> - -<p class="caption"><span class="smcap">Fig. 117 b, c, d. three simple cartoons that you can do</span></p> - -</div><!--container--> - -<p class="blankbefore75">Now without my telling you how to draw the cartoons -shown at B C and D in <a href="#Fig117B">Fig. 117</a>, draw each one -of them half a dozen times on a sheet of paper with -your marking crayon and when you get before your<span class="pagenum" id="Page280">[280]</span> -audience you will be able to do them like a lightning -crayon artist.</p> - -<h3 class="inline"><b>Thirty Minutes of Chemistry.</b></h3> - -<p class="hinline">—Here are some -very pretty and easily made experiments in chemistry -and as you perform them you can give the explanation -I have written about each one which will serve as the -<i>patter</i>.</p> - -<h3 class="inline"><b>The Mystic Glass of Milk.</b></h3> - -<p class="hinline">—<i>The Effect.</i>—You -show a glass of perfectly clean water and blow through -it with a glass tube, clay pipe or a straw when it becomes -to all intents, though not to all purposes, milk -of the cow variety. See <a href="#Fig118">Fig. 118</a>.</p> - -<div class="container w50emmax" id="Fig118"> - -<table class="images"> - -<colgroup> -<col span="2" class="w50pc"> -</colgroup> - -<tr> -<td class="image"><img src="images/illo306a.jpg" alt=""></td> -<td class="image"><img src="images/illo306b.jpg" alt=""></td> -</tr> - -<tr> -<td class="caption"><i>BEFORE BLOWING -THROUGH STRAW</i></td> -<td class="caption"><i>AFTER BLOWING -THROUGH STRAW</i></td> -</tr> - -</table> - -<p class="caption"><span class="smcap">Fig. 118. the oracle of amor, or are you in love?</span></p> - -</div><!--container--> - -<h4 class="inline"><i>The Cause.</i></h4> - -<p class="hinline">—To perform this chemical trick get 50 -grams of good <i>quicklime</i> and powder it in a pint milk -bottle. Let it stand for 24 hours and shake it every -once in a while. Let it stand another 24 hours and -then pour off the clear solution, which is called <i>lime<span class="pagenum" id="Page281">[281]</span> -water</i><a id="FNanchor121" href="#Footnote121" class="fnanchor">[121]</a> and this is the common name of <i>mystic -milk</i>.</p> - -<div class="footnote"> - -<p><a id="Footnote121" href="#FNanchor121" class="label">[121]</a> You can buy it in a drug store all ready to use.</p> - -</div><!--footnote--> - -<h4 class="inline"><i>The Chemical Action.</i></h4> - -<p class="hinline">—In the first place the lime -in the water is <i>calcium hydroxide</i> and when you blow -through the lime water the <i>carbon dioxide</i> in your -breath acts on the <i>calcium hydroxide</i> and forms a -white <i>insoluble</i> powder commonly known as <i>limestone</i>.</p> - -<p>Since the calcium carbonate does not dissolve in the -water it remains suspended in the solution and this -gives it an <i>opalescent</i> hue that doth verily look like -the <i>lactic fluid</i> which is white but woe unto the milkman -who sells it as such.</p> - -<h4 class="inline"><i>For the Fun of the Thing.</i></h4> - -<p class="hinline">—By pretending you can -tell which boys and which girls are in love hand around -several glasses of ordinary water and as many of clear -lime water. You must see to it, of course, that those -whom you want to make believe are in love are given -the lime water; then have everybody blow and it is a -sure sign that those who change the water into milk -are in love.</p> - -<h3 class="inline" id="Ref18"><b>The Magic Fountain.</b></h3> - -<p class="hinline">—<i>The Effect.</i>—You show -an empty bottle, or Florence flask, and then push a -cork with two holes in it into the mouth of the bottle. -Next push a glass tube having a nozzle on one end -through one of the holes in the cork until the nozzle -nearly touches the bottom of the bottle.</p> - -<p>Through the other hole in the cork push a <i>medicine -dropper</i>, or fountain pen filler. The end of the long -tube projects down into a bowl containing water which<span class="pagenum" id="Page282">[282]</span> -you have colored blue<a id="FNanchor122" href="#Footnote122" class="fnanchor">[122]</a> either with indigo or with -<i>copper sulphate</i> or you can make a beautiful violet by -dissolving in it a little <i>potassium permanganate</i>. The -arrangement of the apparatus is shown at <a href="#Fig119A">A in Fig. -119</a>.</p> - -<div class="footnote"> - -<p><a id="Footnote122" href="#FNanchor122" class="label">[122]</a> Any kind of colored water will do for this experiment.</p> - -</div><!--footnote--> - -<div class="container w35emmax" id="Fig119A"> - -<img src="images/illo308.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 119a. the mystic fountain</span></p> - -</div><!--container--> - -<p>Now when you squeeze the bulb of the medicine -dropper the colored water rushes up the tube and -squirts out of the nozzle into a pretty fountain until -the flask is nearly full.</p> - -<h4 class="inline"><i>The Cause.</i></h4> - -<p class="hinline">—Instead of the bottle being empty as<span class="pagenum" id="Page283">[283]</span> -it looks to be, you have previously filled it with -<i>hydrogen chloride gas</i> of which 500 volumes will dissolve -in 1 volume of water.</p> - -<p>The medicine dropper is filled with water and when -you squeezed it a few drops of water is forced into -the bottle and dissolves a large part of the gas that -is in it. This leaves a <i>vacuum</i> when, of course, the -atmospheric pressure on the colored water in the bowl -forces it up through the nozzle to fill the vacuum.</p> - -<div class="container" id="Fig119B"> - -<img src="images/illo309.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 119b. making hydrogen chloride gas</span></p> - -</div><!--container--> - -<p>This water dissolves the rest of the gas in the flask -and more water is forced up until the bottle is nearly -full of it, all of which produces a very mysterious and -at the same time a mighty pretty effect.</p> - -<h4 class="inline"><i>How to Make Hydrogen Chloride Gas.</i></h4> - -<p class="hinline">—To make -this gas take another bottle and fit a two hole stopper -into it; in one hole put a funnel and in the other an -L tube as shown at <a href="#Fig119B">B 119</a>.</p> - -<p>In the bottom of the bottle put ¹⁄₃ of a cup of common<span class="pagenum" id="Page284">[284]</span> -table salt; put a straight tube down into the Florence -flask you want to fill and connect this tube and the -L tube with a piece of rubber tube as is also shown -at <a href="#Fig119B">B</a>.</p> - -<p>The apparatus set up, pour sulphuric acid down the -funnel, a very little at a time until the salt is all gone -and then fit the cork with the long nozzle tube and the -medicine dropper in it, into the mouth of the bottle -filled with the hydrogen chloride gas.</p> - -<h3 class="inline"><b>The Vicious Soap Bubbles.</b></h3> - -<p class="hinline">—<i>The Effect.</i>—Show -a dish of soap-suds and then blow bubbles with the -apparatus described below.</p> - -<p>When the bubbles take on a size of about 3 inches -in diameter shake them off and they will rise slowly -and gracefully in the air. Before they get out of -reach touch them with a long lighted taper and they -will explode viciously with a sharp report like that -made by a revolver.</p> - -<h4 class="inline"><i>The Cause.</i></h4> - -<p class="hinline">—The bubbles are filled with a mixture -of hydrogen gas and oxygen gas and when these two -gases are <i>simply mixed</i> they form a very explosive -compound which is called <i>detonating gas</i>.</p> - -<p>When the flame is brought close enough to the -bubble it fires the gases in it, and they explode and -<i>combine chemically</i> to form <i>water</i>. The apparatus -necessary to do this experiment with is shown in <a href="#Fig120">Fig. -120</a>.</p> - -<p>It consists of (1) a hydrogen gas generator and -(2) an oxygen gas generator.</p> - -<p>The hydrogen bottle or flask is fitted with a two hole<span class="pagenum" id="Page285">[285]</span> -stopper through which runs a glass funnel and -an L tube just as described in the fountain experiment -and shown at <a href="#Fig119B">B in Fig. 119</a>. Connected to the L tube -is a length of rubber tubing into the other end of which -another L tube is fitted.</p> - -<p>The oxygen bottle or flask is fitted with a single -hole stopper which has an L tube running through it -as shown at <a href="#Fig119B">B in Fig. 119</a>. Connected to the L tube is -fixed another length of rubber tubing and in the free -end of this is fixed another and shorter L tube. Now -place the two short L tubes side by side and cement -them together with sealing wax. A long length of -rubber tube is forced on over the ends of the double -tube and, finally, a clay pipe is fitted into the free end -of the rubber tube, all of which is shown in <a href="#Fig120">Fig. 120</a>.</p> - -<div class="container" id="Fig120"> - -<img src="images/illo311.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 120. the vicious soap bubbles</span></p> - -</div><!--container--> - -<p>Set the bottles or flasks as far apart as possible and -in the hydrogen bottle put a handful of <i>granulated<span class="pagenum" id="Page286">[286]</span> -zinc</i>. Dilute <i>hydrochloric acid</i><a id="FNanchor123" href="#Footnote123" class="fnanchor">[123]</a> is poured down -the funnel on the zinc when <i>hydrogen</i> will be set free, -or <i>generated</i> as it is called.</p> - -<div class="footnote"> - -<p><a id="Footnote123" href="#FNanchor123" class="label">[123]</a> -If you want to buy dilute hydrochloric acid ask for <i>normal -hydrochloric</i> acid.</p> - -</div><!--footnote--> - -<p>Put a small handful of a mixture of 2 parts of -<i>potassium chlorate</i> and 1 part of <i>manganese dioxide</i>, -finely powdered, in the oxygen bottle and then set a -Bunsen burner under it when it will give off <i>oxygen</i>. -When the two gases leave the short L tubes they mix -in the long rubber tube and by the time they reach the -clay pipe you will have detonating gas all right.</p> - -<h4 class="inline"><i>Caution.</i></h4> - -<p class="hinline">—Do not bring a flame anywhere near the -apparatus and as a further precaution wrap a thick -towel around the hydrogen flask.</p> - -<p>The bubbles that are blown rise in the air because -both the hydrogen and the oxygen are lighter than the -air.</p> - -<h3 class="inline"><b>The Uncanny Wheel.</b></h3> - -<p class="hinline">—<i>The Effect.</i>—A pitcher -is shown full of emptiness and then a cardboard wheel, -4 inches in diameter, with buckets, or cones 1 inch high -and ³⁄₄ inch across glued to the rim and which is -mounted on a wire so that it can be revolved, is passed -for examination.</p> - -<p>Placing the wheel on the table you hold the empty -pitcher above it and pour out <i>nothing</i> on it when the -wheel will turn round just as though you were pouring -water on it. It is indeed uncanny. The idea is shown -at <a href="#Fig121">A in Fig. 121</a>.</p> - -<h4 class="inline"><i>The Cause.</i></h4> - -<p class="hinline">—But it is all canny enough when you<span class="pagenum" id="Page287">[287]</span> -know how it is done. While the pitcher is apparently -empty you have, forsooth, previously filled it with a -gas called <i>carbon dioxide</i>. This gas is 1¹⁄₂ times as -heavy as air.</p> - -<p>The cardboard wheel does not move in the air because -the latter pushes on all parts of it equally. -When, however, you pour the carbon dioxide gas on -it from the pitcher, since it (the gas) is heavier than -the air it fills the little buckets and makes them -heavier just as surely as if you poured water on them; -and hence the wheel revolves.</p> - -<div class="container" id="Fig121"> - -<img src="images/illo313.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 121. the uncanny wheel</span></p> - -</div><!--container--> - -<h4 class="inline"><i>How to Make Carbon Dioxide Gas.</i></h4> - -<p class="hinline">—Take a perfectly -dry bottle or flask of the kind shown in the -<i><a href="#Ref18">fountain experiment</a></i>; fit it with a single hole stopper -and push a glass tube through it until it nearly touches -the bottom as pictured at <a href="#Fig121">B</a>.</p> - -<p><span class="pagenum" id="Page288">[288]</span></p> - -<p>Set the bottle at a slant and put a mixture in it of -equal amounts of <i>powdered copper oxide</i> (that is -<i>cupric oxide</i>) and <i>wood charcoal</i>. Heat this mixture -over a Bunsen burner until it glows and for a few -minutes longer; the bottle will then be full of the -carbon dioxide gas.</p> - -<p>Pour it into a glass pitcher and put a sheet of glass -over it to keep the air away from it until you are -ready to perform the uncanny experiment.</p> - -<h3 class="inline"><b>Giving a Travelogue.</b></h3> - -<p class="hinline">—A travelogue is simply a -talk on travel, or on a country, illustrated with pictures -of some kind.</p> - -<p>To be able to give a travel talk does not mean necessarily -that you must have traveled or been in the -country you are going to tell about but if you have -done neither, it does mean that you must read up -on it.</p> - -<p>To do this get several good books on whatever -country you intend to talk on, read them carefully, -and then outline a route just as though you had gone -over it yourself, but this must of course conform to -the pictures you can get.</p> - -<p>Now there are four methods you can follow to -show a series of pictures and you can make your -choice according to the amount of money you want to -invest in it.</p> - -<p>(1) The first and least expensive way is to cut a -dozen or twenty pictures out of magazines, arrange -them according to your route and build up your talk -around them. As you describe each place pass the<span class="pagenum" id="Page289">[289]</span> -pictures, which should be mounted on cardboard, in -turn to each person present.</p> - -<p>(2) A better way is to get a set of stereographs of -the trip or the country you are to talk on and a -<i>stereoscope</i><a id="FNanchor124" href="#Footnote124" class="fnanchor">[124]</a> and pass the picture showing the view -and the instrument to each person present.</p> - -<div class="footnote"> - -<p><a id="Footnote124" href="#FNanchor124" class="label">[124]</a> A stereoscope and the stereograms can be bought from -Underwood and Underwood, 417 Fifth Ave., New York, or Sears, -Roebuck and Co., Chicago, Ill.</p> - -</div><!--footnote--> - -<p>Each <i>stereograph</i>, as the picture is called, is formed -of two pictures of the same scene made from slightly -different viewpoints and when the observer looks -through the lenses at them they blend into one image -when the scene stands out wonderfully clear and apparently -in three dimensions. The only drawback of -the stereoscope as an aid to a travel talk is that only -one person can look at a picture at a time.</p> - -<p>(3) A far better plan than either of the above -schemes is to make a <i>reflectoscope</i><a id="FNanchor125" href="#Footnote125" class="fnanchor">[125]</a> -as <a href="#Ref19">described</a> in -the chapter called <i>Some Kinks in Photography</i>. You -can show any kind of a picture in a reflectoscope if it is -not larger than 3×5 inches but picture postcards are -especially good to use for a travelogue or a talk of -any kind and they show up nicely when thrown on a -screen with a reflectoscope.</p> - -<div class="footnote"> - -<p><a id="Footnote125" href="#FNanchor125" class="label">[125]</a> You can buy one of the Bausch and Lomb Optical Company, -Rochester, New York, and you can get post-card views for it -of the Post-Card Store, 946 Broadway, New York.</p> - -</div><!--footnote--> - -<p>(4) Finally either make, or better, if you can afford -it, buy, a magic lantern<a id="FNanchor126" href="#Footnote126" class="fnanchor">[126]</a> that will take the regular<span class="pagenum" id="Page290">[290]</span> -full size lantern slides, namely, 3¹⁄₄ × 4¹⁄₄ inches square. -Sets of lantern slides<a id="FNanchor127" href="#Footnote127" class="fnanchor">[127]</a> for travelogues or talks on -any subject can be rented cheaply and in these days of -cheap electricity you can throw a picture on the screen -so big and bright and real that your offering is bound -to be a success.</p> - -<div class="footnote"> - -<p><a id="Footnote126" href="#FNanchor126" class="label">[126]</a> For magic lanterns and slides address the Charles Beseler -Co., 131 East 23rd Street, New York.</p> - -<p><a id="Footnote127" href="#FNanchor127" class="label">[127]</a> Sets of lantern slides can be rented of the Charles Beseler -Co., 131 East 23rd Street, New York City.</p> - -</div><!--footnote--> - -<h3 class="inline"><b>An Electrical Soirée.</b></h3> - -<p class="hinline">—Experiments in electricity -are always interesting to all however young or old, -for of all the powers that have been harnessed by man -it is the least tangible and yet the effects produced by -it are the most spectacular.</p> - -<p>Now there are some very extraordinary effects that -you can show with <i>static electricity</i><a id="FNanchor128" href="#Footnote128" class="fnanchor">[128]</a> which do not -require apparatus of any kind as you will presently -see, but if you will make or buy a ¹⁄₂ inch <i>induction -coil</i><a id="FNanchor129" href="#Footnote129" class="fnanchor">[129]</a> you can perform a series of classic experiments -that will create a profound and lasting impression -on all who see them.</p> - -<div class="footnote"> - -<p><a id="Footnote128" href="#FNanchor128" class="label">[128]</a> Many experiments with static electricity will be found in -<i>The Book of Electricity</i> by the present author and published by -D. Appleton and Co.</p> - -<p><a id="Footnote129" href="#FNanchor129" class="label">[129]</a> -Complete instructions for making an induction coil will also -be found in <i>The Book of Electricity</i>.</p> - -</div><!--footnote--> - -<h3 class="inline"><b>Demonstrating Electricity Without Apparatus.</b></h3> - -<p class="hinline">—Did -you ever rub a cat in a dark room in the winter -and see the sparks fly? Well this is one way to make -electricity without apparatus though you need a cat<a id="FNanchor130" href="#Footnote130" class="fnanchor">[130]</a> -to do it with.</p> - -<div class="footnote"> - -<p><a id="Footnote130" href="#FNanchor130" class="label">[130]</a> -A cat is not apparatus but only a kitten <i>growed</i> up.</p> - -</div><!--footnote--> - -<h4 class="inline"><i>The Electrified Papers.</i></h4> - -<p class="hinline">—But you can make a lot<span class="pagenum" id="Page291">[291]</span> -of electricity by simply rubbing a newspaper if you -know how to rub it and it is perfectly dry.<a id="FNanchor131" href="#Footnote131" class="fnanchor">[131]</a></p> - -<div class="footnote"> - -<p><a id="Footnote131" href="#FNanchor131" class="label">[131]</a> -Winter is the best time to do experiments in static electricity.</p> - -</div><!--footnote--> - -<div class="container w40emmax" id="Fig122"> - -<p class="caption blankbefore75"><i><b>A</b>—ELECTRIFYING A STRIP -OF NEWSPAPER</i></p> - -<img src="images/illo317.jpg" alt=""> - -<p class="caption"><i><b>B</b>—ELECTRIC ATTRACTION</i></p> - -<p class="caption"><span class="smcap">Fig. 122. the electrified paper</span></p> - -</div><!--container--> - -<p>Tear off a strip of newspaper, lay it flat on a table -and rub it with your <i>finger nails</i> as shown at <a href="#Fig122">A in Fig. -122</a>. When you try to take the paper from the table -you will find that it sticks to it quite tenaciously. This -is because you have <i>positively</i> electrified the paper -when you rubbed it and the surface of the table under -it is <i>negatively</i> electrified by -<i>induction</i>.<a id="FNanchor132" href="#Footnote132" class="fnanchor">[132]</a> Now since -positive and negative electricity attract each other, the -paper and the table are pulled together.</p> - -<div class="footnote"> - -<p><a id="Footnote132" href="#FNanchor132" class="label">[132]</a> -The theory of induction is simply explained in <i>The Book of -Electricity</i> by the present author.</p> - -</div><!--footnote--> - -<p><span class="pagenum" id="Page292">[292]</span></p> - -<h4 class="inline"><i>How to Electrify a -Person.</i><a id="FNanchor133" href="#Footnote133" class="fnanchor">[133]</a></h4> - -<p class="hinline">—This is an experiment -that will make your gathering giggle just as -school girls giggle when they have their tintypes taken—that -is without any real reason except that the idea -strikes their mental funny bones.</p> - -<div class="footnote"> - -<p><a id="Footnote133" href="#FNanchor133" class="label">[133]</a> -Since the paper is <i>positively</i> electrified the person must be -<i>negatively</i> electrified.</p> - -</div><!--footnote--> - -<p>To perform this experiment electrify a strip of newspaper -as above and then hold it close to some one’s -face; instantly there will be a <i>mutual attraction</i> between -them and the paper will be drawn to and stick -to his or her cheek. Put an electrified paper on the -cheek of each person present as shown at <a href="#Fig122">B</a> and tell -them they belong to the same club. This will get a -laugh but it will not lessen their interest in the experiment -in the least.</p> - -<h4 class="inline"><i>How Like Repels Like.</i></h4> - -<p class="hinline">—Electrify two strips of -newspaper this time and hold them together by the -ends. Instantly the free ends of the papers will fly -apart for like <i>signs</i> of electricity repel each other.</p> - -<p>That is, since both strips of paper are <i>positively -electrified</i> and hence are of like signs, they repel each -other. If they were negatively electrified they would -repel each other just the same. In either case it shows -that there is a force acting across the space between -the two strips of paper.</p> - -<h3 class="inline"><b>Making Experiments With Apparatus.</b></h3> - -<p class="hinline">—With a -dry battery of two or three cells, an electric bell, a -common steel magnet and an electromagnet, all of<span class="pagenum" id="Page293">[293]</span> -which you can easily make or buy<a id="FNanchor134" href="#Footnote134" class="fnanchor">[134]</a> for a dollar or -so, you can provide entertainment enough for ¹⁄₂ an -hour’s demonstration, and food for thought to last a -year.</p> - -<div class="footnote"> - -<p><a id="Footnote134" href="#FNanchor134" class="label">[134]</a> The L. E. Knott Apparatus Co., Boston, Mass., and The -Manhattan Electric Co., Park Row, New York, sell all these -things.</p> - -</div><!--footnote--> - -<h4 class="inline"><i>The Induction, or Spark Coil.</i></h4> - -<p class="hinline">—An induction coil -is an apparatus for changing a <i>direct low pressure</i>, -but <i>large quantity</i> current from a battery into an -<i>alternating high pressure</i> but <i>small quantity</i> current, -which is called <i>high tension</i>, or <i>high potential</i>, electricity.</p> - -<p>With an induction coil you can make any number -of wonderful experiments such as miniature streaks of -lightning, lighting up Geissler tubes, which produce -brilliant and beautiful colors showing the electric discharge -in gases, etc., etc. By fixing these tubes to a -small electric motor<a id="FNanchor135" href="#Footnote135" class="fnanchor">[135]</a> so that they can be revolved -while the high tension current is passing through -them, the effects are further heightened.</p> - -<div class="footnote"> - -<p><a id="Footnote135" href="#FNanchor135" class="label">[135]</a> -A small electric motor can be bought for $1.00 of any dealer -in electrical supplies or of the Manhattan Electrical Supply Co., -Park Row, New York.</p> - -</div><!--footnote--> - -<h4 class="inline"><i>Demonstrating Wireless Telegraphy.</i></h4> - -<p class="hinline">—All you have -to do to make your induction coil into a <i>wireless transmitter</i>, -that is, the sending apparatus, is to put a couple -of brass balls on the points of the <i>spark-gap</i>, fasten a -wire to one of them and the other end to a nail in the -wall near the ceiling and then connect the other one -with a wire which ends in a small sheet of brass or<span class="pagenum" id="Page294">[294]</span> -copper that rests on the floor as shown at <a href="#Fig123">A in Fig. -123</a>.</p> - -<p>To make a receiver that will tap out the signals you -send on your transmitter, you will need (a) a <i>coherer</i>, -(b) a <i>relay</i>, (c) an <i>electric bell</i> and (d) a <i>dry cell</i>. -You can make the coherer but the other three pieces -of the apparatus you had better buy.</p> - -<div class="container" id="Fig123"> - -<img src="images/illo320.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 123. a simple wireless demonstration set</span></p> - -</div><!--container--> - -<p>For the coherer cut off a piece of brass rod ¹⁄₈ inch -in diameter and 1¹⁄₄ inches long, file the ends off even -and slip them through the holes in the binding post. -Put a pinch of nickel and silver <i>filings</i> into a piece of -glass tubing about an inch long and push the ends of -the rod into the tube with the filings between them.</p> - -<p>Screw the rods into a couple of binding posts set 2 -inches apart on a block as shown at <a href="#Fig123">B</a> and your coherer -is done.</p> - -<p>Connect up the coherer, relay, tapper and dry cell<span class="pagenum" id="Page295">[295]</span> -on a board as shown in the wiring diagram at <a href="#Fig123">C</a>; -fasten a wire to one of the rods of the coherer and to -a nail near the ceiling; fix a wire to the other coherer -rod and to a small sheet of brass or copper which rests -on the floor.</p> - -<div class="container w40emmax" id="Fig123B"> - -<img src="images/illo321.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 123b. cross section of the coherer showing its -construction</span></p> - -</div><!--container--> - -<p>Now when you press the key or button of the sender, -which is on one side of the room, the bell of the receiver, -which is on the opposite side of the room, will -ring out a signal. The fact that there are no wires -connecting the sender with the receiver will create -much wonder.</p> - -<p>The theory of wireless telegraphy is rather deep but -you will find it simply explained in my <i>Book of Wireless</i> -published by D. Appleton and Co., New York -City.</p> - -<h3 class="inline"><b>Reading Palms for Fun.</b></h3> - -<p class="hinline">—Many years ago when -P. T. Barnum was exhibiting a sacred white elephant, -which was nothing more nor less than a small Indian -elephant covered with whitewash, and the good folks -were breaking their necks to pay their hard-earned -coin to see it, the great showman remarked that “the -American people love to be humbugged.” And they<span class="pagenum" id="Page296">[296]</span> -do. Now <i>palmistry</i> is a kind of mild humbuggery on -a small scale and for an evening of fun and <i>bunkum-squint</i> -you can’t find anything to beat it.</p> - -<div class="container w40emmax" id="Fig124A"> - -<img src="images/illo322.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 124a. the parts of the hand named according to -science</span></p> - -</div><!--container--> - -<p>First of all there are three words that are constantly -used in the art which you must know how to -pronounce correctly or you will surely show your -ignorance. The first is <i>palm</i>, pronounced <i>pom</i>; the -second is <i>palmist</i>, pronounced <i>pol´-mist</i>, and the third<span class="pagenum" id="Page297">[297]</span> -is <i>palmistry</i>, which is pronounced <i>pol´-mis-try</i>; now -be sure to say them right.</p> - -<div class="container w35emmax" id="Fig124B"> - -<img src="images/illo323.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 124b. the parts of the hand named according to palmistry</span></p> - -</div><!--container--> - -<p>While nearly every one believes in palmistry there -is nothing in it in-so-far as it is possible to read a person’s -character or to divine one’s future by means of -it; but there are some things you can tell from the -hand you are reading and these are if its owner is or -is not in good health and whether the brain that goes<span class="pagenum" id="Page298">[298]</span> -with it is mechanically inclined or is of an artistic temperament.</p> - -<p>Further you can gather—not from the hand but -from the face, stature, carriage, and mannerisms of the -boy or girl or the man or woman whose hand you are -supposed to be reading—a good deal about his or her -temper and temperament and also about her or his -foibles and peculiarities. In fact the palmistry of the -palmists is simply a study in deduction, very much <i>a la</i> -Sherlock Holmes, of the person as a whole, and it is by -no means limited to an investigation of the hand alone.</p> - -<h4 class="inline"><i>How to Read Palms.</i></h4> - -<p class="hinline">—There are two things which -you should learn before you begin to read palms and -these are (1) the names of the different <i>parts</i> of the -hand, and (2) the <i>lines</i> and <i>mounts</i> of the hand.</p> - -<p>The names given and the corresponding parts of -the human hand are shown at <a href="#Fig124A">A in Fig. 124</a>; these are -the scientific names and you will add very greatly to -your stock of knowledge to get them down by heart.</p> - -<p>The names, of the <i>lines</i> and the <i>mounts</i> of the hand -are given and shown at <a href="#Fig124B">B</a> and these are the terms that -are used by palmists. You will observe that the -eminences are called <i>mounts</i> and these are named after -the planets of the solar system, for the ancients supposed -that they were inter-related. To <i>get by</i> as a -palmist it goes without saying that you must have -these all down <i>pat</i>.</p> - -<p>To find out what kind of health the subject is in,<span class="pagenum" id="Page299">[299]</span> -grip the <i>hypothenar eminence</i>, which is the side of the -hand opposite the <i>pollux</i>, or thumb, between your -thumb and fingers and squeeze it a little; if it is perfectly -firm and the palm has a good healthy color you -are quite sure that its owner is in good health, but if -the flesh is soft and is not elastic and if the palm is -pale and bloodless you will be quite right in saying -that the subject’s health is not good, nay worse, it is -even bad, and you will not offend your subject by -so saying.</p> - -<p>The length of the life line is supposed to determine -how long the subject who owns it will live but even if -you find one broken off short never tell the person that -he or she will live only a short time. Indeed to be a -successful palmist tell every one whose hand you read -that she or he will live to be anywhere from 80 to -108, and you’ll be on the safe side.</p> - -<p>The line of the heart, according to palmistry, indicates -the affections and passions of a person. Always -tell a fellow that he is a great lover and that -he is constant, but you can say to a girl that she is -<i>capricious</i>, which means about the same thing as being -fickle, and both the man and the maid will be highly -pleased. The line of <i>Saturn</i> is the line of disposition -and you must always make the subject just as sweet -and angelic as possible unless you want her to break -up the <i>séance</i><a id="FNanchor136" href="#Footnote136" class="fnanchor">[136]</a> -then and there and hold a <i>wake</i> to -prove you’re right.</p> - -<div class="footnote"> - -<p><a id="Footnote136" href="#FNanchor136" class="label">[136]</a> -A sitting given by a medium or a palmist is called a <i>séance</i> -(pronounced <i>say´ance</i>).</p> - -</div><!--footnote--> - -<p><span class="pagenum" id="Page300">[300]</span></p> - -<p><i>Apollo</i>, as the line of fortune is called, is a good one -to talk at length on; you can tell every subject that he -or she has had <i>bad luck</i>, but that fortune will follow; -that he or she will marry a pretty girl, or a handsome -man as the case may be, live in New York if already -living in the country and the other way about—for -everybody wants to live anywhere except the place -he is in—and don’t forget to say “you’ll live happily -ever after.”</p> - -<p>Since folks will foolishly believe in palmistry don’t -try to convince them to the contrary, but while there is -nothing in it, when you play palmist tell them only -the nice, pleasant things and you will then be doing -them a real service.</p> - -<p>Just two more pointers on the ignoble art of palmistry -and these are (1) read the palms of each one -present right out loud before the whole gathering, and -(2) be mighty careful that the single girls and married -ladies do not <i>switch</i> rings and so lead you into the trap -of thinking that the former are enjoying a state of -connubial felicity (whatever state<a id="FNanchor137" href="#Footnote137" class="fnanchor">[137]</a> that may be) and -that the latter are living in a territory<a id="FNanchor138" href="#Footnote138" class="fnanchor">[138]</a> of single -blessedness.</p> - -<div class="footnote"> - -<p><a id="Footnote137" href="#FNanchor137" class="label">[137]</a> Probably Utah.</p> - -<p><a id="Footnote138" href="#FNanchor138" class="label">[138]</a> Most likely Arizona.</p> - -</div><!--footnote--> - -<h3 class="inline"><b>A Talk on the Steam Engine.</b></h3> - -<p class="hinline">—For your final -evening entertainment give a thumb-nail lecture on -steam and the steam-engine.</p> - -<p>You will find every one is interested in steam because -it is one of the great <i>prime movers</i> but there are<span class="pagenum" id="Page301">[301]</span> -very few people indeed who have any idea of how a -steam engine works.</p> - -<p>If you will do exactly as I tell you, you can talk on -and demonstrate the principles of a steam engine so -that, whatever the age of your listeners, they will -know, when you are through, exactly how and why a -steam engine runs and develops power.</p> - -<h4 class="inline"><i>Making the Model Engine.</i></h4> - -<p class="hinline">—The engine I shall tell -you how to build is not a model that runs by steam,<a id="FNanchor139" href="#Footnote139" class="fnanchor">[139]</a> -but one made almost entirely of wood and the purpose -of it is not actually to produce power but to show exactly -how it works.</p> - -<div class="footnote"> - -<p><a id="Footnote139" href="#FNanchor139" class="label">[139]</a> How to build model steam engines and all other kinds is -explained in my new book <i>Engine Building for Boys</i>, published -by Small, Maynard and Co., Boston, Mass.</p> - -</div><!--footnote--> - -<p>To the end that this may be done the <i>cylinder</i> and -<i>steam chest</i> are split-down the middle lengthwise so -that the inside of them can be clearly seen and the -movements and functions of the piston and the slide -valve in these parts will be clear.</p> - -<p>Make the cylinder first and the easiest way to do -it is to saw out two disks of wood for the <i>cylinder -heads</i> of ³⁄₄ inch thick stuff, 4¹⁄₂ inches in diameter and -bore a ⁹⁄₁₆ inch hole through the center of one of them -for the piston to slide through, as shown at <a href="#Fig125A">A</a>, <a href="#Fig125C">C</a> and -<a href="#Fig125F">F</a> in Fig. 125. Turn, or whittle out a piece of wood -for the <i>stuffing box</i>,<a id="FNanchor140" href="#Footnote140" class="fnanchor">[140]</a> -1 inch in diameter and ¹⁄₂ inch -long, and bore a ⁹⁄₁₆ inch hole through the center of it -and glue it to the center of the cylinder head so that -the holes are exactly in a line as shown at <a href="#Fig125A">A</a> and <a href="#Fig125F">F</a>.</p> - -<div class="footnote"> - -<p><a id="Footnote140" href="#FNanchor140" class="label">[140]</a> -A stuffing box on a real steam engine is to keep the steam -in the cylinder and steam chest from leaking past the piston rod -and the slide valve rod.</p> - -</div><!--footnote--> - -<p><span class="pagenum" id="Page302">[302]</span></p> - -<div class="container" id="Fig125A"> - -<img src="images/illo328.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 125a. working drawings for the demonstration steam -engine. cross section side view of the engine</span></p> - -</div><!--container--> - -<p><span class="pagenum" id="Page303">[303]</span></p> - -<p>Next saw out two rings of ¹⁄₄ inch thick wood, make -the outside 4¹⁄₂ inches in diameter and the inside 3 -inches in diameter, see <a href="#Fig125C">C</a>, and glue one of the rings -to each end of the cylinder heads. Now cut out of a -sheet of thin cardboard, or better of tin, a piece 5³⁄₄ -inches wide and 6 inches long; cut two holes ¹⁄₂ an inch -in diameter and have the center of each hole ¹⁄₂ an inch -from one of the long edges and ⁷⁄₈ inch from each of -the short edges as shown at <a href="#Fig125B">D</a>.</p> - -<p>The next thing on the list is the <i>piston</i> and the -<i>piston rod</i>. For the piston, saw out a disk of wood -3 inches in diameter and bore a ¹⁄₂ inch hole through -it in the center. The piston rod is simply a piece of -wood ¹⁄₂ an inch in diameter and 12 inches long; -cut a slot in one end ¹⁄₈ inch wide and ¹⁄₂ an inch -deep and bore a ¹⁄₁₆ inch hole through it as shown at -<a href="#Fig125C">C</a>. Put the piston inside of the cylinder, slip the -piston rod through the hole in the cylinder head, -smear some glue on the end of it and fit it into the -hole in the piston.</p> - -<p>The steam chest is next in order; for it use ³⁄₁₆ inch -thick wood and saw out four pieces 2 inches square; -two of these pieces are for the heads of the steam -chest, as shown at <a href="#Fig125A">A</a> and <a href="#Fig125B">B</a>, and in the center of -one of them drill a ³⁄₈ inch hole for the slide valve -rod to go through. Turn, or whittle out, a piece of -wood for the stuffing box ¹⁄₂ an inch in diameter and -¹⁄₂ inch long, bore a ³⁄₈ inch hole through the center of<span class="pagenum" id="Page304">[304]</span> -it and glue it to the center of the steam chest head -that has the hole in it as shown at <a href="#Fig125A">A</a>, <a href="#Fig125C">C</a> and <a href="#Fig125F">F</a>.</p> - -<p>Saw two holes 1¹⁄₂ inches square out of the other -two 2 inch square blocks and glue these to the steam -chest heads. Now make a trough of ¹⁄₄ inch thick -wood, or of cardboard or tin, 1¹⁄₂ inches square, outside -measurement, and 2³⁄₄ inches long; this is for the -sides of the steam chest; as shown at <a href="#Fig125A">A</a> and <a href="#Fig125F">F</a>.</p> - -<div class="container w60emmax" id="Fig125B"> - -<img src="images/illo330.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 125b. end view of the engine. d. the crank shaft. e. -the rocker arm</span></p> - -</div><!--container--> - -<p>Bore a ¹⁄₂ inch hole in the center of the top of the -trough; this hole is for the <i>intake port</i>, that is the opening -through which the steam flows from the boiler into -the steam chest. Bore three ¹⁄₂ inch holes in a line -in the middle of the bottom of the trough as is also -shown at <a href="#Fig125A">A</a> and <a href="#Fig125F">F</a>. The two holes nearest the ends -are the ports to let the steam into and out of the opposite -ends of the cylinder, and the central hole, or -port, is the exhaust port <a href="#Fig125C">C</a>.</p> - -<p><span class="pagenum" id="Page305">[305]</span></p> - -<div class="container" id="Fig125C"> - -<img src="images/illo331.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 125c. top view of the engine</span></p> - -</div><!--container--> - -<p><span class="pagenum" id="Page306">[306]</span></p> - -<p>Next make the <i>slide-valve</i>; use ¹⁄₈ inch thick wood -and make it ³⁄₄ inch high, 1 inch wide, and 1¹⁄₂ inch -long on top and 2 inches long on the bottom; the -bottom, as you will observe at <a href="#Fig125A">A</a> and <a href="#Fig125B">E</a>, is cut out -so that it will cover one of the cylinder ports and -the exhaust port at the same time and you need put -only one side on it.</p> - -<p>The slide valve rod is a piece of wood ¹⁄₄ inch in -diameter and 11¹⁄₂ inches long. Whittle or plane one -end flat and drill a ¹⁄₈ inch hole through it. This -done, set the slide valve in the steam chest; slip the -slide valve rod through the head and glue it to the -slide valve.</p> - -<p>Now make four tubes or pipes of cardboard or tin ¹⁄₂ -an inch in diameter, and have two of them 1¹⁄₄ inches -long and the other two 3 inches long; when you have -formed all of them cut a strip ¹⁄₂ inch wide out of each -one lengthwise; the purpose of which is to show that -they are hollow.</p> - -<p>When you have the tubes done glue, or otherwise -fix, one of the short ones into the intake port of the -steam chest and the other short one into the middle, -or exhaust port in the bottom of the steam chest; then -glue, or fix the two long tubes into the end holes, or -ports, of the steam chest and the holes in the cylinders.</p> - -<p>Saw out a <i>guide block</i> for the piston rod to slide<span class="pagenum" id="Page307">[307]</span> -through, 2 inches wide, 3 inches high, 3 inches long on -top and 5 inches long on the bottom as shown at <a href="#Fig125A">A</a> -and <a href="#Fig125C">C</a>, and bore a ³⁄₈ inch hole through the middle of -the top of it lengthwise so that the center of the hole -will be exactly 2¹⁄₄ inches from the base line.</p> - -<p>Likewise saw out a guide block for the slide valve -rod and make it 1 inch wide, 2 inches long and 3¹⁄₄ -inches high and drill a ³⁄₈ inch hole through the middle -of the top of it lengthwise so that the center of -the hole will be exactly 2¹⁄₄ inches from the back board -to which it is fixed.</p> - -<p>Next cut out a <i>rocker arm</i> of a ¹⁄₄ inch thick piece -of wood and have it ³⁄₈ inch wide at one end, ³⁄₄ -inch wide at the other end and 7 inches long; drill a -¹⁄₈ inch hole in each end and a 1¹⁄₈ hole 1¹⁄₂ inches from -the large end; pivot the small end to the end of the -slide valve rod with a machine screw having a nut on -the end of it.</p> - -<p>Cut out an <i>eccentric rod</i> ¹⁄₄ inch thick, ³⁄₈ inch wide -and 8¹⁄₂ inches long, and drill a ¹⁄₈ inch hole at each -end so that their centers will be exactly 8 inches apart: -pivot one end of this rod to the second hole in the -rocker arm with a machine screw as before. Saw -out a pivot block 1 inch square and drill a ¹⁄₈ inch hole -through the center of it and pivot the lower end of -the rocker arm to it with a screw.</p> - -<p>Make a connecting rod, to couple the piston rod -to the crankshaft with, ³⁄₈ inch thick, ¹⁄₂ an inch wide -at one end, ³⁄₄ inch wide at the other end and 9 inches -long; whittle or plane down the small end so that it<span class="pagenum" id="Page308">[308]</span> -will fit easily into the slot in the end of the piston rod -and drill a ¹⁄₈ inch hole in each end so that their -centers are precisely 8¹⁄₂ inches apart.</p> - -<p>The crankshaft can be made of a piece of ¹⁄₈ inch -thick wire 13 inches long which must be bent to the -exact shape shown at <a href="#Fig125B">D</a>; before it is thus bent, however, -slip the wire through the hole in the end of the -eccentric rod and then bend the crank on it.</p> - -<p>Saw out a flywheel of ¹⁄₂ inch thick wood, 8 inches -in diameter, drill a ¹⁄₈ inch hole through its center and -force it on over the wire forming the crankshaft; then -slip the end of the connecting rod on the other end of -the crankshaft wire and bend it to form a crank.</p> - -<p>The front end of the crankshaft must be supported -by a <i>pillow block</i> just as it is in a real engine, but the -rear end is held in place by a board screwed to the -back of the base. This block is ¹⁄₂ an inch thick, 1 -inch wide at the top, 2 inches wide at the bottom and -3 inches high; drill a ¹⁄₈ inch hole in the top of it -exactly 2¹⁄₄ inches from the base line and slip this -over the end of the crankshaft next to the connecting -rod.</p> - -<p>The last thing to be done is to make a base to -mount the parts of the engine on; this is a sort of a -shelf and it is built up of a board ³⁄₄ inch thick, 6 inches -wide and 31 inches long for the base. Saw a slot in it -³⁄₄ inch wide and 9 inches long in one corner, 2 inches -from one end and ¹⁄₂ an inch from the side; this is for -the fly-wheel to set in.</p> - -<p><span class="pagenum" id="Page309">[309]</span></p> - -<div class="container" id="Fig125F"> - -<img src="images/illo335.jpg" alt=""> - -<p class="caption"><span class="smcap">Fig. 125f. the steam engine ready to demonstrate</span></p> - -</div><!--container--> - -<p><span class="pagenum" id="Page310">[310]</span></p> - -<p>Screw a back to it ¹⁄₂ an inch thick, 10 inches wide -and 3 inches long; this must be perfectly rigid and if -necessary you can brace it with angle blocks. Finally -glue four legs 1 inch square and 2¹⁄₂ inches long on -the corners of the base-board.</p> - -<p>To put the engine together, or assemble it as it is -called, screw the cylinder to the base-board, then glue -or screw the piston rod guide block to the base; the -slide valve rod guide block to the back board, and the -pivot block for the rocker arm to the base-board.</p> - -<p>Drill a ¹⁄₈ inch hole in the back board 2¹⁄₄ inches up -from the base-board exactly 16¹⁄₂ inches from the -front cylinder head; put one end of the crankshaft in -the hole and slip the other end of it into the pillow -block; see that all is in a line and that the flywheel -clears the sides of the slot in the base-board. Then -it is all done and will look like <a href="#Fig125F">F</a>.</p> - -<h3 class="inline"><b>How the Engine Works.</b></h3> - -<p class="hinline">—Now if you will turn -the flywheel around with your hand, or better, belt a -small electric motor to it, you will see exactly how the -slide valve opens first one port in the cylinder and then -the other and that when the port is open which gives -a clear path for the steam to flow from the steam -chest to the cylinder, the other port is connected to the -exhaust pipe, when the used steam passes into the -open air.</p> - -<p>When you know all about it you are then ready to -give your last evening divertisement and for the time -being to say <i>Good-by</i>.</p> - -<p class="center highline8">THE END</p> - -<hr class="chap"> - -<div class="chapter"> - -<p><span class="pagenum" id="Page311">[311]</span></p> - -<h2 class="nobreak">INDEX</h2> - -</div><!--chapter--> - -<ul class="index"> - -<li class="newletter">Acid etching on glass, <a href="#Page222">222</a></li> - -<li>Aeolian harp, <a href="#Page267">267</a></li> - -<li>Alcohol lamp, <a href="#Page52">52</a>, <a href="#Page60">60</a>, <a href="#Page209">209</a></li> -<li class="level1">How to make an, <a href="#Page52">52</a></li> - -<li>Alloys:</li> -<li class="level1">Brass, <a href="#Page67">67</a></li> -<li class="level1">Pewter, <a href="#Page66">66</a>, <a href="#Page68">68</a>, <a href="#Page93">93</a></li> -<li class="level1">Solders, <a href="#Page66">66</a>, <a href="#Page72">72</a></li> -<li class="level1">Type metal, <a href="#Page66">66</a>, <a href="#Page68">68</a></li> -<li class="level1">Useful, <a href="#Page67">67</a></li> - -<li>Aluminum, <a href="#Page67">67</a></li> - -<li>Arkansas carving tool slip, <a href="#Page46">46</a></li> - -<li>Art of working glass, <a href="#Page202">202</a></li> - -<li>Auger bits, carpenter’s 6, <a href="#Page13">13</a></li> - -<li>Automobile truck, to make an, <a href="#Page228">228</a></li> - -<li class="newletter">Badges, how to make, <a href="#Page192">192</a>-<a href="#Page196">196</a></li> - -<li>Barnum, P. T., <a href="#Page295">295</a></li> - -<li>Bellows for blow pipe, <a href="#Page217">217</a></li> - -<li>Bench, how to make a carpenter’s, <a href="#Page20">20</a>.</li> - -<li>Bent iron work, Venetian. <i>See</i> <a href="#Ref20">Venetian bent iron work</a></li> - -<li>Bismuth, <a href="#Page95">95</a></li> - -<li>Blow pipe for glass blowing, <a href="#Page214">214</a></li> - -<li>Blue prints, how to make, <a href="#Page131">131</a></li> - -<li>Bluing steel, <a href="#Page74">74</a></li> -<li class="level1">Brass, <a href="#Page74">74</a></li> - -<li>Bohemian glass, <a href="#Page203">203</a></li> - -<li>Bolts and rivets, <a href="#Page72">72</a></li> - -<li>Bookbinding, <a href="#Page179">179</a>-<a href="#Page181">181</a></li> - -<li>“Book of Electricity,” <a href="#Page290">290</a></li> - -<li>“Book of Wireless,” <a href="#Page295">295</a></li> - -<li>Brace and bits, carpenter’s, <a href="#Page6">6</a>, <a href="#Page9">9</a></li> - -<li>Brass, <a href="#Page67">67</a></li> -<li class="level1">How to blue, <a href="#Page74">74</a></li> -<li class="level1">To color, <a href="#Page74">74</a></li> -<li class="level1">To dull, <a href="#Page74">74</a></li> -<li class="level1">To frost, <a href="#Page75">75</a></li> -<li class="level1">Stencils, <a href="#Page198">198</a>-<a href="#Page200">200</a></li> - -<li>Bromide photo paper, <a href="#Page142">142</a></li> - -<li>Bunsen burner, <a href="#Page60">60</a>, <a href="#Page209">209</a></li> - -<li>Burning brand, how to make a, <a href="#Page196">196</a></li> - -<li class="newletter">Cabinet making, <a href="#Page1">1</a>-<a href="#Page23">23</a></li> - -<li>Calipers, spring, <a href="#Page57">57</a>, <a href="#Page62">62</a></li> - -<li>Cameras, <a href="#Page135">135</a>-<a href="#Page140">140</a></li> - -<li>Camouflage photographs, <a href="#Page154">154</a></li> - -<li>Candle shade, pierced brass, <a href="#Page91">91</a></li> - -<li>Candlestick, how to make a repoussé, <a href="#Page87">87</a></li> - -<li>Carbon dioxide gas, how to make, <a href="#Page287">287</a></li> - -<li>Carbon impressions, <a href="#Page123">123</a></li> - -<li>Carborundum oil stone, <a href="#Page63">63</a></li> - -<li>Cards for printing, <a href="#Page175">175</a></li> - -<li>Caricature photographs, <a href="#Page155">155</a></li> - -<li id="Ref29">Carpenter’s tools:</li> -<li class="level1">Brace and auger bits, <a href="#Page6">6</a>, <a href="#Page9">9</a></li> -<li class="level1">Chisels, <a href="#Page4">4</a>, <a href="#Page9">9</a></li> -<li class="level1">Gimlets, <a href="#Page6">6</a>, <a href="#Page11">11</a></li> -<li class="level1">Gouges, <a href="#Page4">4</a>, <a href="#Page9">9</a></li> -<li class="level1">Hammer, <a href="#Page2">2</a>, <a href="#Page8">8</a></li> -<li class="level1">How to sharpen, <a href="#Page12">12</a>, <a href="#Page13">13</a></li> -<li class="level1">How to use, <a href="#Page8">8</a>-<a href="#Page12">12</a></li> -<li class="level1">Liquid glue, <a href="#Page7">7</a>, <a href="#Page11">11</a></li> -<li class="level1">Mallet, <a href="#Page2">2</a></li> -<li class="level1">Miter box, <a href="#Page4">4</a></li> -<li class="level1">Nail set, <a href="#Page6">6</a>, <a href="#Page10">10</a></li> -<li class="level1">Oil can, <a href="#Page7">7</a></li> -<li class="level1">Planes, <a href="#Page4">4</a>, <a href="#Page9">9</a></li> -<li class="level1">Rule, <a href="#Page6">6</a>, <a href="#Page10">10</a></li> -<li class="level1">Saws, <a href="#Page2">2</a>, <a href="#Page8">8</a></li> -<li class="level1">Screw drivers, <a href="#Page6">6</a></li> -<li class="level1">Screws, <a href="#Page6">6</a>, <a href="#Page10">10</a>, <a href="#Page11">11</a></li> -<li class="level1">To etch your name on<span class="pagenum" id="Page312">[312]</span>, <a href="#Page14">14</a></li> -<li class="level1">To remove rust from, <a href="#Page14">14</a></li> -<li class="level1">Try-square, <a href="#Page6">6</a></li> -<li class="level1">Washita oil-stone, <a href="#Page7">7</a></li> - -<li>Carpenter’s work bench, how to make a, <a href="#Page20">20</a></li> -<li class="level1">Tool chest, <a href="#Page22">22</a></li> - -<li id="Ref23">Carpentry work, <a href="#Page1">1</a>-<a href="#Page23">23</a></li> -<li class="level1">Woods for, <a href="#Page15">15</a>-<a href="#Page17">17</a></li> - -<li>Cartoons, <a href="#Page275">275</a>-<a href="#Page278">278</a></li> - -<li>Carver’s washita oil stone, <a href="#Page46">46</a></li> - -<li>Carving tool slip, <a href="#Page46">46</a></li> - -<li>Carving wood, <a href="#Page24">24</a>, <a href="#Page44">44</a>-<a href="#Page51">51</a></li> - -<li>Casting pewter, <a href="#Page93">93</a>, <a href="#Page97">97</a></li> - -<li>Cathedral chimes, <a href="#Page268">268</a></li> - -<li>Cellulose, <a href="#Page176">176</a></li> - -<li>Cement for glass, <a href="#Page224">224</a></li> - -<li>Center punch, machinist’s, <a href="#Page57">57</a>, <a href="#Page61">61</a></li> - -<li>Chase, putting type in use, <a href="#Page170">170</a></li> - -<li>Chemistry, <a href="#Page280">280</a></li> - -<li>Chest, how to make a tool, <a href="#Page22">22</a></li> - -<li>Chimes, Cathedral, <a href="#Page265">265</a></li> - -<li>Chip carving, <a href="#Page47">47</a></li> - -<li>Chisels, <a href="#Page4">4</a>, <a href="#Page9">9</a></li> - -<li>Circle, how to draw a, <a href="#Page119">119</a></li> - -<li>Clamps, carpenter’s, <a href="#Page6">6</a>;</li> -<li class="level1">wood carver’s, <a href="#Page46">46</a></li> - -<li>Cleaning metals, <a href="#Page89">89</a></li> - -<li>Coaster, to make a, <a href="#Page231">231</a></li> - -<li>Coins, musical, <a href="#Page253">253</a></li> - -<li>Coherer, to make a, <a href="#Page294">294</a></li> - -<li>Colored glass, <a href="#Page203">203</a></li> - -<li>Coloring metals, <a href="#Page73">73</a>, <a href="#Page74">74</a>, <a href="#Page81">81</a>;</li> -<li class="level1">wood, <a href="#Page54">54</a></li> - -<li>Colors, printing in, <a href="#Page174">174</a>;</li> -<li class="level1">stencil, <a href="#Page201">201</a></li> - -<li>Companion wood turning lathe, <a href="#Page37">37</a></li> - -<li>Compasses for drawing, <a href="#Page112">112</a></li> - -<li>Composing stand, <a href="#Page167">167</a>;</li> -<li class="level1">stick, <a href="#Page162">162</a>-<a href="#Page169">169</a></li> - -<li>Contact printing, photo, <a href="#Page132">132</a></li> - -<li>Copper, <a href="#Page66">66</a></li> - -<li id="Ref22">Copygraph, how to make and use, <a href="#Page189">189</a>-<a href="#Page191">191</a></li> - -<li>Cricket scroll saw, <a href="#Page30">30</a></li> - -<li>Cutting pliers, <a href="#Page57">57</a>, <a href="#Page60">60</a></li> - -<li class="newletter">Dancing Sambo, to make a, <a href="#Page243">243</a></li> - -<li>Dark room, <a href="#Page136">136</a></li> - -<li>Dead black for iron, a, <a href="#Page81">81</a></li> - -<li>Decalcomania, <a href="#Page128">128</a></li> - -<li>Decorative stencils, <a href="#Page199">199</a>-<a href="#Page201">201</a></li> - -<li>Design, how to burn in a, <a href="#Page53">53</a></li> - -<li>Design on wood, how to trace a, <a href="#Page29">29</a></li> - -<li>Designs for scroll sawing, <a href="#Page30">30</a></li> -<li class="level1">For Venetian bent iron work, <a href="#Page96">96</a></li> - -<li>Developer for dry plates, <a href="#Page137">137</a></li> -<li class="level1">for bromide paper, <a href="#Page143">143</a></li> - -<li>Diamond glass cutters, <a href="#Page203">203</a></li> - -<li>Die sinking, <a href="#Page192">192</a>, <a href="#Page193">193</a></li> - -<li>Dies, screw cutting taps and, <a href="#Page57">57</a>, <a href="#Page62">62</a></li> - -<li>Dividers:</li> -<li class="level1">Spring, <a href="#Page57">57</a>, <a href="#Page61">61</a></li> -<li class="level1">For drawing, <a href="#Page112">112</a></li> - -<li>Disston saws, <a href="#Page2">2</a></li> - -<li id="Ref25">Drawing:</li> -<li class="level1">Free-hand, <a href="#Page103">103</a></li> -<li class="level1">Life models, <a href="#Page104">104</a></li> -<li class="level1">Still life, <a href="#Page104">104</a>, <a href="#Page107">107</a></li> -<li class="level1">Human figure, <a href="#Page105">105</a>-<a href="#Page108">108</a></li> -<li class="level1">Perspective, <a href="#Page108">108</a></li> -<li class="level1">How to find vanishing point, <a href="#Page109">109</a>-<a href="#Page111">111</a></li> -<li class="level1">How to shade, <a href="#Page111">111</a></li> -<li class="level1">Isometric perspective ellipse, <a href="#Page118">118</a></li> -<li class="level1">Circle, <a href="#Page119">119</a></li> -<li class="level1">Spiral, <a href="#Page120">120</a></li> -<li class="level1">Plain ellipse, <a href="#Page121">121</a></li> -<li class="level1">With a pantagraph, <a href="#Page121">121</a></li> -<li class="level1">Cartoons, <a href="#Page275">275</a></li> - -<li id="Ref32">Drawings:</li> -<li class="level1">For carpentry work, <a href="#Page19">19</a></li> -<li class="level1">For metal work, <a href="#Page68">68</a></li> -<li class="level1">Working, <a href="#Page111">111</a></li> -<li class="level1">Isometric perspective, <a href="#Page116">116</a></li> -<li class="level1">Tracings of, <a href="#Page124">124</a></li> - -<li>Drawing board, <a href="#Page113">113</a></li> -<li class="level1">Reflecting, <a href="#Page123">123</a></li> - -<li>Drawing paper, <a href="#Page113">113</a></li> - -<li>Drawing tools, <a href="#Page112">112</a>, <a href="#Page113">113</a></li> - -<li>Drill attachment for scroll saw<span class="pagenum" id="Page313">[313]</span>, <a href="#Page33">33</a></li> - -<li>Drill stock, <a href="#Page57">57</a>, <a href="#Page60">60</a></li> -<li class="level1">Twist, <a href="#Page28">28</a></li> - -<li>Drills, Morse twist, <a href="#Page57">57</a>, <a href="#Page61">61</a></li> - -<li>Dry plates, <a href="#Page136">136</a>, <a href="#Page137">137</a></li> -<li class="level1">For lantern slides, <a href="#Page151">151</a></li> - -<li class="newletter">Easel, how to make an, <a href="#Page276">276</a></li> - -<li>Ebony stain for wood, <a href="#Page55">55</a></li> - -<li>Egg boiler, Venetian iron, <a href="#Page79">79</a></li> - -<li>Egyptian rebec, <a href="#Page269">269</a></li> - -<li>Electrical evening, an, <a href="#Page290">290</a></li> - -<li>Electrical experiments, <a href="#Page292">292</a></li> - -<li>Electricity:</li> -<li class="level1">Demonstrating without apparatus, <a href="#Page290">290</a></li> -<li class="level1">Static, <a href="#Page291">291</a></li> -<li class="level1">Induction or spark coil, <a href="#Page292">292</a></li> - -<li>Electrified papers, <a href="#Page290">290</a></li> - -<li>Electrify a person, how to, <a href="#Page292">292</a></li> - -<li>Ellipse, how to draw an, <a href="#Page118">118</a>, <a href="#Page121">121</a></li> - -<li>Engraver’s wax, <a href="#Page101">101</a></li> - -<li>Engraving on metal, <a href="#Page99">99</a></li> - -<li>Engraving tools, <a href="#Page99">99</a></li> - -<li>Engine building for boys, <a href="#Page301">301</a></li> - -<li>Enlarging apparatus, photo, <a href="#Page140">140</a></li> - -<li>Entertainments, <a href="#Page274">274</a></li> -<li class="level1">Cartoons, <a href="#Page276">276</a></li> -<li class="level1">Chemistry, <a href="#Page280">280</a></li> -<li class="level1">Travelogue, <a href="#Page287">287</a></li> -<li class="level1">Electricity, <a href="#Page290">290</a></li> -<li class="level1">Wireless telegraphy, <a href="#Page293">293</a></li> -<li class="level1">Palmistry, <a href="#Page295">295</a></li> -<li class="level1">Steam engine, <a href="#Page300">300</a></li> - -<li>Etching glass, <a href="#Page219">219</a>, <a href="#Page222">222</a></li> - -<li>Etching tool, how to make an, <a href="#Page52">52</a></li> - -<li>Etching your name on tools, <a href="#Page14">14</a></li> - -<li>Excelsior printing presses, <a href="#Page158">158</a></li> - -<li>Experiments in chemistry, <a href="#Page280">280</a></li> -<li class="level1">In electricity, <a href="#Page290">290</a></li> - -<li class="newletter">Fahrenheit thermometer scale, <a href="#Page65">65</a></li> - -<li>Fiddle, an Egyptian, <a href="#Page269">269</a></li> - -<li>Files: for scroll sawyers, <a href="#Page28">28</a></li> -<li class="level1">For machinists, <a href="#Page57">57</a>, <a href="#Page62">62</a></li> - -<li>Figure carving, <a href="#Page51">51</a></li> - -<li>Finger and hand prints, <a href="#Page125">125</a></li> - -<li>Fixing bath, how to make a, <a href="#Page134">134</a></li> - -<li>Flint glass, <a href="#Page203">203</a></li> - -<li>Fluxes, for soldering, <a href="#Page71">71</a></li> - -<li>Fret sawing, <i>See</i> <a href="#Ref21">Scroll sawing</a></li> - -<li>Fumed oak, <a href="#Page55">55</a></li> - -<li class="newletter">Gimlets, carpenter’s, <a href="#Page6">6</a>, <a href="#Page11">11</a></li> - -<li>Glass:</li> -<li class="level1">Art of working, <a href="#Page202">202</a>-<a href="#Page226">226</a></li> -<li class="level1">How made, <a href="#Page202">202</a></li> -<li class="level1">How to cut, <a href="#Page203">203</a></li> -<li class="level1">To drill holes in, <a href="#Page206">206</a></li> -<li class="level1">Blow pipe for, <a href="#Page214">214</a>, <a href="#Page215">215</a></li> -<li class="level1">Bellows for, <a href="#Page217">217</a></li> -<li class="level1">How to etch, <a href="#Page219">219</a>, <a href="#Page222">222</a></li> -<li class="level1">To make ground, <a href="#Page222">222</a></li> -<li class="level1">To cement, <a href="#Page224">224</a></li> -<li class="level1">To frost, <a href="#Page224">224</a></li> -<li class="level1">Substitutes for, <a href="#Page225">225</a></li> -<li class="level1">To silver, <a href="#Page226">226</a></li> - -<li>Glass bulb, how to blow a, <a href="#Page215">215</a></li> - -<li>Glass cutters, <a href="#Page203">203</a>, <a href="#Page204">204</a>, <a href="#Page208">208</a></li> - -<li>Glass disks, how to cut, <a href="#Page208">208</a></li> - -<li>Glass edges, to finish off, <a href="#Page206">206</a></li> - -<li>Glass nozzle, how to make, <a href="#Page212">212</a></li> - -<li>Glass tubing, how to cut, <a href="#Page207">207</a></li> -<li class="level1">To bend, <a href="#Page209">209</a></li> -<li class="level1">To round the ends of, <a href="#Page211">211</a></li> -<li class="level1">To seal, <a href="#Page211">211</a></li> -<li class="level1">To pierce, <a href="#Page213">213</a></li> -<li class="level1">To join, <a href="#Page213">213</a></li> - -<li>Glasses, musical, <a href="#Page253">253</a></li> - -<li>Glue, how to make and use, <a href="#Page11">11</a></li> - -<li>Glue pot, how to make a, <a href="#Page11">11</a></li> - -<li>Gold, printing in, <a href="#Page175">175</a></li> - -<li>Goodyear Rubber Co., <a href="#Page183">183</a></li> - -<li>Goose, to make a life-like, <a href="#Page241">241</a></li> - -<li>Gouges, carpenter’s, <a href="#Page4">4</a></li> - -<li>Graflex camera, <a href="#Page140">140</a></li> - -<li>Gravers, <a href="#Page99">99</a></li> - -<li>Ground glass, to make, <a href="#Page222">222</a></li> - -<li>Gutenburg, Johanne, <a href="#Page157">157</a></li> - -<li class="newletter">Hack saw<span class="pagenum" id="Page314">[314]</span>, <a href="#Page57">57</a>, -<a href="#Page60">60</a></li> - -<li>Hammers, carpenter’s, <a href="#Page2">2</a>, <a href="#Page8">8</a></li> -<li class="level1">Scroll sawyers, <a href="#Page29">29</a></li> -<li class="level1">Machinist’s, <a href="#Page57">57</a>, <a href="#Page60">60</a></li> - -<li>Hand, parts of the human, <a href="#Page298">298</a></li> - -<li>Hand and finger prints, <a href="#Page125">125</a></li> - -<li>Hand inlaid printing presses, <a href="#Page157">157</a></li> - -<li>Hand made paper, <a href="#Page176">176</a></li> - -<li>Hand saws, carpenter’s, <a href="#Page2">2</a></li> - -<li>Hand screws, carpenter’s, <a href="#Page6">6</a>, <a href="#Page10">10</a></li> - -<li>Hand scroll saw table, <a href="#Page27">27</a></li> - -<li>Hardware for scroll sawyers, <a href="#Page37">37</a></li> - -<li>Harp, the tubular, <a href="#Page258">258</a></li> - -<li>Hectograph, <i>See</i> <a href="#Ref22">Copygraph</a></li> - -<li>Hershel, Sir John, <a href="#Page153">153</a></li> - -<li>Horse, how to make a stick, <a href="#Page237">237</a></li> - -<li>Hieroglyphics, <a href="#Page202">202</a></li> - -<li>Hydrogen chloride gas, how to make, <a href="#Page283">283</a></li> - -<li class="newletter">Imposing stone, <a href="#Page120">120</a></li> - -<li>Ink:</li> -<li class="level1">India, <a href="#Page113">113</a></li> -<li class="level1">Printing, <a href="#Page173">173</a></li> -<li class="level1">For rubber stamp, <a href="#Page189">189</a></li> -<li class="level1">For copygraph, <a href="#Page191">191</a></li> -<li class="level1">For stencils, <a href="#Page200">200</a></li> - -<li>Ink rollers, <a href="#Page173">173</a></li> - -<li>Ink pads for rubber stamps, <a href="#Page188">188</a></li> - -<li>“Inventing for Boys,” <a href="#Page119">119</a></li> - -<li>Iron:</li> -<li class="level1">Wrought, <a href="#Page64">64</a></li> -<li class="level1">Steel, <a href="#Page64">64</a></li> -<li class="level1">How to color a dead black, <a href="#Page81">81</a></li> - -<li>Iron work, Venetian bent, <i>See</i> <a href="#Ref20">Venetian bent iron work</a></li> - -<li>Isometric perspective drawings, <a href="#Page116">116</a></li> -<li class="level1">Ellipses, <a href="#Page118">118</a></li> - -<li>Isometric ruled paper, <a href="#Page116">116</a></li> - -<li class="newletter">Jeweler’s saw frame, <a href="#Page57">57</a></li> -<li class="level1">Saws, <a href="#Page60">60</a></li> - -<li>Jig sawing, <i>See</i> <a href="#Ref21">Scroll sawing</a></li> - -<li>Job printing, <a href="#Page172">172</a></li> - -<li>Joining, <i>See</i> <a href="#Ref23">Carpentry</a></li> - -<li>Joints, edge and corner, wood, <a href="#Page17">17</a></li> -<li class="level1">Metal, <a href="#Page70">70</a></li> - -<li>Justifying, <a href="#Page169">169</a></li> - -<li class="newletter">Kodaks, <a href="#Page139">139</a></li> - -<li class="newletter">Lacquer, how to make and use, <a href="#Page75">75</a></li> - -<li>Lantern slides, <a href="#Page139">139</a>, <a href="#Page150">150</a>, <a href="#Page151">151</a></li> - -<li>Lathe for wood turners, <a href="#Page37">37</a></li> - -<li>Lead, <a href="#Page65">65</a>, <a href="#Page93">93</a></li> - -<li>Lead glass, <a href="#Page203">203</a></li> - -<li>Lead pencils for drawing, <a href="#Page113">113</a></li> - -<li>Lenses, photo, <a href="#Page140">140</a></li> - -<li>Lignum vitae mallets, <a href="#Page46">46</a></li> - -<li class="newletter">Magic fountain, <a href="#Page281">281</a></li> - -<li>Magic lantern, how to make and operate, <a href="#Page148">148</a>-<a href="#Page150">150</a></li> - -<li>Magic photographs, <a href="#Page153">153</a></li> - -<li>Magic of science, <a href="#Page209">209</a></li> - -<li>Mallet, carpenter’s, <a href="#Page2">2</a></li> - -<li>Machinist’s tools, <i>See</i> <a href="#Ref24">Metal working tools</a></li> - -<li>Markers for wood carvers, <a href="#Page46">46</a></li> - -<li>Marking gauge, carpenter’s, <a href="#Page6">6</a>, <a href="#Page10">10</a></li> - -<li>Metal, engraving, <a href="#Page99">99</a></li> - -<li>Metals:</li> -<li class="level1">Their uses, <a href="#Page64">64</a></li> -<li class="level1">How to solder, <a href="#Page71">71</a></li> -<li class="level1">Iron, <a href="#Page64">64</a></li> -<li class="level1">Tin, <a href="#Page64">64</a></li> -<li class="level1">Lead, <a href="#Page65">65</a></li> -<li class="level1">Zinc, <a href="#Page65">65</a></li> -<li class="level1">Copper, <a href="#Page66">66</a></li> -<li class="level1">Type-metal, <a href="#Page66">66</a>, <a href="#Page68">68</a></li> -<li class="level1">Brass, <a href="#Page67">67</a></li> -<li class="level1">Aluminum, <a href="#Page67">67</a></li> -<li class="level1">Pewter, <a href="#Page68">68</a>, <a href="#Page94">94</a></li> -<li class="level1">Bismuth, <a href="#Page95">95</a></li> - -<li id="Ref28">Metal work:</li> -<li class="level1" id="Ref24">Tools for, <a href="#Page57">57</a>-<a href="#Page63">63</a></li> -<li class="level1">Drawing plans for, <a href="#Page68">68</a></li> -<li class="level1">Sheet<span class="pagenum" id="Page315">[315]</span>, <a href="#Page69">69</a></li> -<li class="level1">Seams and joints, <a href="#Page70">70</a></li> -<li class="level1">Bolts and rivets for, <a href="#Page72">72</a></li> -<li class="level1">Solders for, <a href="#Page72">72</a></li> -<li class="level1">Bending, <a href="#Page73">73</a></li> -<li class="level1">Coloring, <a href="#Page73">73</a>-<a href="#Page83">83</a></li> -<li class="level1">Cleaning and polishing, <a href="#Page89">89</a></li> -<li class="level1">Pierced, <a href="#Page90">90</a></li> - -<li>Miter box, <a href="#Page4">4</a></li> - -<li>Molds:</li> -<li class="level1">For casting pewter, <a href="#Page97">97</a></li> -<li class="level1">For paper making, <a href="#Page177">177</a></li> -<li class="level1">For rubber stamps, <a href="#Page185">185</a></li> - -<li>“Money Making for Boys,” <a href="#Page157">157</a></li> - -<li>Moresco stencil color, <a href="#Page201">201</a></li> - -<li>Morse twist drills, <a href="#Page57">57</a>, <a href="#Page61">61</a></li> - -<li>Mounting rubber stamps, <a href="#Page188">188</a></li> - -<li>Musical instruments, home-made:</li> -<li class="level1">Coins, <a href="#Page253">253</a>, <a href="#Page254">254</a></li> -<li class="level1">Tomato cans, <a href="#Page254">254</a>-<a href="#Page256">256</a></li> -<li class="level1">Glasses, <a href="#Page256">256</a>, <a href="#Page257">257</a></li> -<li class="level1">Tubular harp, <a href="#Page258">258</a>-<a href="#Page260">260</a></li> -<li class="level1">Push pipe, <a href="#Page260">260</a>-<a href="#Page262">262</a></li> -<li class="level1">Xylophone, <a href="#Page263">263</a>, <a href="#Page264">264</a></li> -<li class="level1">Tubaphone, <a href="#Page264">264</a>, <a href="#Page265">265</a></li> -<li class="level1">Cathedral chimes, <a href="#Page265">265</a>-<a href="#Page267">267</a></li> -<li class="level1">Aeolian harp, <a href="#Page267">267</a>-<a href="#Page269">269</a></li> -<li class="level1">Egyptian fiddle, <a href="#Page269">269</a>-<a href="#Page273">273</a></li> - -<li>Mystic glass of milk, <a href="#Page280">280</a></li> - -<li class="newletter">Nail set, carpenter’s, <a href="#Page6">6</a>, <a href="#Page10">10</a></li> - -<li>Nails and screws, how to drive, <a href="#Page11">11</a></li> - -<li>Nitrogen lamps, <a href="#Page141">141</a></li> - -<li class="newletter">Oil can, carpenter’s, <a href="#Page7">7</a></li> - -<li>Oil stone, carpenter’s, <a href="#Page7">7</a></li> -<li class="level1">Machinist’s, <a href="#Page63">63</a></li> - -<li class="newletter">Palmistry for fun, <a href="#Page295">295</a>-<a href="#Page297">297</a></li> - -<li>Panel carving, <a href="#Page50">50</a></li> - -<li>Pantagraph, to make and use a, <a href="#Page121">121</a></li> - -<li>Paper:</li> -<li class="level1">Blue print, <a href="#Page132">132</a></li> -<li class="level1">Photographic, <a href="#Page133">133</a>, <a href="#Page142">142</a></li> -<li class="level1">For job printing, <a href="#Page175">175</a></li> - -<li>Paper making, <a href="#Page176">176</a>-<a href="#Page179">179</a></li> - -<li>Paper stencils, <a href="#Page198">198</a></li> - -<li>Patter, <a href="#Page277">277</a></li> - -<li>Pattern making, <a href="#Page95">95</a></li> - -<li>Perspective, <i>see</i> <a href="#Ref25">Drawing</a></li> - -<li>Pewter, <a href="#Page66">66</a></li> -<li class="level1">How to make, <a href="#Page94">94</a></li> -<li class="level1">To work, <a href="#Page95">95</a></li> -<li class="level1">To cast, <a href="#Page95">95</a></li> -<li class="level1">Solder for, <a href="#Page95">95</a></li> -<li class="level1">Patterns for, <a href="#Page95">95</a></li> -<li class="level1">To make a mold for, <a href="#Page97">97</a></li> - -<li>Pewter ware, finishing, <a href="#Page98">98</a></li> - -<li>Photo frame, a repoussé, <a href="#Page88">88</a></li> - -<li>Photography:</li> -<li class="level1">Blue prints, <a href="#Page131">131</a></li> -<li class="level1">Contact printing, <a href="#Page132">132</a></li> -<li class="level1">Silver prints, <a href="#Page133">133</a></li> -<li class="level1">Papers, <a href="#Page133">133</a></li> -<li class="level1">Fixing bath, <a href="#Page133">133</a></li> -<li class="level1">Toning solution, <a href="#Page134">134</a></li> -<li class="level1">Dark room, <a href="#Page136">136</a></li> -<li class="level1">Developer, <a href="#Page137">137</a></li> -<li class="level1">Dry plates, <a href="#Page137">137</a></li> -<li class="level1">Cameras, <a href="#Page138">138</a>-<a href="#Page140">140</a></li> -<li class="level1">Lenses, <a href="#Page140">140</a></li> -<li class="level1">Enlargements, <a href="#Page140">140</a>-<a href="#Page144">144</a></li> -<li class="level1">Radium, <a href="#Page151">151</a></li> -<li class="level1">Skiagraphs, <a href="#Page151">151</a></li> -<li class="level1">Trick, <a href="#Page153">153</a></li> -<li class="level1">Camouflage, <a href="#Page154">154</a></li> -<li class="level1">Caricature, <a href="#Page155">155</a></li> - -<li>Pierced metal work, <a href="#Page90">90</a>-<a href="#Page93">93</a></li> - -<li>Planes, carpenter’s, <a href="#Page4">4</a>, <a href="#Page9">9</a>, <a href="#Page12">12</a></li> - -<li>Plaster of Paris, <a href="#Page184">184</a></li> - -<li>Plate holder, a Venetian iron, <a href="#Page81">81</a></li> - -<li>Pliers for scroll sawyers, <a href="#Page28">28</a></li> - -<li>Policeman’s puzzle, to make a, <a href="#Page227">227</a></li> - -<li>Polishing metal work, <a href="#Page89">89</a></li> -<li class="level1">German silver, <a href="#Page195">195</a></li> - -<li>Pony and cart, to make a, <a href="#Page239">239</a></li> - -<li>Post card store, <a href="#Page289">289</a></li> - -<li>Press, <i>See</i> <a href="#Ref26">Printing press</a></li> - -<li id="Ref30">Printing:</li> -<li class="level1">Kinds of presses, <a href="#Page157">157</a></li> -<li class="level1">Outfit needed, <a href="#Page161">161</a></li> -<li class="level1">Composing stick, <a href="#Page162">162</a>, <a href="#Page169">169</a></li> -<li class="level1">Composing stand<span class="pagenum" id="Page316">[316]</span>, <a href="#Page167">167</a></li> -<li class="level1">Imposing stone, <a href="#Page169">169</a></li> -<li class="level1">Chase for press, <a href="#Page169">169</a></li> -<li class="level1">Making ready, <a href="#Page172">172</a></li> -<li class="level1">Ink, <a href="#Page173">173</a></li> -<li class="level1">Ink rollers, <a href="#Page174">174</a></li> -<li class="level1">In colors, <a href="#Page174">174</a></li> -<li class="level1">In gold, <a href="#Page175">175</a></li> -<li class="level1">Stock supply, <a href="#Page175">175</a></li> -<li class="level1"><i>See also</i> <a href="#Ref27">Type</a></li> - -<li id="Ref26">Printing presses:</li> -<li class="level1">Kinds, <a href="#Page157">157</a>, <a href="#Page158">158</a></li> -<li class="level1">Sizes and prices, <a href="#Page160">160</a></li> -<li class="level1">How worked, <a href="#Page160">160</a></li> - -<li>Prints, photo, <a href="#Page133">133</a></li> - -<li>Protractors for drawing, <a href="#Page113">113</a></li> - -<li>Pulp for paper, <a href="#Page176">176</a></li> - -<li>Push pipe, musical, <a href="#Page260">260</a></li> - -<li id="Ref31">Pyrography, <a href="#Page51">51</a>-<a href="#Page53">53</a></li> - -<li class="newletter">Radioactive substances, <a href="#Page152">152</a></li> - -<li>Radiographs, <a href="#Page152">152</a></li> - -<li>Radium photographs, <a href="#Page151">151</a></li> - -<li>Rag engine, <a href="#Page177">177</a></li> - -<li>Reflecting drawing board, <a href="#Page123">123</a></li> - -<li>Reflectoscope, <a href="#Page145">145</a>-<a href="#Page147">147</a></li> - -<li>Repoussé work, <a href="#Page84">84</a>-<a href="#Page88">88</a></li> - -<li>Rivets and bolts, <a href="#Page72">72</a></li> - -<li>Robinson Crusoe, <a href="#Page1">1</a></li> - -<li>Rosin for fiddle bows, <a href="#Page273">273</a></li> - -<li>Rubber stamps:</li> -<li class="level1">How to make and use, <a href="#Page183">183</a>-<a href="#Page188">188</a></li> -<li class="level1">Ink pads, <a href="#Page188">188</a></li> -<li class="level1">Inks, <a href="#Page189">189</a></li> - -<li>Rule, carpenter’s, <a href="#Page6">6</a>, <a href="#Page10">10</a></li> - -<li>Ruling pens for drawing, <a href="#Page112">112</a></li> - -<li>Russel Jennings’ auger bits, <a href="#Page6">6</a></li> - -<li>Rust on tools, removing, <a href="#Page14">14</a></li> - -<li class="newletter">Sand blast process, <a href="#Page219">219</a></li> - -<li>Saw:</li> -<li class="level1">Carpenter’s, <a href="#Page2">2</a>, <a href="#Page8">8</a>, <a href="#Page12">12</a></li> -<li class="level1">Disston, <a href="#Page2">2</a></li> -<li class="level1">Hack, <a href="#Page57">57</a></li> -<li class="level1">Jeweler’s, <a href="#Page57">57</a>, <a href="#Page60">60</a></li> - -<li>Sconce, a Venetian iron, <a href="#Page82">82</a></li> - -<li>Screw cutting taps and dies, <a href="#Page57">57</a>, <a href="#Page62">62</a></li> - -<li>Screw drivers:</li> -<li class="level1">Carpenter’s, <a href="#Page6">6</a></li> -<li class="level1">Machinist’s, <a href="#Page60">60</a>, <a href="#Page63">63</a></li> - -<li>Screws, how to drive, <a href="#Page11">11</a></li> - -<li id="Ref21">Scroll sawing, <a href="#Page24">24</a>-<a href="#Page37">37</a></li> -<li class="level1">Designs for, <a href="#Page29">29</a>, <a href="#Page30">30</a></li> -<li class="level1">Woods to use, <a href="#Page36">36</a></li> - -<li>Scroll saws:</li> -<li class="level1">Hand, <a href="#Page25">25</a></li> -<li class="level1">Foot-power, <a href="#Page30">30</a>-<a href="#Page35">35</a></li> -<li class="level1">Cricket, <a href="#Page30">30</a></li> -<li class="level1">Lester, <a href="#Page32">32</a></li> -<li class="level1">Fleetwood, <a href="#Page33">33</a></li> - -<li>Scroll sawyer’s tools, <a href="#Page27">27</a>-<a href="#Page29">29</a></li> -<li class="level1">Designs, <a href="#Page30">30</a></li> -<li class="level1">Hardware, <a href="#Page37">37</a></li> - -<li>Seams in metal work, <a href="#Page70">70</a></li> - -<li>Self-inking printing presses, <a href="#Page158">158</a></li> - -<li>Sharpening tools, <a href="#Page63">63</a></li> - -<li>Shellac varnish, <a href="#Page96">96</a>, <a href="#Page197">197</a></li> - -<li>Shears, tinner’s, <a href="#Page57">57</a>, <a href="#Page60">60</a></li> - -<li>Sheet metal work, <i>See</i> <a href="#Ref28">Metal work</a>, <a href="#Page70">70</a></li> - -<li>Silhouettes, <a href="#Page126">126</a></li> - -<li>Silvering glass, <a href="#Page226">226</a></li> - -<li>Silver prints, photo, <a href="#Page133">133</a></li> - -<li>Sketching, <i>see</i> <a href="#Ref25">Drawing</a></li> - -<li>Skiagraphs, <a href="#Page151">151</a></li> - -<li>Snibs for wood carvers, <a href="#Page46">46</a></li> - -<li>Soap bubbles, vicious, <a href="#Page284">284</a></li> - -<li>Soirée, a, <a href="#Page274">274</a></li> - -<li>Solder, <a href="#Page60">60</a>, <a href="#Page66">66</a>, <a href="#Page72">72</a></li> - -<li>Soldering metals, <a href="#Page71">71</a></li> - -<li>Spark coil, <a href="#Page292">292</a></li> - -<li>Spirit photographs, <a href="#Page153">153</a></li> - -<li>Spinning coins, Virgil’s theory of, <a href="#Page254">254</a></li> - -<li>Spiral, how to draw a, <a href="#Page120">120</a></li> - -<li>Staining wood, <a href="#Page54">54</a>, <a href="#Page55">55</a></li> - -<li>Stanley planes, <a href="#Page4">4</a></li> - -<li>Steam engine, <a href="#Page300">300</a>-<a href="#Page310">310</a></li> - -<li>Steel, <a href="#Page64">64</a></li> -<li class="level1">How to blue, <a href="#Page74">74</a></li> -<li class="level1">Letters and figures, <a href="#Page193">193</a></li> -<li class="level1">Glass cutters, <a href="#Page203">203</a></li> - -<li>Steel rule, machinist’s<span class="pagenum" id="Page317">[317]</span>, <a href="#Page57">57</a>, -<a href="#Page61">61</a></li> - -<li>Steel square, machinist’s, <a href="#Page57">57</a>, <a href="#Page61">61</a></li> - -<li>Stencils, <a href="#Page198">198</a>-<a href="#Page201">201</a></li> - -<li>Stencil inks, how to make, <a href="#Page200">200</a>, <a href="#Page201">201</a></li> - -<li>Stereoscope, <a href="#Page289">289</a></li> - -<li>Stereographs, <a href="#Page289">289</a></li> - -<li>Stereopticon, <a href="#Page151">151</a></li> - -<li>Stradivari, Antonio, <a href="#Page270">270</a></li> - -<li>Swing, to make a, <a href="#Page235">235</a></li> - -<li class="newletter">Taps and dies, screw cutting, <a href="#Page57">57</a>, <a href="#Page62">62</a></li> - -<li>Thermometer scale, Fahrenheit, <a href="#Page65">65</a></li> - -<li>Theory of spinning coins, <a href="#Page254">254</a></li> - -<li>Thumb tacks, <a href="#Page113">113</a></li> - -<li>Tin, <a href="#Page65">65</a></li> - -<li>Tin-foil, <a href="#Page65">65</a></li> - -<li>Turner’s snips, <a href="#Page57">57</a>, <a href="#Page60">60</a>, <a href="#Page63">63</a></li> - -<li>Toaster, a Venetian iron, <a href="#Page78">78</a></li> - -<li>Tomato cans, musical, <a href="#Page255">255</a></li> - -<li>Toning photo prints, <a href="#Page133">133</a>, <a href="#Page134">134</a></li> - -<li>Tool chest, how to make a, <a href="#Page22">22</a></li> - -<li>Tools:</li> -<li class="level1">Carpenter’s, <i>see</i> <a href="#Ref29">Carpenter’s tools</a></li> -<li class="level1">Woodworking, <a href="#Page2">2</a></li> -<li class="level1">Wood turning, <a href="#Page40">40</a></li> -<li class="level1">Metal working, <a href="#Page57">57</a>-<a href="#Page63">63</a></li> -<li class="level1">Venetian bent iron work, <a href="#Page76">76</a></li> -<li class="level1">Repoussé work, <a href="#Page84">84</a></li> -<li class="level1">Engraving, <a href="#Page99">99</a></li> -<li class="level1">Drawing, <a href="#Page112">112</a></li> - -<li>Toys, how to make:</li> -<li class="level1">Policeman’s puzzle, <a href="#Page227">227</a></li> -<li class="level1">Automobile truck, <a href="#Page228">228</a></li> -<li class="level1">Wheelbarrow, <a href="#Page231">231</a></li> -<li class="level1">Coaster, <a href="#Page231">231</a></li> -<li class="level1">Swing, <a href="#Page235">235</a></li> -<li class="level1">Stick horse, <a href="#Page237">237</a></li> -<li class="level1">Pony and cart, <a href="#Page239">239</a></li> -<li class="level1">Goose, <a href="#Page241">241</a></li> -<li class="level1">Dancing Sambo, <a href="#Page243">243</a></li> -<li class="level1">Wireless pup, <a href="#Page245">245</a></li> - -<li>Tracings, how to make, <a href="#Page124">124</a></li> - -<li>Transfer pictures, <a href="#Page128">128</a></li> - -<li>Travelogue, giving a, <a href="#Page287">287</a></li> - -<li>Triangle for drawing, <a href="#Page113">113</a></li> - -<li>Trick photography, <a href="#Page153">153</a></li> - -<li>Try square, carpenter’s, <a href="#Page6">6</a></li> - -<li>T square for drawing, <a href="#Page113">113</a></li> - -<li>T tube, how to make, <a href="#Page213">213</a></li> - -<li>Tubaphone, the peculiar, <a href="#Page264">264</a></li> - -<li>Turning lathe, scroll saw, <a href="#Page33">33</a></li> - -<li>Turning wood, <a href="#Page24">24</a>, <a href="#Page37">37</a>, <a href="#Page41">41</a>-<a href="#Page43">43</a></li> - -<li>Turning tools for wood, <a href="#Page40">40</a></li> - -<li id="Ref27">Type:</li> -<li class="level1">Styles of, <a href="#Page163">163</a>-<a href="#Page166">166</a></li> -<li class="level1">Cases, <a href="#Page167">167</a></li> -<li class="level1">How to set, <a href="#Page169">169</a></li> -<li class="level1">How to distribute, <a href="#Page173">173</a></li> -<li class="level1">How to clean, <a href="#Page173">173</a></li> -<li class="level1"><i>See also</i> <a href="#Ref30">Printing</a></li> - -<li>Type form, how to lock up, <a href="#Page171">171</a></li> - -<li>Type-metal, <a href="#Page66">66</a></li> - -<li class="newletter">Uncanny wheel, <a href="#Page286">286</a></li> - -<li class="newletter" id="Ref20">Venetian bent iron work, <a href="#Page76">76</a>-<a href="#Page84">84</a></li> -<li class="level1">Toaster, <a href="#Page78">78</a></li> -<li class="level1">Egg boiler, <a href="#Page79">79</a></li> -<li class="level1">Plate holder, <a href="#Page81">81</a></li> - -<li>Vulcanizing rubber, <a href="#Page186">186</a>, <a href="#Page187">187</a></li> - -<li>Vise, carpenter’s, <a href="#Page21">21</a></li> -<li class="level1">Wood carver’s, <a href="#Page46">46</a></li> -<li class="level1">Machinist’s, <a href="#Page60">60</a></li> - -<li class="newletter">Washita oil-stone for carpenters, <a href="#Page7">7</a></li> -<li class="level1">For carvers, <a href="#Page46">46</a></li> - -<li>Washita slip stone, <a href="#Page13">13</a></li> - -<li>Watch holder, how to carve a, <a href="#Page48">48</a></li> - -<li>Wheelbarrow, to make a nifty, <a href="#Page233">233</a></li> - -<li>Wireless pup, to make a, <a href="#Page245">245</a></li> - -<li>Wireless set, to make a, <a href="#Page293">293</a></li> - -<li>Wireless telegraphy, demonstrating, <a href="#Page293">293</a></li> - -<li>Wood:</li> -<li class="level1">How to turn, <a href="#Page41">41</a></li> -<li class="level1">Coloring and staining, <a href="#Page54">54</a>, <a href="#Page55">55</a></li> - -<li>Wood burning, <a href="#Page24">24</a></li> -<li class="level1"><i>See also</i> <a href="#Ref31">Pyrography</a></li> - -<li>Wood carver’s tools, <a href="#Page44">44</a>-<a href="#Page46">46</a></li> - -<li>Wood carving<span class="pagenum" id="Page318">[318]</span>, <a href="#Page24">24</a>, -<a href="#Page44">44</a>-<a href="#Page51">51</a></li> - -<li>Wood filler, how to make, <a href="#Page11">11</a></li> - -<li>Wood turning, <a href="#Page24">24</a>, <a href="#Page37">37</a></li> -<li class="level1">Lathe for, <a href="#Page37">37</a>-<a href="#Page40">40</a></li> -<li class="level1">Tools, <a href="#Page40">40</a>, <a href="#Page41">41</a></li> - -<li>Woods:</li> -<li class="level1">For carpentry, <a href="#Page15">15</a></li> -<li class="level1">For scroll sawing, <a href="#Page36">36</a></li> -<li class="level1">For carving, <a href="#Page47">47</a></li> - -<li>Woodworking joints, <a href="#Page17">17</a></li> - -<li>Woodworking tools, <i>See</i> <a href="#Ref29">Carpenter’s tools</a></li> - -<li>Work bench, how to make a, <a href="#Page20">20</a></li> - -<li>Working drawings:</li> -<li class="level1">For carpentry, <a href="#Page18">18</a></li> -<li class="level1">How to make plan, <a href="#Page115">115</a></li> -<li class="level1">Isometric perspective, <a href="#Page116">116</a></li> -<li class="level1"><i>See also</i> <a href="#Ref32">Drawings</a></li> - -<li class="newletter">Xylophone, curious, <a href="#Page263">263</a></li> - -<li class="newletter">Zinc, <a href="#Page65">65</a></li> - -</ul> - -<hr class="full"> - -<div class="tnbot" id="TN"> - -<h2>Transcriber’s Notes</h2> - -<p>Depending on the hard- and software used and their settings not all -elements may display as intended. Indications of scale or -size in illustrations are not necessarily correct but will depend on -display size and zoom factor.</p> - -<p>Unusual, archaic and inconsistent spelling and hyphenation have been -retained. The inconsistent numbering of illustrations has not been -standardised. The (minor) differences in wording between the Table of -Contents, List of Illustrations and Index compared to the text have -not been standardised, except as mentioned under Changes below</p> - -<p>Page 20, ... the last part of Chapter III: Chapter III deals with -other subjects; possibly the reference should be to Chapter V.</p> - -<p>Page 26, Footnote [10]: The section Designs for Scroll Sawing -may be found on page 30, the footnote anchor as printed in the -source document should probably have been printed after item (f). -The hyperlinks have been provided accordingly.</p> - -<p>Page 53, Fig. 26C: Benzine and alcohol are as printed in the source -document.</p> - -<p>Page 157 and Index, Johanne Gutenburg: as printed in the source -document.</p> - -<p>Page 163, item F: A16 is possibly an error for 16A.</p> - -<p>Page 164, item H: the number of As was illegible in the source -document; item J: 11a 20a is possibly an error for 11A 20a.</p> - -<p>Page 180, Du Pont Febrikoid Co.: probably an error for Du Pont -Fabrikoid Co.</p> - -<p>Page 207 and 208, footnotes [98] and [98a]: the source document has -two anchors for this footnote. For this text the second instance has -been renamed 98a, the footnote has been repeated.</p> - -<p>Page 260, The harp is shown complete at C: Figure 109c does not show -the complete instrument, and there does not appear to be another -figure that does.</p> - -<p>Page 276, Fig. 116: Presumably the dimensions provided are in feet -rather than inches.</p> - -<p class="blankbefore75">Changes made</p> - -<p>Illustrations, tables and footnotes have been moved out of text -paragraphs. The footnotes in the source document were not numbered -consistently, they have been renumbered for this text.</p> - -<p>Several obvious minor errors in typography and punctuation have been -corrected silently.</p> - -<p>Texts in <span class="illotext">dashed boxes</span> under -illustrations have been transcribed from the illustration, and do not -occur as texts in the source document.</p> - -<p>Page 3, illustration: items B and C interchanged.</p> - -<p>Page 14: Removing Dust from Tools changed to Removing Rust from Tools.</p> - -<p>Page 46: ... as you will see in Fig. 21 ... changed to ... as you -will see in Fig. 22 ....</p> - -<p>Page 57: ... a ball pein hammer which weights ... changed to ... a -ball pein hammer which weighs ....</p> - -<p>Page 84: repousage changed to repoussage.</p> - -<p>Page 164, item L: reference letter L inserted cf. other references.</p> - -<p>Page 179, Fig. 71: item B, PPASTEBOARD changed to PASTEBOARD; item C, -NNCH chamged to INCH (probably the number is missing).</p> - -<p>Page 193: ... on a sheet of meal; ... changed to ... on a sheet of -metal; ....</p> - -<p>Page 211: section heading <b>How to blow glass</b> inserted cf. Table -of Contents.</p> - -<p>Page 222: fluorspar and flour-spar changed to fluor-spar as elsewhere.</p> - -<p>Page 240, illustration: Fig. 109 changed to Fig. 102; caption: c. the -pony and cart when done changed to c, d. the pony and cart when done.</p> - -<p>Page 246, Fig. 105C: reference letter D changed to B.</p> - -<p>Page 277: ... the grand finalé ... changed to ... the grand finale -....</p> - -<p>Page 281: ... already to use ... changed to ... all ready to use ....</p> - -<p>Page 289: Busch and Lomb Optical Company changed to Bausch and Lomb -Optical Company.</p> - -<p>Index: some words have been corrected to reflect the spelling used in -the main text.</p> - -</div><!--tnbot--> - -<div style='display:block; margin-top:4em'>*** END OF THE PROJECT GUTENBERG EBOOK HANDICRAFT FOR BOYS ***</div> -<div style='text-align:left'> - -<div style='display:block; margin:1em 0'> -Updated editions will replace the previous one—the old editions will -be renamed. -</div> - -<div style='display:block; margin:1em 0'> -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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