,transcriber's ,notes ,text printed in italics and bold face in the source document has been transcribed between underscores and between equal signs respectively4 ,small capitals have been transcribed as ,,all ,,capitals4 ,text between tildes represents letter-like shapes rather than characters4 ,text between plus signs was printed in the specific font mentioned1 or in a sans-serif font4 ,more ,transcriber's ,notes may be found at the end of this text4 ,,handicraft ,,for ,,boys ,illustration3 ,a ,,model ,,engine ,,constructed ,,from ,,diagrams ,,shown ,,in ,,this ,,book ,,handicraft ,,for ,,boys ,,by ,a4 ,,frederick ,,collins ,,inventor ,,of ,,the ,,wireless ,,telephone ,author of 8,inventing for ,boys10 8,the ,boys' ,book of ,submarines10 etc4 ,,with #ahe ,,illustrations ,,and ,,diagrams ,illustration ,,new ,,york ,,frederick ,a4 ,,stokes ,,company ,,publishers ,copyright1 #aiah1 by ,,frederick ,a4 ,,stokes ,,company ,all rights reserved ,,to ,,my ,,nephew ,,and ,,niece ,,clarence ,,and ,,may ,,zeitler ,a ,,word ,,to ,,the ,,boy ,your life1 if you live it like the average boy1 is split up into four parts and these are 7#a7 eating1 7#b7 sleeping1 7#c7 working and 7#d7 playing4 ,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 ends1 and your elders will quite likely see to it that you get enough work to do in and out of school4 ,but when it comes to playing ,i want to edge in1 for this is a very important and often a sadly neglected part of your daily routine4 ,there are three kinds of playing1 namely 7a7 where your mind only is engaged as for instance at dominoes1 checkers or chess1 7b7 where your body is chiefly in action as in gymnastics and outdoor games1 and 7c7 where your mind and body are doing something more or less constructive4 ,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 it1 still it is a great mistake not to have a hobby such as jig-sawing1 printing1 die-sinking or the like4 ,there is something tremendously fascinating about visualizing things in your brain and then fashioning them with your hands and you ought to do it4 ,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 hands4 ,not only is there the fun of planning and doing the things ,i have described1 but you will at the same time pick up a lot of information and1 what is of far more value1 your brain and eyes and hands will learn to work together like a dynamo direct connected to an engine1 and then you can depend on them to serve you well whenever the occasion may arise4 ,a4 ,,frederick ,,collins4 8,the ,antlers10 ,congers1 ,n4 ,y4 ,,contents ,,chapter ,,page ,i4 ,,carpentry ,,work ,,and ,,cabinet ,,making #a ,,the ,,tools ,,you ,,need -- ,,the ,,kinds ,,of ,,tools -- ,,some ,,hints ,,on ,,using ,,tools ,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 ,,how ,,to ,,sharpen ,,your ,,tools ,about ,sharpening ,saws -- ,about ,sharpening ,chisels and ,plane ,bits -- ,about ,sharpening ,auger ,bits ,,how ,,to ,,take ,,care ,,of ,,your ,,tools -- ,,removing ,,rust ,,from ,,tools -- ,,to ,,etch ,,your ,,name ,,on ,,tools -- ,,kinds ,,of ,,wood ,,to ,,use ,pine2 ,cedar2 ,mahogany2 ,oak2 ,birch2 ,walnut ,,how ,,to ,,make ,,joints ,edge ,joints -- ,corner ,joints ,,about ,,working ,,drawings -- ,,things ,,for ,,you ,,to ,,make ,how to ,make a ,work ,bench -- ,how to ,make a ,tool ,chest ,,ii4 ,,scroll ,,sawing1 ,,wood ,,turning1 ,,wood ,,carving1 ,,etc4 #bd ,,all ,,about ,,scroll ,,sawing ,,scroll ,,sawing ,,outfits -- ,a ,,cheap ,,scroll ,,sawing ,,outfit ,how to ,use the ,scroll ,saw ,a ,,few ,,other ,,helpful ,,things ,a ,hand ,saw-,table -- ,files for ,scroll ,work -- ,a ,twist ,drill ,stock -- ,a ,pair of ,pliers -- ,a ,small ,hammer -- ,scroll ,saw ,blades ,,how ,,to ,,trace ,a ,,design ,,on ,,wood -- ,,designs ,,for ,,scroll ,,sawing -- ,,foot-,,power ,,scroll ,,saws ,the ,cricket ,scroll ,saw -- ,the ,lester ,scroll saw -- ,the ,fleetwood ,scroll ,saw ,,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 ,,boxes1 ,,etc4 ,,turning ,,in ,,wood ,,get ,a ,,lathe ,,first ,how a ,lathe is ,made ,,the ,,cheapest ,,lathe ,,you ,,can ,,buy ,attachments for the ,companion ,lathe ,,turning ,,tools ,,for ,,wood -- ,,how ,,to ,,turn ,,wood ,,the ,,art ,,of ,,wood ,,carving ,,your ,,set ,,of ,,carving ,,tools -- ,,the ,,best ,,woods ,,for ,,carving -- ,,kinds ,,of ,,wood ,,carving ,chip ,carving -- ,panel ,carving -- ,carving in ,solid ,wood ,,pyrography1 ,,or ,,wood ,,burning ,,the ,,necessary ,,tools ,how to ,make an ,etching ,tool -- ,how to ,make an ,alcohol ,lamp -- ,a ,better ,outfit -- ,about the ,designs -- ,how to ,burn in the ,designs ,,coloring ,,and ,,staining ,,wood ,where to ,buy ,stains -- ,ebony ,stain -- ,fumed ,oak ,,iii4 ,,metals ,,and ,,metal ,,working #ef ,,your ,,kit ,,of ,,tools -- ,,the ,,various ,,kinds ,,of ,,tools -- ,,some ,,hints ,,on ,,using ,,the ,,tools ,about ,sharpening ,tools ,,metals ,,and ,,their ,,uses ,iron ,wrought ,iron ,steel ,tin ,zinc ,lead ,copper ,aluminum ,a ,,few ,,useful ,,alloys ,brass ,type-,metal ,pewter ,,how ,,to ,,do ,,metal ,,work -- ,,first ,,sketch ,,your ,,ideas -- ,,sheet ,,metal ,,work ,cutting and ,sawing -- ,making ,seams and ,joints ,,how ,,to ,,solder ,,metals ,fluxes ,solders ,,bolts ,,and ,,rivets -- ,,bending ,,sheet ,,metal -- ,,finishing ,,up ,,metals -- ,,coloring ,,metals ,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 ,,iv4 ,,venetian ,,iron1 ,,repouss1 ,,pierced ,,brass ,,and ,,pewter ,,work #gf ,,venetian ,,bent ,,iron ,,work ,,the ,,tools ,,you ,,must ,,have -- ,,the ,,materials ,,you ,,need -- ,,what ,,to ,,do ,,first ,making a ,simple ,design ,,how ,,to ,,make ,a ,,toaster -- ,,how ,,to ,,make ,,an ,,egg ,,boiler -- ,,how ,,to ,,make ,a ,,venetian ,,plate ,,holder ,a ,dead ,black ,finish for ,iron ,work ,,doing ,,repouss ,,work ,,tools ,,needed ,,for ,,repouss ,,work -- ,,how ,,to ,,prepare ,,the ,,work -- ,,tracing ,,the ,,design -- ,,bossing ,,the ,,work -- ,,how ,,to ,,make ,a ,,flat ,,candlestick -- ,,how ,,to ,,make ,a ,,photo ,,frame ,cleaning and ,polishing ,metal ,work -- ,finishing1 ,coloring and ,lacquering ,metals ,,pierced ,,metal ,,work ,,the ,,outfit ,,to ,,do ,,it ,,with -- ,,how ,,to ,,do ,,the ,,work ,,casting ,,and ,,working ,,pewter ,,something ,,about ,,pewter -- ,,how ,,to ,,make ,,pewter -- ,,about ,,working ,,pewter -- ,,how ,,to ,,cast ,,pewter -- ,,the ,,patterns ,,necessary -- ,,making ,,the ,,mold -- ,,finishing ,,the ,,ware ,,engraving ,,on ,,metal ,,the ,,tools ,,that ,,are ,,used -- ,,how ,,to ,,engrave ,,on ,,metal ,v4 ,,drawing ,,simply ,,explained #ajc ,,free-,,hand ,,drawing ,,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 ,the ,vanishing ,point ,,how ,,to ,,shade ,a ,,drawing ,,working ,,drawings ,,drawing ,,tools ,,you ,,should ,,have -- ,,simple ,,working ,,drawings ,making ,plain ,drawings -- ,isometric ,perspective ,drawings ,,some ,,simple ,,aids ,,to ,,drawing ,,how ,,to ,,draw ,a ,,circle -- ,,how ,,to ,,draw ,a ,,spiral -- ,,how ,,to ,,draw ,,an ,,ellipse -- ,,how ,,to ,,make ,,and ,,use ,a ,,pantagraph -- ,,how ,,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 ,how to ,transfer the ,pictures ,,vi4 ,,some ,,kinks ,,in ,,photography #aca ,,how ,,to ,,make ,,blue ,,prints ,the ,materials ,required ,,another ,,kind ,,of ,,contact ,,printing ,to ,tone and ,fix the ,pictures -- ,receipt for a ,combined ,toning and ,fixing ,solution ,,the ,,simplest ,,kind ,,of ,a ,,camera -- ,,how ,,to ,,develop ,a ,,dry ,,plate ,how to ,make the ,developer -- ,how to ,make a ,fixing ,bath ,a ,,good ,,and ,,cheap ,,camera -- ,,how ,,to ,,make ,,an ,,enlarging ,,apparatus -- ,,how ,,to ,,make ,,an ,,enlargement ,a ,developer for ,bromide ,paper ,,how ,,to ,,make ,a ,,reflectoscope ,how to ,use the ,reflectoscope ,,how ,,to ,,make ,a ,,magic ,,lantern ,how to ,work the ,lantern ,,how ,,to ,,make ,,lantern ,,slides -- ,,how ,,to ,,make ,,radium ,,photographs ,,trick ,,photography ,,spirit ,,photographs -- ,,one ,,way ,,to ,,catch ,,big ,,fish -- ,,taking ,,caricature ,,photographs ,,vii4 ,,printing ,,and ,,its ,,allied ,,arts #aeg ,,kinds ,,of ,,printing ,,presses -- ,,the ,,parts ,,of ,a ,,self-,,inking ,,press -- ,,how ,,the ,,press ,,works -- ,,sizes ,,and ,,prices ,,of ,,presses -- ,,the ,,outfit ,,you ,,need ,outfit for a #c #e ,press -- ,outfit for a #e #h ,press -- ,outfit for an #h #aj ,press ,,about ,,type ,,and ,,type ,,setting ,relative ,number of ,type ,letters -- ,styles of ,type -- ,the ,parts of a ,type -- ,the ,sizes of ,type -- ,table of ,type ,sizes -- ,your ,type ,cases -- ,setting the ,type ,,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 ,,the ,,art ,,of ,,paper ,,making ,,what ,,paper ,,is -- ,,how ,,to ,,make ,,paper ,making the ,pulp -- ,the ,molds ,you ,need -- ,laying the ,paper ,,sizing ,,and ,,finishing ,,how ,,to ,,bind ,,books ,making the ,cover -- ,sewing the ,book -- ,putting on the title ,,viii4 ,,rubber ,,stamps1 ,,die ,,sinking1 ,,burning ,,brands ,,and ,,stencils #ahc ,,rubber ,,stamps ,,how ,,to ,,make ,,rubber ,,stamps ,the ,materials ,needed ,,making ,,the ,,mold -- ,,vulcanizing ,,the ,,rubber -- ,,mounting ,,the ,,rubber -- ,,how ,,to ,,use ,a ,,rubber ,,stamp ,how to ,make an ,ink ,pad ,,how ,,to ,,make ,,rubber ,,stamp ,,ink -- ,,how ,,to ,,make ,a ,,copygraph ,,pad -- ,,how ,,to ,,copy ,a ,,letter -- ,,how ,,to ,,make ,,hectograph ,,inks ,,die ,,sinking ,,how ,,to ,,make ,,badges1 ,,name ,,plates1 ,,etc4 -- ,,how ,,to ,,sink ,,the ,,letters -- ,,finishing ,,up ,,the ,,badge ,,burning ,,brands ,,how ,,to ,,make ,a ,,burning ,,brand ,how to ,use the ,burning ,brand ,,stencils ,,how ,,to ,,cut ,,stencils ,cutting ,paper ,stencils -- ,cutting ,brass ,stencils -- ,how to ,use ,practical ,stencils -- ,how to ,make ,stencil ,ink -- ,how to ,use ,decorative ,stencils -- ,mixing ,colors for ,stenciling ,borders ,,ix4 ,,the ,,art ,,of ,,working ,,glass #bjb ,,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 ,what a ,bunsen ,burner ,is ,,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 ,how to ,make a ,blowpipe -- ,how to ,blow a ,bulb ,,how ,,to ,,etch ,,glass ,the ,sand ,blast ,process -- ,how to ,make ,ground ,glass -- ,the ,acid ,process ,,how ,,to ,,cement ,,glass -- ,a ,,simple ,,way ,,to ,,frost ,,glass ,,substitutes ,,for ,,glass ,mica ,gelatine ,,how ,,to ,,silver ,a ,,mirror ,x4 ,,toys ,,for ,,the ,,kiddies #bbg ,,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 ,,cart -- ,,how ,,to ,,make ,a ,,life-,,like ,,goose -- ,,how ,,to ,,make ,a ,,dancing ,,sambo -- ,,how ,,to ,,make ,a ,,wireless ,,pup ,,xi4 ,,home ,,made ,,musical ,,instruments #beb ,,the ,,musical ,,coins ,how to ,make ,them -- ,how to ,play ,them ,,the ,,musical ,,tomato ,,cans ,how to ,make ,them -- ,to ,play the ,musical ,tomato ,cans ,,the ,,musical ,,glasses ,how to ,make ,them -- ,how to ,play the ,glasses ,,the ,,tubular ,,harp ,how to ,make ,it -- ,how to ,play the ,harp ,,the ,,musical ,,push ,,pipe ,how to ,make ,it -- ,how to ,play the ,push ,pipe ,,the ,,curious ,,xylophone ,how to ,make ,it -- ,how to ,play the ,xylophone ,,the ,,peculiar ,,tubaphone ,how to ,make ,it -- ,how to ,play the ,tubaphone ,,the ,,cathedral ,,chimes ,how to ,make ,them -- ,how to ,play the ,cathedral ,chimes ,,the ,,aeolian ,,harp ,how to ,make ,it -- ,how the ,wind ,plays ,it ,,an ,,egyptian ,,fiddle ,how to ,make ,it -- ,how to ,make the ,bow ,,xii4 ,,some ,,evening ,,entertainments #bgd ,,cartoons ,,while ,,you ,,wait ,drawing the ,cartoons ,,thirty ,,minutes ,,of ,,chemistry -- ,,the ,,mystic ,,glass ,,of ,,milk -- ,,the ,,magic ,,fountain -- ,,the ,,vicious ,,soap ,,bubbles -- ,,the ,,uncanny ,,wheel -- ,,giving ,a ,,travelogue -- ,,an ,,electrical ,,soir,e -- ,,demonstrating ,,electricity ,,without ,,apparatus ,the ,electrified ,papers -- ,how to ,electrify a ,person -- ,how ,like ,repels ,like ,,making ,,experiments ,,with ,,apparatus ,the ,induction1 or ,spark ,coil -- ,demonstrating ,wireless ,telegraphy ,,reading ,,palms ,,for ,,fun ,how to ,read ,palms ,a ,,talk ,,on ,,the ,,steam ,,engine ,making the ,model ,engine ,,how ,,the ,,engine ,,works ,,illustrations ,,page ,a ,model ,engine1 ,showing the ,principal ,working ,parts ,frontispiece ,some ,useful ,wood ,working ,tools #c ,a ,few ,more ,common ,wood ,working ,tools #e ,a ,clamp ,often ,comes in ,handy #g ,how ,edge ,joints ,are ,made #ag ,how ,corner ,joints ,are ,made #ai ,an ,easily ,made ,work ,bench #bj ,a ,wood ,vise for ,your ,work ,bench #ba ,a ,carpenter's ,tool ,chest #bb ,the ,tray for ,your ,tool ,chest #bc ,a ,simple and ,cheap ,sawing ,outfit #be ,the ,right ,way to ,use a ,hand ,scroll ,saw #bg ,a ,hand ,scroll ,saw ,table #bh ,some ,necessary ,scroll ,sawing ,tools #bi ,mechanical ,masterpieces ,made ,with a ,scroll ,saw #ca ,the ,cheapest ,foot-power ,scroll ,saw ,made #cb ,the ,lester ,scroll ,saw with ,turning ,lathe ,attachment #cc ,the ,fleetwood ,scroll ,saw #cd ,the ,chief ,parts of a ,turning ,lathe #cg ,the ,cheapest ,wood ,turning ,lathe ,made #ci ,a ,set of ,wood ,turning ,tools #da ,putting the ,rough ,wood in the ,lathe #db ,the ,right ,way to ,hold a ,wood ,working ,tool #db ,sizing the ,turned ,work #dc ,kinds and ,sweeps of ,carving ,tools #de ,markers for ,stamping in ,backgrounds #df ,schemes for ,holding ,work ,when ,carving #df ,kinds of ,carving #dh ,a ,carved ,watch ,case ,holder #di ,the ,tool ,used for ,pyrography #eb ,an ,outfit that ,burns ,benzine ,vapor #ec ,how the ,tool is ,heated #ed ,burning in the ,design #ed ,the ,chief ,metal ,working ,tools #eh ,some ,other ,metal ,working ,tools #ei ,how ,metal ,seams and ,joints are ,made #gj ,materials ,you ,need for ,venetian ,iron ,work #gg ,a ,useful ,bent ,iron ,toaster #gi ,how to ,make an ,egg ,boiler #hj ,an ,artistic ,venetian ,plate ,holder #ha ,a ,sconce for a ,candle #hc ,how to ,hold a ,repouss ,hammer #hd ,a ,punch and ,punch ,designs for ,repouss ,work #he ,how to ,hold a ,repouss ,punch #he ,a ,repouss ,candlestick #hg ,a ,repouss ,photo ,frame #hi ,the ,tools ,you ,need for ,pierced ,brass ,work #ij ,a ,pierced ,brass ,candle ,shade #ia ,a ,pierced ,brass ,toast ,sign #ic ,iron ,ladle for ,melting ,pewter #ie ,how a ,pewter ,casting is ,made #if ,home ,made ,pewter ,ware #ih ,tools for ,engraving on ,metal #ii ,how to ,hold a ,graver #ajj ,an ,engraving on a ,sheet of ,copper #aja ,a ,simple ,line ,drawing of a ,man and a ,horse #ajd ,a ,simple ,outline ,drawing of a ,boxer and a ,race ,horse #aje ,the ,proportions of the ,human ,body #ajf ,a ,full ,view of the ,face #ajg ,a ,profile ,view of the ,face #ajh ,the ,vanishing ,points of a ,perspective ,drawing #aji ,how to ,find the ,vanishing ,point #aaj ,the ,vanishing ,points ,put to ,use #aaa ,the ,drawing ,tools ,you ,need #aab ,the ,t ,square and ,triangle on the ,drawing ,board #aad ,the ,plan ,drawing for a ,box #aae ,the ,box ,drawn in ,isometric ,perspective #aaf ,how the ,lines for ,isometric ,drawings are ,made #aag ,a ,sheet of ,isometric ,drawing ,paper #aah ,the ,proportions of an ,isometric ,ellipse #aai ,how to ,draw a ,circle with a ,thread #abj ,how to ,draw a ,spiral with a ,thread #aba ,how to ,draw an ,ellipse with a ,thread #abb ,how a ,pantagraph is ,made and ,used #abb ,how a ,reflecting ,drawing ,board is ,made and ,used #abc ,a ,lasting ,carbon 7,soot7 ,impression of ,your ,hand #abe ,silhouettes of ,your ,great-,grand-pa and ,great-,grand-ma 7,when ,they ,were ,young7 #abg ,a ,photo ,printing ,frame #aca ,an ,easily ,made ,pin-hole ,camera #ace ,the ,pin-hole ,camera ,complete with ,cloth and ,rubber ,bands #acg ,two ,cheap and ,good ,cameras #aci ,a ,home-made ,enlarging ,apparatus #ada ,a ,home-made ,enlarging ,apparatus #adc ,a ,home-made ,enlarging ,apparatus #add ,a ,cheaply ,made ,reflectoscope #ade ,a ,cross ,section ,top ,view of the ,reflectoscope #adf ,the ,reflectoscope ,ready for ,use #adg ,the ,parts of a ,home-made ,magic ,lantern #adi ,the ,magic ,lantern ,ready for ,use #aej ,a ,photograph of a ,coin ,made with ,radium #aeb ,one ,way to ,catch a ,cod #aee ,how ,caricatures are ,made #aef ,a ,model ,self-inking ,printing ,press #aei ,an ,outfit for a ,model ,press #afb ,the ,parts of a ,type #afe ,how the ,type ,cases are ,arranged #afg ,the ,upper ,case #afh ,the ,lower ,case #afh ,how to ,hold a ,composing ,stick #afi ,putting a ,stick of ,type in the ,chase #agj ,tools for ,locking ,up a ,chase #aga ,a ,frame for ,paper ,making #agg ,how to ,cut ,boards and ,cloth for ,book ,binding #agi ,sewing on the ,muslin ,flap #ahj ,the ,bound ,book ,complete #aha ,the ,matrix ,frame1 ,chase and ,boards for ,making ,rubber ,stamps #ahd ,the ,type in the ,chase4 ,plaster of ,paris ,impression in the ,matrix ,frame #ahf ,the ,matrix with the ,rubber ,gum in ,place ,ready to ,vulcanize #ahg ,the ,rubber ,stamp ,ready to ,use #ahh ,pulling an ,impression from the ,copygraph #aia ,first ,steps in ,making a ,badge #aib ,the ,badge on a ,flat-iron in a ,vise4 ,sinking in the ,letters #aic ,steel ,letters and ,figures for ,die ,sinking #aid ,last ,steps in ,making a ,badge #aie ,a ,burning ,brand of ,iron or ,copper #aig ,stencil ,letters and ,stencils #aii ,glass ,cutters #bjd ,the ,right ,way to ,hold a ,diamond ,point ,glass ,cutter #bje ,how to ,cut a ,pane of ,glass #bje ,a ,cutter for ,glass ,tubes #bjg ,a ,circular ,glass ,cutter #bjh ,kinds of ,bunsen ,burners #baj ,bordering the ,end of a ,tube #baa ,sealing ,off the ,end of a ,tube #bab ,how to ,make a ,hole in a ,tube #bab ,welding ,two ,tubes ,together4 ,making a ,t ,tube #bac ,a ,regular ,blow-,pipe #bad ,cross ,section of a ,home-made ,blow-pipe #bae ,the ,glass ,blowing ,arrangement ,ready to ,use #baf ,a ,regular ,foot ,bellows #bag ,first ,steps in ,blowing a ,glass ,bulb #bah ,making a ,thick ,ring of ,glass #bah ,last ,step in ,blowing a ,glass ,bulb #bai ,part of the ,apparatus for ,sand ,blast ,etching #bbj ,sand ,blast ,apparatus ,put ,together ,ready for ,etching #bba ,etching ,glass with ,acid #bbc ,a ,policeman's ,puzzle1 or ,now ,will ,you ,be ,good #bbh ,plans for the ,automobile ,truck #bbi ,the ,automobile ,truck ,ready to ,run #bcj ,plans for a ,swell ,coaster #bca ,the ,coaster ,ready to ,ride ,on #bcb ,plans for the ,nifty ,wheelbarrow4 ,the ,barrow ,ready to ,wheel #bcd ,plans for the ,high-low ,swing #bcf ,the ,swing ,ready to ,swing ,low1 ,swing ,high #bcg ,ride a ,stick ,horse to ,banbury ,cross #bch ,plans for a ,pony and ,cart4 ,the ,pony and ,cart ,when ,done #bdj ,how the ,life-like ,goose is ,made #bda ,goosie1 ,goosie ,gander1 ,where ,shall ,i ,wander #bdb ,the ,dancing ,sambo #bdc ,the ,mechanism of the ,dancing ,sambo #bdd ,the ,wireless ,pup1 the ,slot in the ,floor of the ,dog ,house #bde ,the ,back ,end of the ,dog ,house #bdf ,the ,spanker with ,electric ,solenoid ,control #bdg ,cross ,section ,side ,view of the ,wireless ,pup ,ready for ,action #bdh ,the ,front ,end ,view of the ,wireless ,pup ,house #bdi ,when ,you ,call the ,wireless ,pup or ,clap ,your ,hands ,he ,comes ,out of ,his ,dog ,house in a ,hurry #bej ,the ,musical ,coin #bec ,how to ,hold the ,musical ,coin to ,spin ,it #bed ,the ,chopin ,tomato ,can #bee ,the ,musical ,glasses #beg ,the ,harp of a ,thousand ,thrills #beh ,how to ,play the ,harp #bei ,parts of a ,musical ,push ,pipe #bfa ,how the ,push ,pipe is ,played #bfc ,a ,xylophone4 ,the ,bars are ,made of ,wood #bfd ,a ,tubaphone4 ,the ,bars are ,made of ,metal ,tubes #bfe ,the ,cathedral ,chimes #bff ,the ,harp of ,aeolus #bfh ,plans for an ,egyptian ,fiddle #bga ,how the ,bow is ,made #bgb ,how the ,fiddle is ,played #bgc ,how an ,easel is ,made #bgf ,first ,principles of ,cartooning #bgh ,three ,simple ,cartoons that ,you ,can ,do #bgi ,the ,oracle of ,amor1 or ,are ,you in ,love8 #bhj ,the ,mystic ,fountain #bhb ,making ,hydrogen ,chloride ,gas #bhc ,the ,vicious ,soap ,bubbles #bhe ,the ,uncanny ,wheel #bhg ,the ,electrified ,papers #bia ,a ,simple ,wireless ,demonstration ,set #bid ,cross ,section of the ,coherer ,showing ,its ,construction #bie ,the ,parts of the ,hand ,named ,according to ,science #bif ,the ,parts of the ,hand ,named ,according to ,palmistry #bih ,working ,drawings for the ,demonstration ,steam ,engine4 ,cross ,section ,side ,view of the ,engine #cjb ,end ,view of the ,engine4 ,the ,crank ,shaft4 ,the ,rocker ,arm #cjd ,top ,view of the ,engine #cjf ,the ,steam ,engine ,ready to ,demonstrate #cji ,,handicraft ,,for ,,boys ,,chapter ,i ,,carpentry ,,work ,,and ,,cabinet ,,making ,did you ever think about what you'd do if you were shipwrecked on a tropical island like ,robinson ,crusoe8 ,well1 if you had a good1 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 bungalow4 ,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 workmanship1 it would serve you nobly and well in your island home4 ,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 wood4 ,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 good tools to work with and you'll take as keen a pleasure in making useful things with your own hands as ,robinson ,crusoe did4 ,the ,tools ,you ,need4--,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 quality4 ,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 safely4 ,now to make any ordinary piece of woodwork you don't need many tools but each one should be the very best1 for therein half the pleasure lies4 ,the ,kind of ,tools4--,the tools used for cabinet making1 as the finer kinds of joinery are called1 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 them4 ,all the tools you will need at first are shown in ,figs4 #a and #b and these are 7#a7 a cast-steel1 adze-eye1 bell-faced hammer#a weighing about #i ounces1 which is a regular carpenter's hammer4 7#b7 ,a mallet1 made of hickory1 with a #b inch face and try to get one in which the handle goes clear through the head and is wedged in4 #a ,the ,ohio ,tool ,company makes good hammers4 7#c7 ,four saws1#b namely 7a7 a #af inch crosscut saw--usually called a handsaw--which is used for sawing off boards across the grain1 7b7 a #bj inch rip-saw1 for sawing with the grain so that a board can be sawed lengthwise1 7c7 a back saw or miter saw as it is sometimes called2 it is about #ab inches long and has about #bj teeth to the inch so that it makes a very fine and smooth cut4 7d7 ,a compass saw2 it has a narrow1 tapering blade about #aj inches long and is used to cut out holes in boards1 and to cut disks1 or wheels of wood4 ,the blade of a keyhole saw is thinner and narrower than a compass saw and1 hence1 smaller holes and shorter curves can be cut with it than with a compass saw4 #b ,disston saws are the kind to get4 ,illustration3 ,,the ,,way ,,to ,,saw ,a ,,board ,a ,,carpenter',s ,,hammer ,,and ,,how ,,to ,,hold ,,it ,,sawing ,,off ,a ,,strip ,,with ,a ,,back ,,saw ,,and ,,miter ,,box ,,where ,a ,,compass ,,saw ,,comes ,,in ,,handy ,,how ,,to ,,hold ,a ,,smoothing ,,plane ,a ,,firmer ,,chisel ,,in ,,use ,,fig4 #a4 ,,some ,,useful ,,wood ,,working ,,tools 7#d7 ,a miter box 7pronounced mi-ter7 is a little trough of wood formed of a bottom with two sides screwed to it but without a top or ends4 ,the sides of the box have saw-cuts in them1 or kerfs as they are called1 at angles of #de and #ij degrees so that strips of wood1 molding and the like can be sawed accurately across1 or mitered1 to make a corner joint4 7#e7 ,three planes#c and these are 7a7 a block plane for small light work2 7b7 a smoothing plane which is a little longer and has a handle and is set fine1 that is the bit1 or blade is finely adjusted for finishing work2 and 7c7 a jack-plane1 which is a large plane used for planing off rough surfaces4 #c ,i like ,stanley planes the best4 7#f7 ,three chisels1#d or firmer chisels as they are called4 ,these are regular flat1 bevel-edged carpenter's chisels and the blades should be 1 1 and inch wide1 respectively4 #d ,buck ,brothers are noted for their chisels4 7#g7 ,three gouges1#e or firmer gouges1 to give them their full name4 ,these gouges are simply chisels with curved cutting edges so that a rounded groove can be cut in a board4 ,get them with blades having 1 and inch regular sweep1 as the curve of the cutting edge is called4 #e ,buck ,brothers' gouges are also good4 ,illustration3 ,,boring ,a ,,hole ,,with ,a ,,brace ,,and ,,bit ,,the ,,screw ,,driver ,,and ,,how ,,to ,,use ,,it ,,how ,,the ,,try ,,square ,,is ,,used ,a ,,nail ,,set ,,and ,,how ,,to ,,hold ,,it ,,using ,a ,,marking ,,gauge ,,the ,,right ,,way ,,to ,,sharpen ,a ,,chisel ,,fig4 #b4 ,a ,,few ,,more ,,common ,,wood ,,working ,,tools 7#h7 ,a brace and five auger bits4#f ,a brace and bit1 as you know1 is a tool to bore holes in wood with4 ,you ought to have five bits and get them 1 1 1 and an inch in diameter4 #f ,when you buy auger bits get the genuine ,russel ,jennings4 7#i7 ,a maple or a boxwood rule2 this should be a regular1 #b-;foot1 four fold carpenter's rule4 7#aj7 ,a marking gauge2 the bar of the gauge is graduated in #afths of an inch and the adjustable head of one good enough to work with is fitted with a brass thumb screw4 7#aa7 ,an iron bound try-square with a #f1 or better1 a #i-;inch blade4 ,this is used not only to make measurements with but to try whether a thing is square or not1 hence its name4 7#ab7 ,two screw drivers1 one for small and the other for large screws4 7#ac7 ,two double cut gimlets1 one and the other inch in diameter2 these are useful for making holes for starting screws and the like4 7#ad7 ,four hand screws1 or clamps as they are more often called2 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 glued4 ,the jaws should be about #g inches long and they should open at least #d inches wide4 ,they only cost a quarter apiece4 7#ae7 ,a nail set2 this is a steel punch for driving the head of a nail below the surface of the wood without denting it4 7#af7 ,a ,washita oil-stone is the right kind to sharpen wood-working tools on2 a stone or inch thick1 #b inches wide and #d or #e 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 dust4 ,illustration3 ,,fig4 #b,m4 ,a ,,clamp ,,often ,,comes ,,in ,,handy 7#ag7 ,a sewing machine oil can filled with sewing machine oil1 or any other good1 light lubricating oil1 is needed for sharpening your tools4 7#ah7 ,a small can of ,le ,page's liquid glue1 or if you want to make your own glue then get a glue-pot and brush4 ,you can buy a pint can of liquid glue for a quarter or less1 or you can buy a cast iron1 water-jacketed glue pot which holds a pint for about #dj cents4 ,get a small round bristle brush for a glue brush4 ,some ,hints on ,using ,tools4--,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 practice4 ,how to ,hold a ,hammer4--,when you use a hammer1 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 pounding2 this takes the jar off of your arm and makes the work of using it surer and less tiresome4 ,never use a hammer on wood-work of any kind4 ,when you use a mallet as for driving chisels hold it rather close to its head1 and need ,i tell you never to use a wooden mallet to drive nails with4 ,how to ,use a ,saw4--,hold the wood to be sawed with your left hand--,i am taking it for granted that you are righthanded2 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 firmly4 ,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 it4 ,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 #de degrees1 that is half way between the horizontal and the vertical4 ,of course this does not apply to a back saw or a keyhole saw4 ,how to ,use a ,plane4--,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 it4 ,make short1 quick strokes1 pressing down on the plane as it goes forward and letting up on it a little as you draw it back4 ,a jack-plane has a handle on it something like a saw-handle and it is held like a saw with your right hand4 ,if there is no knob on the nose of it hold it by laying your left hand across it4 ,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 along4 ,how to ,use ,chisels and ,gouges4--,to hold a chisel properly when cutting a groove grip it a couple of inches below the top of the handle with your left hand4 ,hold it with the beveled edge down from you and at a slight angle from the horizontal when making grooves1 and at a slight angle from the vertical when cutting a mortise4 ,gouges are used in the same way as chisels4 ,how to ,use a ,brace and ,bit4--,set the sharp pointed end of the bit on the exact spot which is to be the center of the hole you are to bore4 ,hold the top handle of the brace with your left hand and the crank handle with your right hand4 ,have the top of the brace and the bit in a line with your eye and after you start to bore sight the bit on both sides of the hole you are boring to see that it is plumb--that is straight up and down4 ,how to ,use a ,rule4--,a carpenter's rule is two feet long and divided into inches which are sub-divided again into #hths and #afths of an inch4 ,in making measurements for joinery use the rule accurately or you will have misfits4 ,how to ,use a ,marking ,gauge4--,this is a useful device to mark off one or more parallel lines on a board when one edge of it is straight4 ,the head slides on a wooden bar near one end of which is a steel point4 ,the bar is graduated1 that is1 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 point4 ,when you have set the gauge hold the head against the edge of the board you want to mark1 press the steel point against the surface and draw the gauge along with both hands when the point will scratch a line4 ,how to ,use ,hand ,screws or ,clamps4--,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 even1 that is parallel4 ,how to ,use a ,nail ,set4--,a finishing nail1 that is1 a nail having a head only a shade larger than the shank1 is used for the finer kinds of woodwork4 ,after you have driven in a nail until its head is within1 say1 inch of the surface put the small1 hollow end of your nail set on it1 hold them together with your thumb and forefinger and drive it in by hitting the nail set with your hammer4 ,after the head is sunk below the surface of the wood fill in the hole with a wood filler#g when neither the nail nor the hole can be seen4 #g ,to make a wood-filler1 melt #a ounce of white resin and #a ounce of yellow wax in a pan and add enough ochre1 which can be had in any color1 to give it the color of the wood you are using4 ,stir it well and fill the dent while hot4 ,this filler sticks well to the wood and when dry is very hard4 ,how to ,use a ,gimlet4--,after you have started a hole with a gimlet give it a complete turn and then half a turn back each time1 for by so doing it will be far less liable to split the wood4 ,moisten the point of the gimlet and it will go in easier4 ,how to ,drive ,nails and ,screws4--,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 friction4 ,how to ,make a ,glue-,pot4--,in these days of preparedness it is easier to buy ready made glue than it is to make it yourself2 moreover it is just about as cheap1 nearly as good and certainly far less trouble4 ,if you insist on making your own glue though1 you must1 first of all1 have a glue-pot of the right kind to make it in4 ,as ,i have already mentioned a glue-pot is made of two pots one inside the other4 ,the outside pot is half filled with water and the inside one contains the glue4 ,you can improvise a glue-pot by using a tomato can for the outside pot and a pepper or mustard can for the inside pot4 ,while it won't look quite as shop-like as the kind you buy it will work just as well4 ,how to ,make ,good ,glue and ,how to ,use ,it4--,to make good glue1 put some small pieces of genuine ,peter ,cooper or imported ,french ,coignet glue into the inside glue pot in enough water to cover it4 ,the outer pot is set on a fire and the water in it is brought to a boil4 ,stir the glue until it is all melted1 when it should be about as thick as sewing machine oil4 ,skim off the scum that forms when the glue is boiling4 ,in using home-made glue have it very hot1 for the hotter it is the stronger the joint it will make2 further put it on both surfaces of the wood to be glued together very thinly as this also tends to make it stick tighter4 ,how to ,sharpen ,your ,tools4--,you must have sharp tools if you expect to do a job like a carpenter or a cabinet maker4 ,about ,sharpening ,saws4--,this is done by filing the teeth with a hand saw taper file and the saw must be held in a saw-vise1 that is a vise with long jaws which keep the saw from vibrating4 ,when the saw is filed the teeth must be set1 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 saw set4 ,you ought to learn to file your own saws but it would be just as well1 or a little better1 to let a man who makes a business of filing saws do this job for you at first4 ,keep your saws oiled when not in use4 ,about ,sharpening ,chisels and ,plane ,bits4--,to sharpen a chisel or a plane bit put a few drops of oil on your ,washita oil stone2 hold the beveled edge of the tool on it and toward you1 and see to it that it rests flat on the stone or you will make it rounding and the edge uneven4 ,when you get it at exactly the right angle grasp it firmly with both hands and then move it on the stone1 forth and back1 pressing down on it pretty hard as it moves away from you1 and easing up on it as you draw it toward you4 ,when a chisel or a plane-bit gets a nick in it it must be ground out on a grind stone2 if you haven't one get a carpenter to do it for you1 and when you get it back hone it1 that is1 sharpen it on your oil stone as before4 ,get a ,washita slip stone for the touching up gouges and instead of rubbing the edge of the gouge on the stone you rub the stone on the gouge4 ,never try to grind a woodworking tool on an emery wheel4 ,about ,sharpening ,auger ,bits4--,an ordinary auger-bit seldom needs sharpening but when it does the cutter of it must be sharpened on the inside4 ,a very fine file can be used for this purpose and then hone it with a slip of an oil stone4 ,how to ,take ,care of ,your ,tools4--,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 time4 ,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 the baby can get them nor the hired girl from across the street can borrow them4 ,removing ,rust from ,tools4--,should any of your tools show signs of rusting you can get the rust off by rubbing some sweet oil on the rusted part2 let it stand a couple of days and then rub it with very finely powdered unslacked lime4 ,to ,etch ,your ,name on ,tools4--,clean the saw1 or whatever tool you want to etch your name on1 with a hot solution made by dissolving some sodium carbonate1 commonly called soda1 in water and be careful not to touch the cleaned surface with your fingers4 ,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 it4 ,put an ounce of water into a glass stoppered bottle and add an ounce of nitric acid4#h ,shake the solution well to mix it1 dip a splint of wood into it and touch the scratched in letters with it until the acid covers the exposed parts of the steel4 #h ,nitric acid is a poison and you must so label the bottle containing it4 ,do not pour the water into the acid as it will splash about4 ,be careful not to get it on your clothes1 but if you should1 brush some ammonia over it as this will neutralize it and stop its action4 ,let the acid solution stay on for a half or an hour and then wash it off with hot water1 scrape off the paraffin and you will find your name etched on the steel exactly as you marked it4 ,kinds of ,wood to ,use4--,there are many kinds of woods and each one has its special use in the arts and crafts4 ,for carpentry and cabinet making you will probably not use more than half-a-dozen woods and these are1 7#a7 pine2 7#b7 cedar2 7#c7 mahogany2 7#d7 oak2 7#e7 birch and 7#f7 walnut4 ,pine4--,this is a good wood for making things in general4 ,there are two kinds of pine and these are 7a7 white pine and 7b7 yellow pine4 ,white pine is very soft1 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 knife4 7,i wish ,i could do it again47 ,you can make benches1 boxes1 toys and a hundred and one other things out of it but it is too soft for furniture and cabinet work4 ,yellow1 or ,georgia pine has a fine yellow color1 and a beautiful grain and together they are very showy4 ,it is harder than white pine and while it can be used where the latter cannot1 it is not nearly as easy to work4 ,cedar4--,this fragrant wood belongs to the pine family and it is nearly as soft as pine4 ,there are two kinds of cedar and these are 7a7 red cedar and 7b7 white cedar4 ,red cedar is the kind you want to get to make things of2 it has a pastel red color and a fragrant odor and it is this latter property that makes it a good wood for wardrobe chests1 for moths do not like it4 ,next to white pine it is about the easiest wood to work and it is especially nice for making all small articles1 such as glove boxes1 handkerchief boxes and the like4 ,mahogany4--,also and likewise there are two kinds of mahogany and these are 7a7 ,honduras mahogany and 7b7 ,spanish mahogany4 ,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 mahogany4 ,you can make all manner of nice things of the better grades of ,honduras mahogany and1 curiously enough1 it stays glued better than any other wood4 ,it is nearly as easy to work as pine and it takes a fine polish4 ,spanish mahogany is like ,honduras mahogany in name only4 ,it is a fine1 close-grained dark-red-brown or yellow-brown colored wood1 takes a very high polish and makes the finest kind of furniture4 ,oak4--,this is a strong1 beautiful wood and is useful in making all kinds of furniture the design of which should be plain4 ,it is not an easy wood to work and tools when used on it soon lose their cutting edges4 ,but after you have made a piece of furniture you can depend on it that it will last to the end of time1 nearly4 ,birch4--,this wood belongs to the oak family but different from oak it is quite easy to work4 ,it is light in color1 fine grained1 so tough and elastic it cannot be easily broken1 and it takes a fine polish4 ,for these reasons it makes nice furniture and it is a very good wood for turning4 ,it is from the bark of the birch that the ,indians made their canoes1 but this is a story of the long ago and we must stick to the present4 ,walnut4--,this is a good old ,english wood2 it is the finest kind of wood that can be used for ornamental furniture1 gun stocks and wherever else a beautiful color and a showy grain are wanted4 ,it is easier to work than oak and is a fine wood for carving4 ,how to ,make ,joints4--,the word joint in woodworking means the place where two or more pieces of wood are fitted together1 and hence the words joiner and joinery in woodworking parlance4 ,illustration3 ,a ,,the ,,square ,,or ,,butt ,,joint ,b ,,the ,,plain ,,lap ,,joint ,c ,,the ,,beveled ,,lap ,,joint ,d ,,the ,,rebated ,,joint ,e ,,the ,,tongue ,,and ,,groove ,,joint ,,fig4 #c4 ,,how ,,edge ,,joints ,,are ,,made ,there are two chief kinds of joints and these are1 7#a7 where two flat surfaces are fixed to each other1 and 7#b7 where the edges of two boards meet to form a corner4 ,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 needs4 ,edge ,joints4--,there are three easy ways to make flat1 or edge joints and these are 7a7 the square1 or butt joint2 7b7 the lap-joint and 7c7 the matched joint1 all of which are shown in ,fig4 #c4 ,in the square joint the edges of the boards are simply butted together and nailed1 screwed or glued4 ,this joint is very weak unless the abutting ends are fastened to something else4 ,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 together4 ,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 smooth4 ,a better joint than the lap-joint is made by planing a tongue on the edge of one board and a groove in the other4 ,to do this easily1 neatly and quickly you need a rabbet plane and as this is quite a costly tool1 you can get along very well without it by using the lap-joints4 ,corner ,joints4--,there are five corner joints which you should know about and these are 7a7 the butt1 or square joint2 7b7 the lap1 or rebated joint2 7c7 the mitered corner pieced joint2 7d7 the common dove-tail box joint1 and 7e7 the regular dove-tail joint1 pictures of all of which are shown in ,fig4 #d4 ,now when you can saw a board off straight1 plane it true and make a good joint you will have small trouble in making anything in wood that you want to make4 ,illustration3 ,a ,,the ,,butt ,,or ,,square ,,joint ,b ,,the ,,rebated ,,joint ,c ,,the ,,mitered ,,corner ,,piece ,,joint ,d ,,the ,,simple ,,box ,,dovetail ,e ,a ,,better ,,form ,,of ,,dovetail ,,fig4 #d4 ,,how ,,corner ,,joints ,,are ,,made ,about ,working ,drawings4--,when most boys--to say nothing of the majority of men--start to make something they simply knit their eyebrows 7not high-brows7 and think out how it will look in the concrete--that is when it is all done and ready to use4 ,then they go ahead and begin to saw up the lumber and put the pieces together4 ,the result is that when the object is finished it looks very different from the thing they so proudly pictured in their mind's eye4 ,now the right way to build what you want and have it look as it ought to is to make a working drawing of it4 ,to do this draw a picture of it to a scale1 of say #a inch to the foot2 that is1 if it is to be #d feet long draw it #d inches long4 ,the drawings ,i have made of the work-bench and the tool box which follow will show you how to make simple working drawings and the last part of ,chapter ,,iii explains it all in detail1 so read it carefully4 ,things for ,you to ,make4--,when you have your workshop ready1 your tools at hand1 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 bench4 ,illustration3 ,,fig4 #e4 ,,an ,,easily ,,made ,,work ,,bench ,how to ,make a ,work ,bench4--,go to a lumber yard or a planing mill and get one #b #b scantling #ab feet long for the legs1 and two #b #b scantlings for the cross bars and the side bars2 the middle cross bar can be any kind of a thick piece of wood4 ,if you can't get #b #b scantlings get #b #d's and have whichever size you get planed smooth on all sides4 ,at the same time get three boards #a or #b inches thick1 #aj inches wide and #f feet long for the top of the bench and two boards #a inch thick1 #aj inches wide and #d feet long for the tool board4 ,saw the scantlings up so that you will have four pieces for the legs #b feet #i inches long2 four cross-bars #b feet #f inches long1 and two side bars #c feet #f inches long4 ,build up the frame of the bench first as shown in ,fig4 #e2 then nail1 or better1 screw a cross-bar to the middle of the #f foot boards1 lay them on top of the frame and nail or screw them to the end cross bars4 ,when you have the bench thus far along put on the vise4 ,illustration3 ,,fig4 #f4 ,a ,,wood ,,vise ,,for ,,your ,,work ,,bench ,a wood-worker's vise as shown at ,a and ,b in ,fig4 #f can be bought for #c4ej on up to about #i4jj4 ,the jaws are about #d inches wide and #ab inches long and they open nearly #ab inches4 ,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 ,fig4 #e4 ,the tool board is not an absolute necessity but it is a great convenience4 ,to make it saw off two boards #d feet long1 nail them together with a couple of strips of wood--these are called cleats--and round off one end as shown in ,fig4 #e4 ,screw the tool board to the back of the bench and you are all ready to make things in wood4 ,illustration3 ,,fig4 #g;,a4 ,a ,,carpenter',s ,,tool ,,chest ,how to ,make a ,tool ,chest4--,either birch or chestnut are good woods to make your tool chest of4 ,make the box1 that is the lower part of the chest1 and the lid for it of inch thick stuff2 have the box #i inches high1 #ab inches wide and #cj inches long and have the lid #c inches high1 #ab inches wide and #cj inches long4 ,screw the boards together as nails will not hold tight enough4 ,see ,a ,fig4 #g4 ,screw a strip of wood inside the chest for the tray to rest on2 put two or three hinges on the box and lid and be particular how you do it or the lid will not fit evenly on the chest4 ,fasten a staple on front of the box in the middle near the top and a hasp on the cover so that you can put on a padlock1 or better you can put on a regular chest lock which is handier and makes a neater looking job4 ,to keep the lid from falling back when you open it1 screw a piece of chain about #h inches long to it and the box and this will serve as a check4 ,illustration3 ,,fig4 #g;,b4 ,,the ,,tray ,,for ,,your ,,tool ,,chest ,finally make a tray of or inch thick wood as shown at ,b in ,fig4 #g4 ,make the ends #f inches high and #f inches long and saw out the handle grips with your keyhole saw4 ,make the sides and partitions #d inches high and #bh inches long1 screw them together and put on the bottom4 ,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 so4 ,note4--,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 ,hammacher1 ,schlemmer and ,company1 corner of ,fourth ,avenue and #acth ,street1 ,new ,york ,city1 will supply you with just what you want4 ,,chapter ,,ii ,,scroll ,,sawing1 ,,wood ,,turning1 ,,wood ,,carving1 ,,etc4 ,as you may have observed1 it takes a pretty good sized room for a shop and quite a lot of tools to do carpenter work and cabinet making4 ,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 tools1 and the chief ones of these are 7#a7 scroll sawing2 7#b7 wood turning2 7#c7 wood carving and 7#d7 pyrography4 ,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 mind1 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 live4 ,all ,about ,scroll ,sawing ,scroll sawing1 fret sawing and jig sawing all mean precisely the same thing and that is sawing interlaced and ornamental designs out of wood1 or fretwork as it is called4 ,with a scroll saw frame costing #ej cents and a few thin boards you can saw out the most exquisite patterns and make the most dainty articles imaginable4 ,there is more pleasure1 of course1 in using a regular foot power scroll saw1 but you can do just as good work with a hand frame and though it takes a little longer you'll enjoy it immensely4 ,scroll ,sawing ,outfits4--,a scroll saw is a very simple piece of apparatus and it consists of a fine saw fixed in a frame1 or otherwise supported1 so that it can be moved up and down1 and it is narrow enough to turn sharp curves4 ,now scroll saws1 as ,i shall call them1 are of three kinds and these are 7#a7 those worked by hand2 7#b7 those run by foot-power1 and 7#c7 those operated by other kinds of power4 ,illustration3 ,,fig4 #h4 ,a ,,simple ,,and ,,cheap ,,scroll ,,sawing ,,outfit ,a ,cheap ,scroll ,sawing ,outfit4--,the simplest and cheapest scroll sawing outfit consists of 7a7 a scroll saw frame2 7b7 a dozen saw blades1 and 7c7 an awl1 all of which are shown in ,fig4 #h4 ,if it is your idea to saw out brackets and other fancy knickknacks you ought to have a sheet of 7d7 impression paper1#i 7e7 some sheet designs1#aj and 7f7 some fancy wood4 #i ,this is ordinary carbon paper such as is used for typewriting4 #aj ,see ,fancy ,woods for ,scroll ,sawing in this chapter4 ,the scroll saw frame is a bent iron or steel bar1 usually nickel-plated1 which forms a frame about #e inches wide and #ab inches long4 ,a handle is fitted to one end and a clamp to each end so that the saw blade can be held tight in the frame4 ,how to ,use the ,scroll ,saw4--,the first thing to do is to put a saw blade in the frame and be sure to have the points of the teeth down1 that is toward the handle4 ,next mark the design you intend to saw out on a thin piece of wood#aa planed nice and smooth on both sides1 hold it flat on the edge of the table with your left hand1 grip the saw handle with your right hand and hold it so that the saw blade is vertical as shown in ,fig4 #i4 #aa ,both can be bought of ,l4 ,h4 ,wild1 #aga ,avenue ,a1 ,new ,york ,city4 ,you are ready now to begin to saw out the design2 set the sawblade on the line1 jig the saw frame up and down and be careful to give it even and smooth strokes4 ,you will be surprised to find how easily it works4 ,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 of the frame is always toward you and the blade should move forward but very slightly4 ,illustration3 ,,fig4 #i4 ,,the ,,right ,,way ,,to ,,use ,a ,,hand ,,scroll ,,saw ,when you want to saw a piece out of the inside of the board1 take your awl and make a hole in it by giving it a twisting motion to prevent it from splitting the wood4 ,now unscrew one of the clamps of your saw frame and put the free end of the saw through the hole1 clamp it in the frame and start to saw again4 ,a ,few ,other ,helpful ,things4--,a ,hand ,saw-,table4--,you can saw out your designs much more easily and neatly if you use a hand saw table as shown in ,fig4 #aj4 ,this is a board about #d #f inches on the sides with a ,v sawed out of one end and a clamp screwed to the bottom of it4 ,illustration3 ,,fig4 #aj4 ,a ,,hand ,,scroll ,,saw ,,table ,this makes the end of the board project out from the table it is clamped to1 raises the wood you are sawing from the surface of it and gives you a firm grip on it4 ,you can easily make a saw table or you can buy one for #ej cents4#ab #ab ,the ,millers ,falls ,company1 ,millers ,falls1 ,mass41 makes them and nearly all tool companies sell them4 ,files for ,scroll ,work4--,to do a really neat job at scroll sawing you should have a set of scroll saw files4 ,these files are long and thin and are made round1 oval1 knife edge1 half round and three cornered as shown at ,a in ,fig4 #aa4 ,a ,twist ,drill ,stock4--,a twist drill stock and a drill1 see ,b1 ,fig4 #aa1 is far better for making holes in wood than an awl and as they only cost #ej cents you should have one4 ,you can make a hole in a inch thick board in the th part of a minute4 ,a ,pair of ,pliers4--,a pair of flat-nose1 side cutting pliers is a very useful tool which will go a long way toward making your scroll sawing efforts a success4 ,a pair is shown at ,c in ,fig4 #aa4 ,a ,small ,hammer4--,and finally get a small hammer to drive brads with as pictured at ,d4 ,scroll ,saw ,blades4--,there are two kinds made and these are known as 7#a7 ,star saw blades and 7#b7 ,german saw blades4 ,illustration3 ,,scroll ,,sawyer',s ,,files ,a ,,twist ,,drill ,,stock ,,flat ,,nose1 ,,side ,,cutting ,,pliers ,a ,,small ,,hammer ,,saw ,,blades 7,,half ,,size7 ,,the ,,teeth ,,of ,a ,,saw ,,are ,,placed ,,wide ,,apart ,,to ,,cut ,,clean ,,fig4 #aa4 ,,some ,,necessary ,,scroll ,,sawing ,,tools ,as one is as good as the other by all means buy ,star blades4 ,the sizes from #a to #aj are shown at ,e in ,fig4 #aa1 but three smaller and two larger sizes are made4 ,the smaller sizes cost #aj cents a dozen and the larger sizes #ae cents a dozen4 ,the spacing of the teeth on the blade is shown at ,f4 ,how to ,trace a ,design on ,wood4--,you can draw your own designs or buy them printed ready to use4 ,in either case you must transfer the design to the surface of the wood you are going to saw4 ,to do this lay a sheet of carbon paper as typists call it1 or impression paper as jig sawyers call it1 with the prepared side next to the wood2 lay the design sheet on top of it2 and fasten the corners of the sheets to the wood with glue1 or1 better1 with thumb tacks4#ac #ac ,thumb tacks are short1 flat headed tacks used by draughtsmen4 ,now take a sharp1 hard lead pencil or a piece of pointed bone and trace the outline of the design4 ,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 it4 ,designs for ,scroll ,sawing4--,designs in great variety can be bought of ,h4 ,l4 ,wild1 ,publisher1 #aga ,avenue ,a1 ,new ,york ,city4 ,besides glove boxes1 handkerchief boxes1 bird cages1 clock cases1 thread and thimble stands1 photo frames and a thousand and one other pretty and useful articles you can get patterns for doll furniture1 alphabets and mechanical designs like the horizontal engine shown at ,a in ,fig4 #ab and the fire engine shown at ,b4 ,foot-,power ,scroll ,saws4--,there are several makes of foot-power scroll saws on the market and the prices of these range from #d4ej to #be4 ,the ,cricket ,scroll ,saw4--,this is the cheapest foot-power scroll saw that you can buy and is the one that sells for #d4ej4 ,it has a table that tilts which permits you to saw your work on a bevel--that is on a slant--so that you can inlay it with some other kind of wood or metal4 ,illustration3 ,a--,a ,,horizontal ,,steam ,,engine ,b--,a ,,fire ,,engine ,,fig4 #ab4 ,,mechanical ,,masterpieces ,,made ,,with ,a ,,scroll ,,saw ,this little machine weighs #ag pounds and is #cc inches high2 it is made of lighter castings than the machines which follow but it will do just about as good work as the higher priced ones4 ,fig4 #ac shows what it looks like4 ,illustration3 ,,fig4 #ac4 ,,the ,,cheapest ,,foot-,,power ,,scroll ,,saw ,,made ,the ,lester ,scroll ,saw4--,this is a well made saw1 has a cast iron frame and the arms of the saw frame and the pitman--that is1 the rod which connects the crank wheel with the frame--are of ash4 ,the ,lester has several very handy attachments and these are 7a7 an automatic dust blower1 which blows the sawdust away from the line you are sawing on2 7b7 an adjustable lever saw clamp with a hinged jaw which prevents the saw blades from breaking2 and 7c7 a drilling attachment4 ,illustration3 ,,fig4 #ad4 ,,the ,,lester ,,scroll ,,saw ,,with ,,turning ,,lathe ,,attachment ,this saw1 which is shown in ,fig4 #ad1 costs #aj4jj1 is #ce inches high and weighs in the neighborhood of #cj pounds4 ,the lathe attachment costs #b4jj extra4 ,the ,fleetwood ,scroll ,saw4--,this is the best and consequently the most expensive foot power scroll saw made4 ,it has a swing of nearly #af inches4 ,it is fitted with a tilting table1 a vertical drill and a blowing attachment4 ,a scroll saw of this kind with a plain stand can be bought for #ba4jj1 or one with a fancy stand1 see ,fig4 #ae1 can be had for #be4jj4 ,illustration3 ,,fig4 #ae4 ,,the ,,fleetwood ,,scroll ,,saw ,how a ,foot-,power ,scroll ,saw ,works4--,if you will look again at ,figs4 #ac and #ad you will see that the scroll saws shown have saw frames very like a hand saw frame4 ,the lower part of the frame is connected with a crank on the end of a spindle1 which has a small grooved wheel fixed to it1 by a pitman or rod and the treadle is connected with the large drive wheel by another pitman2 finally the drive wheel is belted to the small grooved wheel4 ,now when you work the treadle with your foot it produces a reciprocating motion and this is changed by the pitman into rotary motion which it imparts to the drive wheel4 ,since the grooved1 or driven1 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 faster4 ,the ,fleetwood works a little differently1 in that instead of a frame the pitman is connected with a metal block that slides in a guide4 ,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 long1 curved spring whose elasticity tends to make it fly up4 ,this action keeps the saw blade always taut and pulls it up except when the pitman pulls the block down and the saw with it4 ,this is the principle on which large power jig saws used in shops are worked4 ,how to ,saw on a ,foot-,power ,scroll ,saw4--,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 board2 when possible keep one hand on one side of the saw and the other hand on the opposite side of it4 ,press down hard enough on the work to keep it on the table against the up strokes of the saw2 as the top of the table is polished it is easy to slide the work around and keep the saw on the line4 ,run the saw at an even speed and do not feed the wood against the blade too fast4 ,,table ,,of ,,scroll ,,saw ,,woods ,price per foot planed to a thickness of ,name to in4 in4 in4 ,poplar1 or ,white ,wood or ,bass #j4jg #j4jh #j4ji ,spanish ,cedar 4#aj 4#ab 4#ad ,white ,maple 4#aj 4#ab 4#ae ,sycamore 4#aa 4#ac 4#ae ,hazel ,wood 4#aa 4#ac 4#ae ,oak or ,white ,ash 4#aa 4#ac 4#ae ,white ,holly 4#ab 4#ad 4#af ,black ,walnut 4#ad 4#af 4#ah ,bird's ,eye ,maple 4#ad 4#af 4#ah ,mahogany 4#ad 4#af 4#ah ,cocobola 4#bj 4#be 4#cj ,amaranth 4#bj 4#be 4#cj ,rosewood 4#be 4#cj 4#dj ,satin ,wood 4#cj 4#ce 4#dj ,tulip 4#ej 4#fj 4#ge ,real ,ebony 4#ej 4#ej 4#ej ,these woods can be bought of ,h4 ,l4 ,wild1 #aga ,avenue ,a1 ,new ,york ,city1 or of ,j4 ,gabriel and ,company1 #fgb ,grand ,street1 ,brooklyn1 ,n4 ,y4 ,fancy ,woods for ,scroll ,saw ,work4--,fancy woods that are planed on both sides for scroll sawing can be bought in thicknesses of 1 1 and inch4 ,wood that is inch thick is the best to use for all ordinary work4 ,the foregoing list gives the name1 thickness and price of the chief common and fancy woods that are good for scroll sawing4 ,trimmings for ,boxes1 ,etc4--,brass hinges1 knobs1 screws1 drawer pulls1 box hooks1 ,french screws and wire nails1 that is brads1 catches1 metal legs1 small locks1 escutcheons1 turned moldings1 etc41 can be bought of the above dealers who specialize in scroll sawyer's materials4 ,turning in ,wood ,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 gouge1 or wood turning as it is called4 ,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 form1 no1 not if you were to live a thousand years4 ,get a ,lathe ,first4--,it is far better to buy a lathe than to try to make one1 that is if you expect to turn anything on it1 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 money4 ,how a ,lathe is ,made4--,a wood turning lathe consists of four principal parts1 and these are 7#a7 the headstock2 7#b7 the rest2 7#c7 the tailstock2 7#d7 the bed and 7#e7 the stand1 the first three parts of which are shown in ,fig4 #af4 ,illustration3 ,,spur ,,head ,,stock ,,rest ,,tail ,,stock ,,fig4 #af4 ,,the ,,chief ,,parts ,,of ,a ,,turning ,,lathe ,the head stock is fixed to the bed of the stand2 it is formed of a cone pulley mounted on a spindle in a frame4 ,a spur center is screwed to the spindle and this holds the wood tightly in place while it is being turned4 ,the rest1 which is adjustable1 is used to lay your turning tool on and so keep it in position4 ,a long and short rest usually go with the better lathes4 ,the tailstock has two adjustments1 the first of which allows it to be slipped back and forth on the bed and clamped at any point which gives a rough adjustment1 and the second is a spindle which is threaded on one end and has a taper center1 that is a sharp point on the other end4 ,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 tailstock4 ,these parts rest on the bed of the lathe and this in turn is mounted on a stand4 ,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 saw4 ,illustration3 ,,fig4 #ag4 ,,the ,,cheapest ,,wood ,,turning ,,lathe ,,made ,the ,cheapest ,lathe ,you ,can ,buy4--,the cheapest lathe you buy is called the ,companion2 it is made by the ,millers ,falls ,company1 ,millers ,falls1 ,n4 ,y41 and it costs #aj4ej4 ,it has a long and a short rest1 three turning tools and a #b inch face plate and spur center4 ,when you get it uncrate it1 set it up1 oil it well and you are ready to do some turning4 ,the lathe is shown complete in ,fig4 #ag4 ,attachments for the ,companion ,lathe4--,this lathe is fitted with a #d inch emery wheel without extra charge4 ,a very useful attachment is a circular saw #c inches in diameter and a saw table #f #g inches with a straight edge guide2 it costs #a4be extra4 ,a scroll saw attachment that can be clamped on the lathe bed may be bought for #c4jj extra4 ,both of these attachments are shown in ,fig4 #ag4 ,of course better and larger lathes can be had for more money4 ,turning ,tools for ,wood4--,the tools used for turning wood#ad are simply chisels and gouges4 ,the chisels are made with four kinds of points1 namely1 7#a7 skew point2 7#b7 round point2 7#c7 square point1 and 7#d7 spear point1 and these are shown in ,fig4 #ah4 ,these chisels can be bought in all sizes from inch to #a inch wide4 #ad ,buck ,bros4' turning tools for wood are counted best4 ,gouges also come in sizes from inch up to #a inch1 and a parting tool1 which is used to cut off a turned piece and which is simply a ,v shaped chisel1 can be had in 1 and inch sizes4 ,these turning tools are also shown in ,fig4 #ah4 ,you can buy them fitted with applewood handles and sharpened ready for use for about #ej cents apiece4 ,you can buy them of hardware dealers or of ,hammacher1 ,schlemmer and ,co41 ,fourth ,ave4 and #acth ,street1 ,new ,york4 ,illustration3 ,,skew ,,point ,,round ,,point ,,square ,,point ,,spear ,,point ,,the ,,gouge ,,the ,,parting ,,tool ,,fig4 #ah4 ,a ,,set ,,of ,,wood ,,turning ,,tools ,how to ,turn ,wood4--,before you can turn out a really good job on a lathe you must practice awhile4 ,a good thing to try your hand on is to make some tool handles4 ,the size of these will1 of course1 depend on what you intend to use them for4 ,take a stick of wood1 round or square1 it doesn't in the least matter1 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 ,fig4 #ai4 ,this done screw up the feed of the tailstock until the back-center is forced into the end of the wood about of an inch2 clamp the rest so that it comes to within an inch of the wood you are going to turn and you are ready for work4 ,illustration3 ,,fig4 #ai4 ,,putting ,,the ,,rough ,,wood ,,in ,,the ,,lathe ,now put your foot on the treadle and work it up and down2 very soon the speed of the drive wheel will carry it round smoothly and it will deliver considerable power to the pulley of the headstock4 ,if the drive wheel is #e times as large as the pulley and you treadle the drive wheel #ajj times every minute1 the stick of wood which you want to turn will revolve #ejj times a minute4 ,illustration3 ,,fig4 #bj4 ,,the ,,right ,,way ,,to ,,hold ,a ,,wood ,,working ,,tool ,when you have the wood rotating at about this speed grip the handle of it firmly with your right hand1 lay the back of the chisel on the rest and press down on the blade with your left hand as shown in ,fig4 #bj4 ,of course the top edge of the wood is turning toward you4 ,whatever you do when you are roughing down a stick of wood don't try to take off too large a cut4 ,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 cutting4 ,gouges are used in the same way as chisels and with them you can turn out hollow parts4 ,a parting tool is used for cutting off the ends of the wood after you have finished turning it4 ,illustration3 ,,sizing ,,with ,a ,,pair ,,of ,,calipers ,a ,,regular ,,sizing ,,tool ,,fig4 #ba4 ,,sizing ,,the ,,turned ,,work ,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 calipers1 as shown in ,fig4 #ba1 or you can size it with a regular sizing tool4 ,to size the work measure off the distance between the points of the calipers with a rule for whatever thickness you want the turned part2 then as you turn the wood you can try it from time to time until the wood will just slip through between the points4 ,the ,art of ,wood ,carving ,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 at4 ,while carving is an art in itself it can be used with fine effect in combination with some kinds of scroll sawed and turned work4 ,your ,set of ,carving ,tools4--,to begin with you can get along very well with a set of six carving tools4 ,a set of this number is made up of a inch1 a inch1 a inch and a inch straight shank carving tools and two of these are chisels and four are gouges1 so you see that they are just about the same as carpenters' and turners' chisels and gouges4 ,such a set of tools costs about #c4jj4 ,a better set contains a dozen carving tools and this includes the above tools as well as a couple of bent fluting gouges1 with and inch sweeps1 a couple of front bent tools1 a straight parting tool1 and a veining tool1 all of which is shown at ,a in ,fig4 #bb2 the sweeps1 as the curved cutting edges are called1 are shown at ,b4 ,the tangs of these tools1 that is the sharp ends which fit into the handles1 have shoulders on them to prevent the handles from creeping and splitting4 ,the best carving tools on the market are those made by ,s4 ,j4 ,addis of ,london1 and you can't go wrong if you buy them4 ,illustration3 ,a ,,straight ,,chisel ,,short ,,bend ,,gouge ,,skew ,,chisel ,,straight ,,parting ,,tool ,,straight ,,gouge ,,long ,,bend ,,gouge ,,fluting ,,gouge ,,front ,,bend ,,gouge ,,veining ,,tool ,,bent ,,file ,b ,,sweeps ,,of ,,wood ,,carving ,,tools ,c ,,carver',s ,,mallet ,,fig4 #bb4 ,,kinds ,,and ,,sweeps ,,of ,,carving ,,tools ,carving tools as they come from the makers are sharpened but not honed1 that is the tools are ground sharp1 but the inside bevel of the tools must be rubbed up with an oil stone slip and most wood carvers like to do this themselves4 ,when you buy a set of carving tools you also want to get a carver's mallet made of lignum-vit#ae with a face #b inches in diameter and1 as you will see in ,fig4 #bb1 its shape is quite different from the ordinary kinds4 ,also get a ,washita oil stone1 and an ,arkansas carving tool slip1 which is a small wedge-shaped oil-stone4 #ae ,lignum-vit is a greenish-brown wood and is very hard and heavy4 ,it grows in tropical ,america4 ,illustration3 ,,fig4 #bc4 ,,markers ,,for ,,stamping ,,in ,,backgrounds ,two or more markers1 which are stamps made of tool steel1 are very useful for stamping in background work4 ,a number of different designs are shown in ,fig4 #bc and they cost about a quarter apiece4 ,illustration3 ,a ,,snib ,a ,,hand ,,clamp ,a ,,carver',s ,,vise ,,fig4 #bd4 ,,schemes ,,for ,,holding ,,work ,,when ,,carving ,to hold the work while you are carving it you can make two or more snibs as shown at ,a in ,fig4 #bd4 ,these little clamps are sawed out pieces of wood with an ordinary wood screw through the thick end1 and when you want to carve a flat piece of work clip it with a couple of snibs and screw the latter to your bench4 ,a better scheme is to use a couple of hand screws as shown at ,b4 ,for carving in relief you will need a wood-carver's vise as shown at ,c4 ,the ,best ,woods for ,carving4--,a wood that is suitable for carving must be tough1 even grained and free from knots4 ,for a beginner1 and ,i guess you are one1 yellow pine 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 grain4 ,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 pine4 ,black walnut and mahogany are beautiful woods and are nice to carve1 while for finer work apple1 pear1 sycamore and ,california redwood are largely used4 ,kinds of ,wood ,carving4--,there are three kinds of wood carving in general and these are 7#a7 chip1 or surface carving1 7#b7 panel or relief carving1 and 7#c7 figure carving1 as shown in ,fig4 #be4 ,when you cut your initials in the top of your desk at school you made a primitive attempt at what is called chip carving4 ,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 you1 and so it's not your fault4 7,but don't do it again47 ,any kind of carving on a flat surface is called chip carving1 and some of it is very beautiful4 ,it is shown at ,a4 ,illustration3 ,a--,,plain ,,panel ,b--,,fancy ,,panel ,c--,,figure ,,carving ,,fig4 #be4 ,,kinds ,,of ,,carving ,panel carving is done on flat pieces of wood also but the design is made by cutting out or sinking the ground1 as shown at ,b4 ,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 planted on1 that is glued on4 ,to carve a lily of the valley or a deer's head out of a solid block of wood is not as easy as the other kinds of carving1 but if you have a natural aptitude for using tools and an eye for art you can succeed as well as the next one4 ,illustration3 ,,fig4 #be;,d4 ,a ,,carved ,,watch ,,case ,,holder ,chip ,carving4--,you will need only three tools for chip carving and these are 7#a7 a inch chisel2 7#b7 a parting tool and 7#c7 a veining tool4 ,the first thing is to get the design you want to carve on the board4 ,to do this you can either draw the design directly on the board1 or1 better1 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 pencil4 ,screw the board to your bench with two or more snibs and you are ready for work4 ,carve out the heavier lines with the parting tool and the lighter lines with the veining tool4 ,use the chisel to cut the corners sharp and make the lines clean and even4 ,in chip carving grounds are never put in4 ,panel ,carving4--,in this kind of carving leaves1 berries1 scrolls and the like are carved out of the surface of the board and as the ground is sunk these objects stand out in relief4 ,begin by drawing1 or transferring1 the pattern to the board as before2 then cut it out with gouges and chisels as shown at ,a and finally use the veining tool for the radiating lines4 ,the head can be carved out of a separate piece of wood glued to the ground1 or planted on as it is called4 ,the work can be oiled and polished but never varnish it4 ,it is shown finished at ,c4 ,to make a watch case holder like the one shown at ,d saw out a piece of walnut1 or other wood1 inch thick and draw on the design4 ,carve the cross and lower part of the case by chipping it2 carve the leaves in relief and put in the veins with the veining tool4 ,now saw out another piece for the pocket #a inch thick and carve out the front and the back to the shape shown at ,d so that it is only inch thick when finished and glue it to the other part when you will have a watch case holder of the vintage of #ahge4 ,carving in ,solid ,wood4--,this ranges all the way from carving simple leaves as shown at ,d to the human form divine4 ,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 tool4 ,for carving out heads1 as for example the one shown at ,c1 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 middle4 ,now screw up the block in your vise and cut away the sides with your chisels and gouges1 using the mallet to do it with4 ,all you want to do at first is to get the rough shape of the figure4 ,when you have done this you can go ahead and finish up the work with your chisels and gouges4 ,to give the carving a life-like appearance do not use files or sandpaper on it and do not varnish or polish it4 ,pyrography1 or ,wood ,burning ,this is a simple and pleasing art and one that is easy to practice4 ,it gets its didactic name from the ,greek word pyro1 which means fire1 and graph1 to write1 that is writing with fire1 only in pyrography you draw with fire instead4 ,the ,necessary ,tools4--,the chief tool you need is called an etching tool4 ,this is formed of a piece of iron1 copper or platinum with a curved point which is heated in a flame until it is red or white hot4 ,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 it4 ,illustration3 ,a--,,the ,,etching ,,tool ,b--,,complete ,,with ,,handle ,,fig4 #bf4 ,,the ,,tool ,,used ,,for ,,pyrography ,how to ,make an ,etching ,tool4--,get a piece of copper rod inch in diameter and #c inches long2 file one end down to a point to the shape shown at ,a and ,b in ,fig4 #bf and put a file handle on the other end4 ,how to ,make an ,alcohol ,lamp4--,the etching tool must be heated in either an alcohol or a ,bunsen flame4 ,you can make an alcohol lamp of an ink bottle that will serve the purpose very well4 ,make a hole in the cork about inch in diameter and make a tin tube #a inch long that will fit it snugly4 ,braid a wick of string and put it through the tin-tube2 fill the bottle with alcohol and your lamp is done4 ,if you can get gas you can use a ,bunsen burner#af which makes a hotter flame and is less trouble4 #af ,can be bought of the ,l4 ,e4 ,knott ,apparatus ,company1 ,boston1 ,mass4 ,a ,better ,outfit4--,a good outfit which has a platinum pointed tool and burns alcohol vapor1 see ,c1 can be bought for #c4jj and more4#ag ,if you have gas in your house you can buy a tool which uses it for #ej cents or less4 #ag ,everything needed for pyrography can be had of the ,frost and ,adams ,co41 ,cornhill1 ,boston4 ,illustration3 ,c--,,an ,,outfit ,,that ,,burns ,,alcohol ,,vapor ,,fig4 #bf;,c4 ,,an ,,outfit ,,that ,,burns ,,benzine ,,vapor ,about the ,designs4--,if you are good at drawing you can make your own designs1 but if not you can buy them ready to use4 ,draw your designs on soft white pine or basswood with a soft lead pencil having a blunt point4 ,photo frames1 plaques1 tie racks1 collar boxes and things which you can saw out on your scroll saw are greatly improved by burning4 ,how to ,burn in the ,design4--,heat the tool until it is red-hot1 or if it is platinum until it is white hot as shown at ,d4 ,hold the tool as shown at ,e and without using too much pressure draw and push the point along the lines until they are burnt in evenly4 ,when you have burnt in the design burn in the background by making a lot of closely spaced lines2 then burn in more parallel lines across the first set4 ,this produces a cross-hatched effect which at a distance makes the design stand out in bold relief4 ,illustration3 ,,fig4 #bf;,d4 ,,how ,,the ,,tool ,,is ,,heated ,illustration3 ,e ,,fig4 #bf;,e4 ,,burning ,,in ,,the ,,design ,when you have become a little expert you can shade the design but don't try it until you can burn the lines in evenly4 ,coloring and ,staining ,wood4--,stains and dyes of all colors can be bought of the ,devoe and ,reynolds ,company1 #aja ,fulton ,street1 ,new ,york4 ,ebony ,stain4--,brush the wood with a saturated solution of ferrous-sulphate and it will make it inky black4 ,when used on white holly1 or any other close grained wood1 it gives it a real ebony look4 ,put the solution on with a soft brush4 ,after the ebony stain has been used the wood should be polished with wax to give it a dull finish4 ,fumed ,oak4--,oak can be colored a beautiful brown by putting it in a box with a tight fitting lid in which is a saucer of ammonia2 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 fumed oak4 ,,chapter ,,iii ,,metals ,,and ,,metal ,,working ,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 wood1 that is1 if you have the right kind of tools to do it with4 ,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 them4 ,metal working1 like wood working1 can be divided into two classes and these are 7#a7 the strictly practical1 and 7#b7 the purely ornamental1 but you can often combine them in an object which possesses both utility and artistic merit4 ,it is my intention to tell you in this chapter about the tools that you need to do ordinary metal work1 such as sawing1 drilling1 bending1 filing1 etc4 ,as in working wood you ought to have a bench1 or a good strong table will do4 ,your ,kit of ,tools4--,to work metals you will need certain tools according to the kind of work you intend to do4 ,if you get all of those ,i have listed below you will have nearly all the hand tools you need to do any kind of a job that may come up4 ,the following list is quite a full one and a kit which includes all of them will cost in the neighborhood of fifteen dollars4 ,you don't need to buy all of them at once1 however1 but just get a tool at a time as you must have it until your kit is complete4 ,the ,various ,kinds of ,tools4--,metal working tools are tempered harder than wood working tools and are made of what is known as tool-steel4 ,for your kit of machinists' tools get 7#a7 a ball pein hammer which weighs about #h ounces--this is a regular machinists' hammer2 7#b7 a pair of #d inch side cutting pliers2 7#c7 a pair of #h inch tinners' snips which makes a #b inch cut2 7#d7 a jeweler's adjustable saw frame2 7#e7 a hack saw frame to hold an #h inch saw blade2 7#f7 a hand drill stock with a chuck for holding round shank drills from #j to inch in diameter4 7#g7 ,four ,morse twist drills 1 1 and inch in diameter2 7#h7 a #f inch steel rule1 graduated into #hths1 #afths1 #cbnds and #fdths of an inch2 7#i7 a machinist's steel square with a #b inch blade2 7#aj7 a pair of #c inch spring dividers2 7#aa7 a pair of #c inch inside spring calipers2 7#ab7 a pair of #c inch outside calipers2 7#ac7 a center punch2 7#ad7 a ,no4 #a set of screw cutting taps and dies1 this set contains a stock or handle and five taps and five dies which cut 1 1 1 1 and inch in diameter4 7#ae7 ,a few files--flat1 hand1 round and half-round in shape and the smooth and second cut will be the most useful2 7#af7 several screw drivers1 small and large2 7#ag7 a soldering copper that weighs about a pound2 7#ah7 a can of soldering paste1 or you can make a soldering fluid yourself1 and 7#ai7 an alcohol lamp1 which ,i told you how to make in the last chapter1 or a ,bunsen burner if you have a supply of gas1 and 7#bj7 a machinist's vise4 ,all of these tools are shown in ,figs4 #bg and #bh4 ,illustration3 ,,tinner',s ,,snips ,,soldering ,,copper ,,and ,,alcohol ,,lamp ,,flat ,,nose ,,side ,,cutting ,,pliers ,,flat ,,nose ,,pliers ,,round ,,nose ,,pliers ,a ,,bench ,,level ,a ,,wire ,,guage ,a ,,rose ,,countersink ,a ,,taper ,,reamer ,,oil ,,can ,,and ,,oil ,,stone ,,set ,,of ,,screw ,,cutting ,,taps ,,and ,,dies ,,machinist',s ,,vise ,,fig4 #bg4 ,,the ,,chief ,,metal ,,working ,,tools ,illustration3 ,,jeweller',s ,,hammer ,,ball ,,pein ,,hammer ,,hand ,,drill ,,stock ,,and ,,drill ,,spring ,,dividers ,,spring ,,calipers ,,outside ,,spring ,,calipers ,,inside ,,jeweller',s ,,adjustable ,,saw ,,frame ,,hack ,,saw #f ,,steel ,,rule ,,machinist',s ,,steel ,,square ,,center ,,punch ,,cold ,,chisel #a--,,shell ,,square ,,taper #b--,,round ,,or ,,rat ,,tail #c--;,,hand ,,or ,,flat ,,kinds ,,of ,,files ,,fig4 #bh4 ,,some ,,other ,,metal ,,working ,,tools ,some ,hints on ,using the ,tools4--7#a7 ,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 round4 7#b7 ,side cutting pliers are useful to hold and bend bits of metal with and to cut off pieces of wire as well4 7#c7 ,tinner's snips are simply large powerful shears and you can cut sheet metal up to of an inch thick with an ordinary pair4 ,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 it4 ,metals that are thicker than inch must be sawed4 7#d7 ,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 ,fish ,brand for fine work4 7#e7 ,for heavier work use a machinist's hack saw2 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 vibrate2 use a little pressure on the outward1 or cutting stroke1 and let up on it as you draw the saw back or you will dull the teeth4 7#f7 ,in using twist drills1 and these are the only satisfactory kind for metal work1 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 turning4 ,in drilling iron keep plenty of oil on the drill point4 7#g7 ,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 inch are close enough1 for metal work it should not be more than nd of an inch1 and for machine work make your measurements to th of an inch4 7#h7 ,a small steel square is better in every way for metal work than a carpenters' try square but you will find it quite expensive4 7#i7 ,the advantage of spring dividers over the ordinary kind is that you can set them very accurately and they will stay where you set them4 ,in scribing a circle with a pair of dividers mark the center with your center punch first as this will prevent your dividers from slipping4 7#aj7 ,inside calipers are used for measuring the inside diameters of cylinders and the like1 and1 conversely 7#aa71 outside calipers are used for measuring the outside of anything that is round4 ,in either case you measure the distance between the points of your caliper with your rule to find the diameter of the thing4 7#ab7 ,a center punch is always useful to make a starting point in metal with1 for it can't be rubbed off or lost sight of4 7#ac7 ,a set of taps and dies to cut screw threads with in metal of whatever kind is a joy forever4 ,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 them4 ,when you are cutting threads in a piece of metal with the tap1 the hole in the metal must of course be a trifle smaller than the diameter of the tap2 the tap is put into a handle called a stock 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 tap4 ,the same method holds good when you are cutting threads on a rod with a die2 in this case the rod must be a little larger than the hole in the die4 ,in threading iron use plenty of oil on the tap or die1 but for brass and the softer metals a lubricant is not needed4 7#ad7 ,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 saw1 that is1 so that the cut is made on the out stroke4 ,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 hand and the end steadied and guided by the fingers of your other hand4 7#ae7 ,in putting in a screw always use the largest size screw-driver whose blade will fit the slot in the head of the screw2 this will prevent the blade of the screw-driver from twisting the edges of the slot out of shape4 7#af7 ,before a soldering copper can be used1 if it is a new one1 it must be tinned1 that is the point of it must be coated with solder4 ,to tin it get a pine board about #a inch thick1 #d inches wide and #f inches long1 and put some brown resin and bits of solder on it4 ,file off the copper until the point is sharp and it is bright and smooth2 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 it4 7#ag7 ,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 soldering fluid by dissolving a teaspoonful of zinc chloride in an ink bottle full of clean water4 ,in heating the soldering iron keep it near the tip of the flame2 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 it4 ,about ,sharpening ,tools4--,the only metal working tools you will need to sharpen are the twist drills and these can be sharpened on a carborundum oil stone4 ,hold the beveled edge of the drill point on the stone and move it to and fro1 being very careful to keep the drill perfectly straight up and down while you are sharpening it4 ,metals and their ,uses4--,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 of4 ,there are five chief metals and a couple of alloys1 which are formed by melting and mixing two or more metals together1 which you will find the most useful and ,i shall describe these for you in detail4 ,iron4--,this is the most useful metal we have4 ,when it is pure it has a silvery color1 is very tenacious1 which means that it is tough2 it is malleable1 that is it can be hammered without cracking1 and it is ductile in that it can be drawn out into wire without breaking4 ,it is hard to get pure iron for nearly all of it contains a small percent of carbon1 silica1 phosphorus1 sulphur or other elements4 ,these substances in iron give it different properties4 ,for instance cast-iron has a large amount of carbon in it2 this kind of iron is good to cast into molds but it cannot be hammered or drawn without danger of cracking or breaking4 ,wrought iron has very little carbon or other substances in it and this makes it easy to work because it can be hammered or drawn4 ,steel contains more carbon than wrought iron but it has less carbon than cast iron2 steel can be cast1 forged1 tempered and hardened by heating it red hot and then suddenly cooling it4 ,tin4--,this is a white metal that looks very much like silver1 and it is so malleable that it can be hammered out into very thin sheets and which you know so well as tin-foil4 ,it is not found in very many places but the ancients called ,britain the ,tin ,islands because they got it chiefly from there4 ,what we ordinarily call tin is really tin plate1 that is thin sheet iron coated with tin1 and it is used as a covering for other metals because it does not rust or oxidize in air4 ,tin is largely used in making alloys such as soft solder1 type-metal1 pewter1 etc4 ,it has a very low melting point4 ,zinc4--,this is a bluish white metal and though it is sometimes found in a pure state it is usually found in combination with other elements4 ,when it is heated to different temperatures it behaves in various ways2 for instance when it is cold it is quite brittle1 but at #ajj to #aej degrees ,fahrenheit1#ah it can be easily rolled into sheets and rods2 curiously though when it is heated to #bjj degrees or over it gets brittle again4 #ah ,the ,fahrenheit thermometer scale is the one generally used in this country4 ,fahrenheit was a ,german scientist who lived #bjj years ago1 and he invented the mercurial thermometer4 ,zinc is easy to cut and when mixed with copper it forms the alloy we know as brass4 ,lead4--,this is the softest metal known and it has a bluish-gray color4 ,it is very heavy and melts at a low temperature4 ,lead was one of the earliest metals known and if you will read the ,book of ,job you will find it mentioned there4 ,it has been used from time immemorial in making water-pipes1 utensils1 etc41 and the ancient ,romans made weights of it4 ,since it is so soft it can be easily hammered into any shape or it can be rolled or drawn4 ,it is also largely used in forming alloys with other metals1 thus solder is made of #ej parts of lead and #ej parts of tin2 type-metal is made of #hj parts of lead and #bj parts of antimony2 and pewter is made of #be parts of lead and #ge parts of tin4 ,copper4--,this metal is found in a pure state in large quantities around ,lake ,superior in the ,united ,states and in ,chili1 ,south ,america4 ,it is a fairly hard metal of a reddish color1 has a high luster1 is malleable1 and ductile4 ,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 now1 but the art was lost when iron came into use4 ,copper is now largely used in the arts and trades as for the sheathing and bolts of ships1 the conducting parts of electrical apparatus1 in making alloys1 such as bronze of which tin is the other metal4 ,copper is easily hammered and drawn but it is so tough that it is hard to saw and drill4 ,it does not oxidize in dry air but in moist air it gradually changes and takes on a layer of carbonate of copper which gives it a very beautiful and artistic appearance and makes it look as if it was a thousand years old4 ,aluminum4--,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 use4 ,it has a bright bluish white color nearly like that of tin and is the lightest common metal known4#ai ,it does not tarnish either in dry or moist air2 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 soldered4 ,aluminum can be bought#bj in sheets of any thickness1 or in rods or tubes of any size4 #ai ,aluminum when mixed with magnesium makes an alloy called magnaleum and this is lighter than aluminum alone4 #bj ,sold by the ,aluminum ,co4 of ,america1 #abj ,broadway1 ,n4 ,y4 ,a ,few ,useful ,alloys4--,when two or more metals are melted together and mixed they form what is called an alloy4 ,brass4--,this well known alloy is made by mixing zinc with copper4 ,there are twenty or more different kinds of brass but common brass is made of #cf parts of zinc and #fd parts of copper4 ,brass is harder than copper and while it can be hammered and drawn it is not nearly as malleable or as ductile as copper4 ,it can be sawed1 drilled1 threaded and machined easily and is about the best alloy you can use for making small parts of machines4 ,type-metal4--,all kinds of metals shrink when they cool after being run into a mold and so the edges of the castings are never very sharp4 ,now type metal which is an alloy made of #hj parts of lead and #bj parts of antimony will expand and this is the reason why type is so beautifully clear and sharp4 ,so if you want to cast little parts of machines and engines and the like you can do a good job by using type-metal4 ,as it melts at a low temperature you can melt it in an iron ladle over the kitchen fire4 ,pewter4--,this alloy1 which is made of #ge parts of tin and #be parts of lead1 in ,colonial days was much used for making all kinds of table-ware and household utensils and it will come into vogue again ,i hope4 ,more will be said about this alloy and how to work it in the next chapter4 ,how to ,do ,metal ,work4--,now that you know about tools and the properties of metals there are a few other little things which1 if you will bear them in mind1 will enable you to make nearly anything you want to4 ,the first has to do with drawing and the others with working the metals themselves4 ,first ,sketch ,your ,ideas4--,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 it1 and how it will look when you have finished it1 is the first step toward being a disappointed boy4 ,when you get an abstract idea for a design or a machine that you want to put in concrete form take a rule and compasses1 pencil and paper and draw it out to scale1 that is1 make a drawing of it and mark the sizes1 or dimensions1 of each part just as it should be when the thing is done4 ,by roughly sketching the object1 or1 better1 by making an accurate working drawing of it before you do anything else you will save time1 patience and materials4#ba #ba ,how to make working drawings is explained in ,chapter ,v4 ,fuller directions will be found in ,inventing for ,boys1 by the present author1 published by ,frederick ,a4 ,stokes ,company1 ,n4 ,y4 ,sheet ,metal ,work4--,cutting and ,sawing4--,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 awl1 or scribed it with your dividers you can cut it out with your snips if the sheet is thin enough4 ,if it is too thick to be sheared then saw it out with your jeweler's or hack saw4 ,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 punch1 or cut it out with a stencil cutter's chisel1 which is simply a very sharp cold chisel4#bb ,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 saw1 though you may have to hold the metal in a vise4 #bb ,see ,chapter ,,viii4 ,making ,seams and ,joints4--,the next thing to do after having cut out the different pieces of metal is to put them together4 ,the way you do this will again depend very largely on the thickness of the metals1 but in any event where the pieces meet1 a seam or a joint must be made4 ,illustration3 ,a--,,lap ,,seam ,b--,,grooved ,,seam ,c--,,lap ,,seam ,,riveted ,d--,,butt ,,joint ,,bolted ,e--,,box ,,lap ,,joint ,f--,,box ,,grooved ,,seam ,g--,,butt ,,pieced ,,joint ,h--,,corner ,,butt ,,joint ,,screwed ,i--,,circular ,,lap ,,seam ,j--,,circular ,,folded ,,seam ,k--,,circular ,,overfold ,,seam ,,fig4 #bi4 ,,how ,,metal ,,seams ,,and ,,joints ,,are ,,made ,if the metal is thin the pieces can be lapped and then soldered or riveted together as shown at ,a in ,fig4 #bi or you can make a folded seam as shown at ,b4 ,if1 however1 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 ,c4 ,a strong butt seam can be made by hard soldering or brazing the edges together but it takes a hot flame and considerable skill to do a good job of this kind4 ,another way to make a butt seam of two thick sheets 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 ,d4 ,in making corner joints one or both edges of the sheet should be bent over as pictured at ,e when they can be soldered1 riveted or bolted together2 or a grooved seam can be made as shown at ,f if the metal is thin enough4 ,if the pieces of metal are say 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 ,g1 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 ,h4 ,when putting ends on tubes and cylinders you can make a circular lap seam as shown at ,i1 or a circular folded seam as at ,j or a circular overfolded seam as shown at ,k4 ,how to ,solder ,metals4--,the great secret in soldering metals is to have them perfectly clean and then if you use the right kind of flux and the proper solder you will not have any trouble4 ,fluxes4--,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 stick4 ,different metals require fluxes of different kinds4 ,when soldering bright new tinware use powdered resin for the flux1 but if the parts are old then scrape and clean them well and use a flux of zinc chloride solution4 ,to make it dissolve #e cents' worth of zinc chloride--which is muriate of zinc--in a small clean inkbottle full of warm water2 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 it4 ,this kind of a soldering fluid is a good flux for tin1 iron1 steel1 brass and copper4 ,it is good for all ordinary work but it must be washed off from iron or steel as it will rust them very quickly4 ,to solder copper sal ammoniac can be used4 ,the only kind of a flux to solder zinc with is a solution made of #aj per cent4 of muriatic acid and #ij per cent4 of water4 ,for lead1 pewter and any alloy with lead in it use tallow1 ,gallipoli oil or ,venice turpentine4 ,resin can be used successfully for all metals provided they are scraped bright and clean before they are soldered4 ,solders4--,just as certain metals require given fluxes so also do these metals need special solders4 ,for soldering tinware a fine tinner's solder made of #a part of tin and #a part of lead flows best4 ,for soldering lead use a fine plumber's solder which is formed of #a part of tin and #b parts of lead4 ,to solder pewter which melts at a low temperature use a pewterer's solder which is composed of #c parts of lead and #a part of bismuth4 ,bolts and ,rivets4--,where two pieces of metal are to be fixed together so that they can be taken apart again1 machine screws with nuts on them1 or bolts1#bc will be found useful4 #bc ,machine screws and bolts for model work can be bought of ,luther ,h4 ,wightman1 ,boston1 ,mass4 ,a good kind of rivet for small work is known as tinner's rivets2 they are made of iron and have a length of of a inch4 ,now a rivet can either be hammered down so that the point spreads out and forms a burr1 or a washer1 which is called a burr1 can be slipped down over it and the end then peined down4 ,copper-rivets as small as inch in length can be bought at most hardware stores4 ,bending ,sheet ,metal4--,to bend a metal sheet put it on a wood or metal form and pound it into shape with a wooden mallet4 ,the edges of a piece of sheet metal can be bent either by pounding it over the sharp corner of an iron bar1 or if a very small part is to be bent use a pair of round or flat nose pliers4 ,a thick piece of sheet metal can be bent by putting it in your vise and pounding over the edge with a hammer4 ,finishing ,up ,metals4--,of course all the rough parts must be smoothed up with a file2 then use emery paper or emery cloth to rub out the file marks and finally finish off the surface by polishing it with crocus#bd put on with a cloth4 #bd ,crocus is a powder made of iron rust4 ,coloring ,metals4--,many things that you make of metal can be greatly improved in appearance by coloring them4 ,bluing ,steel4--,first polish the articles and clean them by immersing them in a hot solution of caustic soda4 ,now put the screws1 or whatever it is you want to blue1 in an iron pan half full of dry1 clean sand and heat them over a fire4 ,keep moving the articles around with a pair of tweezers until they are the color you want them and then drop them into clean oil4 ,bluing ,brass4--,polished pieces of brass can be given a fine color by putting them in a solution made as follows3 ,stir #a drams of antimony sulphide1#be #b ounces of calcined soda in of a pint of water2 to this solution add #b drams of kermes4 ,stir well1 filter it and then mix it with #b drams of tartar1 #e drams of hyposulphite of soda dissolved in pint of water when it is ready to use4 #be ,this and all other chemicals can be bought of ,eimer and ,amend1 ,fourth ,ave4 and #ahth ,street1 ,new ,york4 ,giving ,brass a ,green ,color4--,make a solution of #b ounces of copper sulphate1 an ounce of sal ammoniac and #be ounces of water4 ,suspend the articles to be greened in the solution and boil it until you get the color you want4 ,giving ,brass a ,dull ,look4--,first clean the articles thoroughly2 then mix ounce of iron rust and ounce of white arsenic in #d ounces of muriatic acid4 ,use a brush and paint the articles with this solution until it takes on the proper dull appearance4 ,then wipe it off1 oil1 dry and lacquer it4 ,frosting ,brass ,articles4--,hang the brass articles in a boiling solution of caustic potash1 wash them off in clean water and dip them in nitric acid until the oxide is gone1 wash them again and throw them in sawdust to dry2 heat them a little and lacquer while they are warm4 ,lacquering ,brass and ,copper4--,to lacquer a brass or a copper article dip it in a weak solution of sulphuric acid and water and then wash it in clean water4 ,next put the article on a piece of sheet iron and heat it over a gas jet or in an oven4 ,it must not be heated enough to color it but just so that when you place your moistened finger to it it will sizzle2 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 lacquer4 ,how to ,make the ,lacquer4--,put #a ounce of tumeric powder1 #b drams of annatto and #b drams of saffron into #a pint of alcohol4 ,let it stand for a week or #aj days and shake it often2 pour the clear liquid into a bottle and put in #c ounces of yellow shellac2 let it stand for a couple of weeks more2 shake it often and pour off carefully4 ,then you can put it on4 ,lacquers can be bought ready made from ,hanson and ,van ,winkle1 ,dealers in ,electroplating ,supplies1 ,newark1 ,n4 ,j4 ,,chapter ,,iv ,,venetian ,,iron1 ,,repouss1 ,,pierced ,,brass ,,and ,,pewter ,,work ,venetian ,bent ,iron ,work ,a very pretty and most useful kind of ornamental iron work came into vogue in ,venice1 ,italy1 a long time ago1 and as it is easy to do and you need only a few tools and inexpensive materials to do it with1 you ought to try your hand at it4 ,venetian iron work consists of bending thin1 narrow strips of wrought iron into scrolls and other shapes and then fixing them together with little iron clamps called binders4 ,in this way objects such as egg boilers1 candlestick sconces1 lanterns and brackets to hang them on1 photograph frames and helpful and artistic creations without end can be made4 ,the ,tools ,you ,must ,have4--,you will need very few tools for making ,venetian iron work and these are 7#a7 a pair of flat nose #e inch pliers2#bf 7#b7 a pair of round nose #e inch pliers2 7#c7 a box-wood four-fold1 #b-;foot rule2 7#d7 a vise2 7#e7 a pair of tinner's snips and 7#f7 a small riveting hammer1 all of which are shown in ,fig4 #bg4 #bf ,this means that the pliers are #e inches long4 ,the ,materials ,you ,need4--,the work is made of inch thick soft iron strips and this can be bought#bg in four different widths1 namely 1 1 1 and inch4 #bg ,complete manual training outfits for ,venetian bent iron work can be bought of ,hammacher1 ,schlemmer and ,co41 ,fourth ,avenue and #acth ,st41 ,new ,york4 ,in general it is the best practice to use the and inch wide strips for all designs except the smallest and largest4 ,the strip iron comes in coils of #ej feet and the prices range from #af cents to #be cents a coil4 ,illustration3 ,,binders ,,coil ,,of ,,wrought ,,iron ,,strip ,,lead ,,wire ,,for ,,measuring ,,fig4 #cj4 ,,materials ,,you ,,need ,,for ,,venetian ,,iron ,,work ,then you will need a package of binders--these are merely bits of strip iron cut off and bent as shown in ,fig4 #cj1 they come in four widths and cost about #aj cents a hundred4 ,also get a couple of #c foot pieces of lead wire for with these you can quickly form the scrolls and circles you intend to make of iron1 then straighten them out and accurately measure off the length of iron you need4 ,they cost #e cents a strip4 ,what to ,do ,first4--,making a ,simple ,design4--,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 iron4 ,how to ,make a ,toaster4--,this is a good piece of work to start with because it is formed chiefly of straight lines4 ,draw a plan of it as shown in ,fig4 #ca1 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 be4 ,now measure and cut off three strips of iron and allow an extra inch for lapping the long strip that forms the frame4 ,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 frame4 ,lap the ends of the strip forming the frame on the side an inch1 fasten the joint by putting a binder on it with your pliers and a light tap with your hammer will tighten it up4 ,now if you will look again at ,fig4 #ca1 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 it2 put a binder on each place where it is shown in the drawing including the handle4 ,fix in the left inside bent strip with binders and put the binders on so that the rough ends will be inside1 file down the rough places1 rub the toaster all over with a piece of fine emery cloth until it is nice and smooth1 rub it with some sweet oil1 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 kitchen4 ,illustration3 ,,fig4 #ca4 ,a ,,useful ,,bent ,,iron ,,toaster ,how to ,make an ,egg ,boiler4--,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 boiler4 ,the picture may look a little complicated but as a matter of fact there is very little to it4 ,there are only three parts to the egg boiler and these are 7a7 the egg holders2 7b7 the legs1 and 7c7 the handle4 ,each of the four egg holders is formed of a ring or strip of iron just large enough so that an egg will slip through it2 lap the ends and put on a binder to hold the joint tight4 ,illustration3 ,,fig4 #cb4 ,,how ,,make ,,an ,,egg ,,boiler ,mark1 cut off and bend the ends of two strips over an inch1 for the half ovals on which the egg rests and then bend the strips to fit the shape of the egg4 ,this done1 loop the ends of each half oval over the ring and press them down hard with your pliers to hold them in place4 ,the way an egg holder is made is shown at ,a in ,fig4 #cb4 ,each leg is a short strip bent over and pressed on to the top of the ring4 ,it is made rigid by putting a binder on it and to one of the half ovals as shown at ,b4 ,to make the handle take a piece of lead wire and bend it to fit the outline shown at ,c2 then straighten it out and cut off a strip of iron of the same length4 ,bend the ends of it over an inch and shape it up with your round nose pliers4 ,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 ,b4 ,file1 rub up and polish the egg boiler and give it to the chef with your compliments4 ,how to ,make a ,venetian ,plate ,holder4--,to make this plate holder you will have to add a hand drill1 a inch twist drill1 and a center punch--which are described in ,chapter ,,iii--to your list of tools4 ,illustration3 ,,fig4 #cc4 ,,an ,,artistic ,,venetian ,,plate ,,holder ,the plate holder is of more simple construction than the egg boiler but as you have emerged from the kitchen into the dining room you will have to do a very fine job4 ,it consists of four legs as shown in ,fig4 #cc1 riveted to a ring4 ,draw the design on paper full size and this will depend on the diameter of the plate it is to hold4 ,find the length of the legs with your lead wire and measure and cut off the strips of iron accordingly4 ,likewise find the length of iron strips it will take for the ring and allow #a inch or over for the lap joint4 ,illustration3 ,,fig4 #cd4 ,a ,,sconce ,,for ,a ,,candle ,now drill inch holes in each strip you intend to use for the legs1 half way between the top and bottom of it and drill four holes in the ring at equi-distant points4 ,bend the strips into the artistic curves shown1 using1 of course1 your round nose pliers to do it with1 and bend the ring over a round form--a broomstick will do1 but a larger form will work better4 ,finally rivet the legs to the ring and see to it that you make a good job of it2 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 of4 ,you can design and make pretty bent iron stands for vases in a manner very like that used for the plate holder2 card racks1 photograph frames1 lamp shades1 etc41 can be made in the same manner2 and as you become more adept at the work you can point and shape up the iron by heating it in an alcohol lamp1 or a ,bunsen burner and hammering it4 ,when you can do this you will be able to make a sconce1 that is1 an ornamental mural#bh bracket for holding a candle as shown in ,fig4 #cd4 #bh ,mural means anything that is supported by or has to do with a wall4 ,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 them4 ,in fact the most beautiful things imaginable can be wrought from bent iron strips especially when rivets are used to put the work together4 ,a ,dead ,black ,finish for ,iron ,work4--,get #be cents' worth of japan gold size and #aj cents' worth of pure drop black ground in turpentine and mix them together4 ,if it is too thick thin it with turpentine and put it on with a soft brush4 ,when dry it will be dead black and neither air nor moisture will spoil it4 ,doing ,repouss ,work ,repouss 7pronounced re-poo-say7 is a ,french word and means to form in relief1 and repoussage 7pronounced re-poo-sazh7 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 back4 ,tools ,needed for ,repouss ,work4--,very few tools are needed for this kind of work but it is important to use the right kind4 ,the repouss hammer is a jeweler's hammer which has one end1 or face of it flat and the other rounded like a peining hammer2 it is shown in ,fig4 #ce4 ,illustration3 ,,fig4 #ce4 ,,how ,,to ,,hold ,a ,,repouss ,,hammer ,then a number of blunt chisels and markers called repouss tools as shown at ,b1 ,fig4 #ce1 are needed to emboss the design in the sheet metal4 ,these tools cost about #cj cents apiece and a set of eight or ten tools will serve you well4 ,for the bolder parts of the work boxwood punches can be used but steel punches are always used for the finer work4 ,illustration3 ,,fig4 #ce;,b4 ,a ,,punch ,,and ,,punch ,,designs ,,for ,,repouss ,,work ,how to ,prepare the ,work4--,the kind of metal that is easiest to work is cold-rolled sheet copper#bi ,no4 #cb ,brown and ,sharp gauge1 but brass1 aluminum and pewter can also be hammered4 #bi ,can be bought of ,patterson ,brothers1 ,park ,row1 ,new ,york1 or of the ,frost and ,adams ,co41 ,cornhill1 ,boston1 ,mass4 ,illustration3 ,,fig4 #ce;,c4 ,,how ,,to ,,hold ,a ,,repouss ,,punch ,to get the work ready fasten the piece of sheet metal to a wooden block with a cement made as follows3 melt #a pound of ,burgundy pitch in an iron pan1 or skillet1 and stir in #a pound of dental plaster of paris1#cj until they are thoroughly mixed4 ,then put in a tablespoonful each of tallow and of resin which will make the cement stick better4 #cj ,this is very fine plaster and can be bought of any dentist4 ,take a board #a inch thick1 #aj inches wide and #ab inches long and make a tray of it by nailing a strip of wood around it so that it is an inch higher than the surface of the board4 ,pour the cement while it is still hot on the board and press the sheet of metal hard down on it2 let it get cold when it will be firmly cemented to it4 ,tracing the ,design4--,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 trace the design by punching it with the straight and curved edge chisels4 ,to hold a chisel right1 grip it between your thumb and index finger1 let your next1 or medius1 finger lie gently on the shank of the tool and your third1 or annularis1 finger rest on the sheet of metal as shown at ,c in ,fig4 #ce4 ,the handle of the hammer is long1 thin and springy and you hold it by the end with your index finger laying on it as shown at ,a in ,fig4 #ce4 ,do not strike the tool hard or the punch may go clear through the metal sheet but instead give it a succession of light1 gentle taps at the rate of about #ajj a minute or so and you will make the tracing nice and even4 ,bossing the ,work4--,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 cement4 ,then cement it to the block again1 but this time put the other side down4 ,now use your boxwood or steel punches and hammer the copper1 or other metal1 into bold relief or you can matt the ground with any one of the numerous punches shown at ,b4 ,illustration3 ,,the ,,design ,,on ,,the ,,metal ,,the ,,ring ,,for ,,the ,,candle ,,the ,,candlestick ,,when ,,done ,,fig4 #cf4 ,a ,,repouss ,,candlestick ,how to ,make a ,flat ,candlestick4--,this is a good piece of work for you to start with because it is at once simple1 artistic and more or less useful4 ,to make it1 cut out a sheet of brass #f 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 in ,fig4 #cf4 ,punch the outline with your chisels and raise the bodies of the insects with your molding tools4 ,the ground can be left flat or you can put it in with a marker4 ,when you have the bossing done scallop the edges with your snips and bend them up so that it is #e inches square4 ,for the handle cut a strip of brass inch wide and #d inches long2 raise the middle of it by hammering it in a groove cut in a block of hard wood2 bend it and then rivet it to a corner of the brass sheet4 ,to make the ring which holds the candle cut out a strip of brass #a inch high and #c inches long and cut out three tongues as shown at ,b4 ,scribe a circle in a corner of the sheet of brass1 cut three slots on it1 slip the tongues through the slots and bend them over4 ,rub the candlestick all over with some brass polish and then cover the bottom with a piece of green billiard cloth if you can get it1 or any other kind you may have at hand4 ,it is shown complete at ,c4 ,how to ,make a ,photo ,frame4--,the front of this frame can be made of brass1 copper or ,german silver and the back of it can be made of a sheet of tin or brass4 ,you can make the frame round1 oblong or square and with a round or an oval opening in it to suit your fancy4 ,suppose you make the outside of it #g #i inches and the oval opening #c #e inches as shown at ,a in ,fig4 #cg4 ,draw or transfer the design to the surface of the metal and work it into shape as ,i have previously described4 ,do not cut the opening or trim the metal sheet to the size you want them until after you have hammered it as this draws the metal out4 ,after you have finished the front make a back for it of sheet tin or brass1 #e inches wide and #f inches long1 and bend over the edge of one end and both of the side edges inch as shown at ,b4 ,solder the edges to the back of the frame and then solder a stay1 or stand on the back of it4 ,this completes the frame and the photograph can be slipped in it between the front and the back4 ,illustration3 ,,the ,,hammered ,,front ,,the ,,back ,,of ,,the ,,frame ,,fig4 #cg4 ,a ,,repouss ,,photo ,,frame ,cleaning and ,polishing ,brass1 ,copper and ,german ,silver4--,to clean any of these metals mix some powdered rotten stone with some machine oil and rub them with a pad made of a soft flannel rag4 ,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 red rouge4 ,frosting1 ,coloring and ,lacquering ,metals4--,you will find recipes for finishing articles in these styles in ,chapter ,,iii4 ,pierced ,metal ,work ,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 job2 then the tools and materials cost but very little and the finished work is really pretty4 ,illustration3 ,,the ,,mallet ,a ,,tracing ,,point ,,thumb ,,tack a ,,modeling ,,tool b ,,modeling ,,tool ,,stippling ,,awls ,,fig4 #ch;,a4 ,,the ,,tools ,,you ,,need ,,for ,,pierced ,,brass ,,work ,the ,outfit to ,do ,it ,with4--,the ,tools4--,these are very few indeed and include 7#a7 a pear-shaped mallet for stippling2 7#b7 a tracing point2 7#c7 a couple of modeling tools2 7#d7 an awl with a tempered point1 and 7#e7 a metal folder1 all of which are shown at ,a in ,fig4 #ch4 ,you will also need 7a7 a sheet of designs2 7b7 a sheet of carbon1 or impression paper2 7c7 a dozen or more split shanks to fasten the edges of the work together2 7d7 a drawing board about #ab #ah inches on the sides of which the sheet metal is tacked while you are working it1 and 7e7 some thumb tacks for tacking the work to the board4 ,illustration3 ,a ,,candle ,,shade ,,the ,,finished ,,candle ,,shade ,,fig4 #ch;,b4 ,a ,,pierced ,,brass ,,candle ,,shade ,you will need too1 of course1 the sheet metal and this can be of brass1 copper or ,german silver and you can buy sheets of these metals that are already cut out for candle shades1 lanterns1 photo-frames and numerous other articles with the designs marked on them ready to use#ca or you can buy the sheet metal and the designs separately and then transfer and cut them out yourself4 #ca ,all tools and materials for pierced metal work can be bought of ,frost and ,adams1 ,boston1 ,mass4 ,an outfit for pierced brass work can be bought for as little as #fj cents and you can buy any number of brass or copper cutouts with the designs stamped on them for #be cents each1 or of ,german silver for #ej cents each4 ,how to ,do the ,work4--,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 tacks4 ,now with your stippling awl punch little holes about inch apart all along the outline of the design4 ,the background is then stippled with the awl1 that is1 dotted all over but not punched through1 and the closer the dots are the prettier it will look4 ,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 be4 ,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 it4 ,this is all there is to the actual work of piercing brass4 ,after you have made the design take some brass polish1 put it on a little wad of cheese cloth and rub off the remaining marks and then polish it with a clean cloth4 ,since the brass or other metal for pierced brass work is very thin you will have to back it up with thin wood1 although candle shades and other small articles can be used as they are4 ,a design for a candle shade is shown at ,b and the finished candlestick at ,c1 while one for a toast panel that can be hung on the wall with a ,venetian bent iron hanger which ,i described on page #gf is shown at ,d4 ,illustration3 ',tis easy enough to be pleasant1 ,when life goes by with a song2 ,but the nan worth while1 is the man who will smile1 ,when everything else goes wrong4 ,,fig4 #ch;,d4 ,a ,,pierced ,,brass ,,toast ,,sign ,casting and ,working ,pewter ,since nearly all metals excepting tin and lead have high melting points1 it is hard to melt them unless you have a regular furnace4 ,something ,about ,pewter4--,but casting metals is a fascinating process and you can do it by melting #be parts of lead and #ge parts of tin together which forms an alloy called pewter4 ,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 #aith century--pewter utensils were used in nearly every home in every civilized country4 ,then came the invention of cheap processes for making pottery and glass and those good old hard alloys known as britannia metal1 which is formed of tin1 copper and antimony1 and ,german silver1 which is ,german all right1 for it was first made at ,hildburghausen1 ,germany1 but it is not silver at all for it is formed of nickel1 zinc and copper1 went entirely out of use4 ,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 glory4 ,how to ,make ,pewter4--,i do not know of any place where you can buy pewter but you can easily make the alloy yourself4 ,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 easily4 ,you can1 however1 get it by sending to the ,conley ,tin ,foil ,company1 #eba ,west #beth ,street1 ,new ,york1 and at the present time they are quoting pig tin in blocks at #ge cents a pound4 ,when you have the lead and the tin melt the lead in an iron ladle1 see ,fig4 #ci1 over the kitchen fire and skim off the dross1 that is1 the impurities in it that come to the surface1 and then put in the tin4 ,after both are melted stir them well and then pour the alloy thus formed1 which is pewter1 in a pan that is oiled with sweet oil1 to keep it from sticking and so make sheets of it of whatever thickness you want4 ,illustration3 ,,fig4 #ci4 ,,iron ,,ladle ,,for ,,melting ,,pewter ,about ,working ,pewter4--,pewter can be worked like any other malleable metal1 only easier because it is softer and more ductile1 hence it can be hammered into any shape4 ,it can be cast as you will presently see and it can be soldered by using a flux of tallow1 ,gallipoli oil or ,venice turpentine and pewterer's solder1 which is made of #a part of lead1 #a part of tin and #b parts of bismuth4#cb ,this solder melts at #bjc degrees ,fahrenheit1 that is at a temperature of #i degrees less than that at which water boils4 #cb ,bismuth is a reddish white metal4 ,how to ,cast ,pewter4--,the way in which pewter is usually cast is by making molds of iron and brass and pouring the metal into them4 ,but you can do a very good job of casting pewter by making and using plaster of ,paris molds4 ,in making any kind of castings you need a flask1 that is a wooden frame made in halves1 as shown in ,fig4 #dj2 the top half of the flask is called the cope and this must be fitted with pins that set in holes in the bottom of the frame or drag1 as it is called4 ,illustration3 ,,fig4 #dj4 ,,how ,a ,,pewter ,,casting ,,is ,,made ,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 even4 ,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 cast4 ,the ,patterns ,necessary4--,you can saw or turn or carve out of wood anything you want to cast in pewter1 provided it is not too intricate1 and after sandpapering it nice and smooth all over give it a couple of coats of shellac varnish4#cc #cc ,this can be bought already made at paint stores or you can make it by dissolving some yellow shellac in alcohol4 ,if it is your idea to make table-ware of pewter you can use ordinary china dishes for your patterns1 provided they are without handles1 but before making a mold with any kind of a pattern in plaster oil it well all over with sweet oil1 using a brush for the purpose1 so that it will not stick and then you can draw it easily4 ,making the ,mold4--,lay the drag1 that is the lower half of the flask1 on a board or a table2 mix dental plaster of ,paris with water until it is about as thick as batter and fill the drag with it4 ,just before the plaster begins to set1 that is1 harden1 take your pattern1 whether it is one you have made or a china dish1 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 hard1 that is1 over night4 ,then brush sweet oil over the top of both the pattern and the hard plaster which must come about flush1 that is even1 with the top of the drag4 ,now put on the cope and fill it with plaster1 smooth it off even with the top edge and let the plaster get hard4 ,your next move is to lift the cope from the drag which you can do without trouble and then lift the pattern from the drag1 using the point of a knife if it seems inclined to stick4 ,drill a inch hole through the plaster in the cope1 fit the cope to the drag again and then pour in the pewter4 ,when it is cold take the flask apart1 take the casting out gently and don't spoil it even if you have to break the mold4 ,where cups1 tankards or other hollow vessels are to be cast make a mold for it just as though it was a solid piece2 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 hollow4 ,if handles are needed cast them separately and solder them on to the body of the vessel4 ,some finished pewter ware is shown at ,c4 ,illustration3 ,,fig4 #dj;,c4 ,,home ,,made ,,pewter ,,ware ,finishing the ,ware4--,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 whiting1 but do not polish them4 ,if you have a turning lathe of any kind you can put your cups and other round objects in it and turn it up with a bent inside turning tool1 a flat tool and a round point tool such as is used for turning brass1 ivory1 etc41 and which you can buy for a quarter apiece1#cd and this will leave the pewter bright and beautiful4 #cd ,these tools can be bought of ,luther ,m4 ,wightman1 ,milk ,street1 ,boston1 ,mass4 ,engraving on ,metal ,engraving on metal is a beautiful art4 ,the method is simple and the effect is striking but it requires a good deal of patience and long practice to do really good work4 ,illustration3 ,,fig4 #da4 ,,tools ,,for ,,engraving ,,on ,,metal ,a4 ,shapes of gravers4 ,b4 ,handles for gravers4 ,the ,tools ,that ,are ,used4--,engraving tools1 or gravers as they are called1 are made in ten or a dozen shapes but the knife1 round and lozenge gravers will be enough to do all ordinary work with4 ,the different shapes are shown at ,a in ,fig4 #da4 ,all of the gravers are about the same length1 that is #d or #e inches1 and they are fitted with knob shaped handles a third of which has been cut away as shown at ,b1 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 position4 ,the way to hold a graver is shown at ,c4 ,illustration3 ,,fig4 #da;,c4 ,,how ,,to ,,hold ,a ,,graver ,how to ,engrave on ,metal4--,if the object to be engraved is very small it should be fixed to a block of wood with the ,burgundy pitch compound above described1 but if it is a large object it need not be mounted4 ,in either case an engraving pad1 that is1 a round1 thick leather pad filled with sand1 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 engraved4 ,illustration3 ,,fig4 #da;,d4 ,,an ,,engraving ,,on ,a ,,sheet ,,of ,,copper ,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 engraver's wax#ce on the metal surface with your finger and then sketching the outline with a bone stylus1 that is a piece of bone having a sharp point4 ,an example of art engraving is shown at ,d in ,fig4 #da4 #ce ,you can use beeswax but it is better to make a wax by melting together #c parts of beeswax1 #c parts of tallow1 #a part of ,canada balsam and #a part of olive oil4 ,or you can buy a small cake of ,chinese white1 wet your finger1 rub it on the white and then dab it on the metal surface4 ,,chapter ,v ,,drawing ,,simply ,,explained ,free-hand ,drawing ,a picture made by the hand and eye and without the aid of a rule and compass is called free-hand drawing4 ,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 remember2 and1 further1 sketches made with a pencil or pen and ink are1 to my way of thinking1 just as interesting as photographs provided they are well done4 ,talent versus ,practice4--,some fellows have a natural bent for sketching and are what you might call born artists1 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 practicing4 ,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 draw4 ,pictures for ,you to ,draw4--,there are two kinds of free-hand sketches for you to do and these are 7#a7 of life models and 7#b7 of still life1 that is1 fruit1 flowers1 furniture and inanimate objects of all kinds4 ,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 dictates4 ,simple ,line ,sketches4--,as you will see by looking at ,a and ,b in ,fig4 #db1 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 action is there4 ,illustration3 ,,fig4 #db4 ,a ,,simple ,,line ,,drawing ,,of ,a ,,man ,,and ,a ,,horse ,this is because when ,i sketched it ,i was careful to note the exact position of the boxer's head1 arms1 legs and body as they appeared at that given moment4 ,the keynote in sketching a figure in action is always to draw it1 not as you wish or believe it to look but as it actually is4 ,the line sketches ,a and ,b only look as like a man landing a right1 and a horse coming down the home stretch as they do because 7a7 all the lines are properly proportioned1 that is1 of the right length when compared with each other1 and 7b7 they are set in the correct positions4 ,the way to become a good judge of proportion is always to notice the relative sizes of the things you draw4 ,sketching ,simple ,outline ,figures4--,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 ,fig4 #dc4 ,illustration3 ,,fig4 #dc4 ,,simple ,,outline ,,drawing ,,of ,a ,,boxer ,,and ,a ,,race ,,horse ,to do this draw a straight line sketch first and then draw the outline around it1 when you can rub out the straight lines if you want to4 ,in these outline sketches you will see that only the lines that are actually needed to give the picture the contour1 that is1 the shape of the figure1 or body1 are used4 ,the ,proportions of the ,human ,figure4--,if you will remember when you are drawing a picture of the human form that the whole figure from neck to toe should be #g times as long as the head2 that the body proper1 or torso as it is called1 is #d times as long as the head2 that the arms are as long as the body1 and that the legs should be #d times the length of the head measured to the inside of the crotch1 as you will see if you will look at ,a in ,fig4 #dd1 you will have it in proportion4 ,illustration3 ,,fig4 #dd;,a4 ,,the ,,proportions ,,of ,,the ,,human ,,body ,how to ,draw ,faces4--,you can easily draw fairly natural looking faces if you will rule off a number of squares on a sheet of paper as shown at ,b and ,c in ,fig4 #dd4 ,the full view of the head of a human being is shaped like an egg standing on its small end1 and the profile 7pronounced pro-feel7 view1 that is the side view of the head1 is more nearly square2 if in the latter case the square is divided into two triangles1 the face will be found to nearly fill one of them and the hair the other4 ,illustration3 ,,fig4 #dd;,b4 ,a ,,full ,,view ,,of ,,the ,,face ,both of these figures show the right sizes to make the eyes1 ears1 nose and mouth1 that the eyes are on a line with the helix1 or upper border of the ears and that the top of the nose is on a line with the lobe1 or lower edge of the ear4 ,it is mighty good practice to sketch the faces of your friends in this fashion4 ,sketching ,still ,life ,objects4--,it is always more 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 it4 ,illustration3 ,,fig4 #dd;,c4 ,a ,,profile ,,view ,,of ,,the ,,face ,if you can do a creditable drawing in this manner with your eye and hand alone it is art1 but if you use a rule or a pair of dividers to measure off the proportions and then mark them on your paper1 it degenerates into a purely mechanical process2 but you can take your choice and do it whichever way you want to4 ,drawing in ,perspective4--,the first thing to know about drawing in perspective is what perspective means4 ,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 perspective4 ,as an illustration1 when you look down a railroad track you will see that the rails look very far apart at your feet1 but in the distance they seem to come to a point and then vanish2 this is quite natural for nearby objects always look larger than when they are at a distance4 ,so too1 when you look at the top of a box the edge a will seem longer than the edge b1 which is farther away from the eye1 and the lines c and d which form the other edges would meet if they were projected as shown by the dotted lines at ,a in ,fig4 #de1 and the same thing is true for the front and the side of the box4 ,illustration3 ,,fig4 #de;,a4 ,,the ,,vanishing ,,points ,,of ,a ,,perspective ,,drawing ,the ,vanishing ,point4--,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 vanish1 and hence this is called the vanishing point4 ,to find the vanishing point of the surface of an object1 such as the top of a box1 hold a pencil out in front of yourself at arm's length and shut one eye1 as shown at ,b2 then tilt the pencil until it follows the side line that you are going to draw2 now open your eye and you will see that the line of the box that seemed at first to be straight is really slanting4 ,draw a line on your paper at this slant1 or angle as it is called1 and do the same with the other line and draw it1 when the two lines will meet and this is the vanishing point4 ,you can draw in now the front and back lines of the top4 ,illustration3 ,,fig4 #de;,b4 ,,how ,,to ,,find ,,the ,,vanishing ,,point ,houses and all other objects should be drawn with vanishing points if they are to conform to the first principles of art1 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 isometric perspective4 ,but houses and all other large objects should be drawn with vanishing points or they will not look real4 ,a barn drawn in this way is shown at ,c1 and you will see that the roof looks perfectly natural since the lines forming it run to vanishing points4 ,illustration3 ,,fig4 #de;,c4 ,,the ,,vanishing ,,points ,,put ,,to ,,use ,how to ,shade a ,drawing4--,when you do a drawing from an object you will see that the light falling on certain parts of it seems white1 or high lights1 as they are called1 and on other parts where it does not fall it is dark4 ,to shade your drawing so that it will show the lights and shadows exactly as the object does1 you should study the latter1 and put the shading1 as it is called1 on the former just as nearly like it as you can4 ,but in shading a drawing there must be no sharp lines to show where the light leaves off and the shadow begins1 but you must make them merge gradually one into the other1 as shown at ,a in ,fig4 #de4 ,working ,drawings ,and now we come to drawings of another kind and these are not intended to please the eye but to work from1 hence they are called working drawings4 ,when most boys1 and many men1 want to make anything of wood or metal they get busy with their tools forthwith and whack it out willy-nilly and of course a punk job results4 ,now the right way to make an article--unless you are going to crochet a sweater--is to 7#a7 see it in your mind's eye1 7#b7 then draw it out on paper to scale1 and 7#c7 build it up from the plan as the picture is called4 ,by working this way you will be able to figure out just how much material you will need for it2 see exactly how the various parts fit together1 and know that it will look just right when it is done4 ,drawing ,tools ,you ,should ,have4--,drawing instruments1 or drawing tools as they are commonly called1 consist for the most part of 7#a7 one or more pairs of dividers2 7#b7 one or more pairs of compasses with pen and pencil points1 and 7#c7 one or more ruling pens4 ,one of each of the above tools will be enough for you to begin with4 ,a cheap set is shown in ,fig4 #df4 ,illustration3 ,,fig4 #df4 ,,the ,,drawing ,,tools ,,you ,,need ,then you will need 7#d7 a rule1 or scale as it is called2 7#e7 a protractor2 7#f7 a ,t square #bj inches long2 7#g7 a #cj degree triangle #e inches long2 7#h7 some drawing paper#cf not less than #aj #ab inches2 7#i7 a couple of medium hard 7,,hhh7 lead pencils1#cg 7#aj7 a good rubber eraser2#ch 7#aa7 a bottle of ,higgins' ,india ink1#ci 7#ab7 a few thumb tacks1 and 7#ac7 a drawing board about #ab #ag inches4 ,and now let's see what these tools and other things are for and how they are used4 #cf ,get a #b-ply bristol board with a medium or smooth surface4 #cg ,koh-i-noor or ,venus pencils are good ones4 #ch ,get ,faber's red rubber ,van ,dyke4 #ci ,this is a prepared ,india ink but you can make your own by rubbing up stick ,india ink with water4 ,a pair of dividers is a tool having hinged legs1 the free ends of which are pointed2 they are used to take1 mark off and subdivide distances4 ,the compasses are made like the dividers1 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 it2 this tool is used to draw curves and circles1 either with a pencil or in ink4 ,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 widths4 ,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 ink4 ,this pen is used to make straight lines by running it along the edge of a rule or ,t square4 ,a protractor is a semi-circle of brass or of ,german silver and it is divided into #ahj degrees--since it is half of a circle and there are #cfj degrees in a circle4 ,you can buy one for a quarter4 ,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 #j to #ahj--you will find the number of degrees the edge of the rule is from the horizontal4 ,illustration3 ,,fig4 #dg4 ,,the ,t ,,square ,,and ,,triangle ,,on ,,the ,,drawing ,,board ,the ,t square is laid with the head1 that is the short thick piece1 against the left hand edge of the drawing board which brings the blade1 that is the long thin piece flat on and across the board4 ,the triangle is placed against the straight edge4 ,the triangle is laid on the board with one of its edges against the blade of the ,t square as shown in ,fig4 #dg4 ,simple ,working ,drawings4--,there are two kinds of working drawings that will be of use to you and these are1 7#a7 plan drawings1 and 7#b7 isometric 7pronounced i-so-met-ric7 drawings and you will find both of these quite easy to do4 ,making ,plan ,drawings4--,suppose now you want to draw the plans of a box which1 let's imagine1 is to be #e inches high1 #f inches wide and #h inches long4 ,the first thing to do is to draw out a view of the bottom1 which also serves as the top since they are alike1 and you will have a rectangle like that shown at ,a in ,fig4 #dh1 and mark the dimensions on it1 that is1 the width and the length of the box4 ,this you do by running a couple of arrows in each direction and marking in the size4 ,illustration3 ,,fig4 #dh;,a4 ,,the ,,plan ,,drawings ,,for ,a ,,box ,next draw one of the sides as shown at ,b and this will give you the height and the length of the box and mark in the sizes1 that is #e and #h inches accordingly4 ,finally draw the end and you will have the height and width of the box as shown at ,c and again you mark in the dimensions4 ,it is easy to see now that if you have all three dimensions1 namely length1 breadth and thickness1 and that if you make a box in wood or metal it will look like the picture shown at ,d which is in isometric perspective4 ,illustration3 ,,fig4 #dh;,d4 ,,the ,,box ,,drawn ,,in ,,isometric ,,perspective ,isometric ,perspective ,drawings4--,the kind of perspective drawings ,i told you how to do under the caption of ,drawing in ,perspective is true perspective but engineers do drawings which they call isometric perspective1 that is1 while the object seems to stand out in relief there are no vanishing points4 ,this kind of perspective is purely mechanical and not in the least artistic but it is a great aid when you intend to make anything1 for you can still draw the lines to scale and see exactly how the finished object will look4 ,to make a drawing of this kind draw a line on a sheet of paper near the bottom and two #cj degree lines from the ends and a vertical line through them where they meet as shown at ,a in ,fig4 #di4 ,now there are four ways by which you can get the #cj degree lines on paper and these are 7#a7 to buy isometric ruled paper1 that is paper on which the lines are already ruled2 you can buy this paper for #ae cents a quire of any dealer in drawing materials or of ,keuffel and ,esser1 #abg ,fulton ,street1 ,new ,york ,city4 ,this is the easiest and best way4 ,illustration3 ,,fig4 #di;,a4 ,,how ,,the ,,lines ,,for ,,isometric ,,drawings ,,are ,,made 7#b7 ,take a sheet of white paper exactly #e inches wide and #aj inches long and draw two diagonal lines from corner to corner so that they will cross each other1 then draw a vertical line through the middle and a horizontal line near the bottom4 ,the diagonal and horizontal lines will be #cj degrees apart4 7#c7 ,by laying a #cj degree triangle on your ,t square and drawing a line along the #cj degree side of it as shown in ,fig4 #dg2 and 7#d7 by laying off #cj degree lines with a protractor4 ,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 square2 put your protractor on the horizontal line near one end1 lay the edge of the rule on the center of the protractor and exactly on the #cj degree scale mark and then draw a line4 ,illustration3 ,,fig4 #di;,b4 ,a ,,sheet ,,of ,,isometric ,,drawing ,,paper ,slide the protractor on the opposite side of the board1 draw another #cj degree diagonal line so that it will cross the first one and draw a vertical line down through the middle of the paper4 ,having1 now1 your sheet of isometric ruled paper you are ready to do the drawing4 ,whatever the picture is to be1 all you need to do is to follow the #cj degree lines and the vertical lines and you simply can't help getting it in perspective4 ,in drawing isometric perspective circles1 such as wheels1 disks and the like1 they are always shown as ellipses1 that is1 closed oblong curves4 ,to draw an isometric ellipse1#dj make it in the proportion of to #a1 that is1 if it is inch wide1 as we will call its minor axis1 then make it #a inch long1 as we will call its major axis1 as shown at ,c in ,fig4 #di1 and you will have one that is near enough the right shape for your purpose2 thus if you want to show a tube or a pipe1 draw it as pictured at ,c4 ,now with these few principles well in mind you can make a working drawing of nearly anything you please4 #dj ,a more complete description of isometric ellipses will be found in ,inventing for ,boys by the present author and published by ,frederick ,a4 ,stokes ,co41 of ,new ,york4 ,illustration3 ,,fig4 #di;,c4 ,,the ,,proportions ,,of ,,an ,,isometric ,,ellipse ,some ,simple ,aids to ,drawing ,how to ,draw a ,circle4--,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 pin1 make a loop in the string at whatever length you want the radius--that is half of the diameter of the circle--to be4 ,this done1 drive the pin in at the point where you want the center of the circle1 put the point of a lead pencil in the loop and move it around the pin1 as shown at ,a in ,fig4 #ej1 keeping the thread taut and a perfect circle1 nearly1 will result4 ,illustration3 ,,fig4 #ej;,a4 ,,how ,,to ,,draw ,a ,,circle ,,with ,a ,,thread ,how to ,draw a ,spiral4--,make a loop in one end of a thread as before and tie the other end tightly to a large pin2 wind the thread around the pin until all of it is on except the loop2 push the pin through the paper on which you want to draw the spiral and into the drawing board as shown at ,b4 ,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 spiral of ,archimedes4 ,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 rate4 ,illustration3 ,,fig4 #ej;,b4 ,,how ,,to ,,draw ,a ,,spiral ,,with ,a ,,thread ,how to ,draw an ,ellipse4--,an ellipse can be drawn in the same way as a circle1 that is1 by means of a string2 but instead of one pin you will need two and each pin is driven in at the foci of the ellipse you are to draw as shown at ,c4 ,simply make a loop of the string1 slip it over the pins1 put the pencil point in the loop and move it around the pins when an ellipse will be formed4 ,how to ,make and ,use a ,pantagraph4--,a pantagraph is a simple mechanical linkage for enlarging1 copying or reducing the size of a picture4 ,it is shown in ,fig4 #ea4 ,to make one of these instruments get four strips of wood about inch thick1 an inch wide1 and #ah or #bj inches long4 ,now drill inch holes inch apart in each stick the whole length of it4 ,in the ends of three of the sticks make a hole the size of a lead pencil4 ,illustration3 ,,fig4 #ej;,c4 ,,how ,,to ,,draw ,,an ,,ellipse ,,with ,a ,,thread ,illustration3 ,,fig4 #ea4 ,,how ,a ,,pantagraph ,,is ,,made ,,and ,,used ,make two tin tubes each an inch long and fit them into the holes in the ends of the sticks and push a bit of pencil through each tube2 screw a block of wood an inch thick to your drawing board and screw one end of another stick to the block and the sticks together with screw eyes4 ,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 sticks1 then trace the picture with the latter1 and the other pencil will make an enlargement of the picture4 ,by changing the position of the sticks a picture can be copied or reduced in the same way4 ,a pantagraph can be bought for as little as #be cents or for as much as #abe4jj4da #da ,a pantagraph can be bought of any dealer in art supplies or drawing materials4 ,illustration3 ,,fig4 #eb4 ,,how ,a ,,reflecting ,,drawing ,,board ,,is ,,made ,,and ,,used ,how to ,make a ,reflecting ,drawing ,board4--,this is a very simple and easily made optical apparatus for copying pictures and making drawings of flat objects4 ,get a smooth board1 or your drawing board will do2 make a wood frame and fit an #h #aj sheet of clear glass in it and screw the frame to the middle of the board as shown in ,fig4 #eb4 ,now all you have to do is to lay a picture or a flat object1 such as a leaf or a butterfly1 on one side of the glass and a sheet of paper on the other side and look into the glass at a sharp slant1 or acute angle would be the better term1 and you will see the picture projected plainly on the paper so that you can easily draw it in with a pencil4 ,how to ,make ,tracings4--,a very easy and effective way to copy any picture already drawn1 or even a photograph1 in line1 is to use tracing paper4 ,this kind of paper1 which you can buy of any dealer in drawing materials1 is quite transparent and very tough4 ,to make a tracing lay the drawing you want to copy on your drawing board1 then lay the tracing paper on top of it1 rough side up1 and push a thumb tack into each corner to hold them together4 ,now trace the outline of the picture with a pencil and then draw in the lines with ,india ink4 ,if the paper does not take the ink readily rub the surface of it with a little powdered chalk on a soft rag4 ,you can make as many duplicate copies as you want by using a printing frame and blue paper according to the directions given in the next chapter4 ,to ,make ,lasting ,impressions4--,here is an easy way to make lasting impressions of your own and your friends' finger prints and hands4 ,take a sheet of heavy glazed white paper1 say #e #g inches1 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 locomotive4 ,keep moving the paper about to make the soot1 which is simply particles of nearly pure carbon1 cover the surface of the paper as evenly as possible4 ,illustration3 ,,fig4 #ec4 ,a ,,lasting ,,carbon 7,,soot7 ,,impression ,,of ,,your ,,hand ,lay the smoked paper on a table and then press the palm of your hand flat down on it2 you must be careful not to press your fingers down too hard or the sharpness of the fine lines will be destroyed4 ,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 hand4 ,after you have made the print1 as the impression is called1 pour on some flint varnish1 which is the kind that photographers use to cover the films of glass negatives4 ,you can buy it at any photo supply house4 ,pour a teaspoonful on one corner of the paper and let it flow down and across until the whole surface is evenly covered4 ,as this is a genuine carbon process the prints cannot fade and they will last as long as the paper lasts4 ,a print of this kind made by the author #ah years ago is shown in ,fig4 #ec4 ,the ,ancient and ,honored ,art of ,cutting ,silhouettes4--,since you are of the younger generation let me tell you just what a silhouette is1 and why4 ,it is a profile1 or side view1 of the head of a person cut out of black paper and mounted on a white card1 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 sitter4 ,it was so called after ,m4 de ,silhouette1 a ,french ,minister of ,finance in #agei2 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 costly1 the paper outlines filled in with black were the cheapest substitute known and hence the name4 ,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 silhouettes4 ,illustration3 ,,fig4 #ed4 ,,silhouettes ,,of ,,your ,,great-,,grand-,,pa ,,and ,,great-,,grand-,,ma 7,,when ,,they ,,were ,,young7 ,while the art of cutting silhouettes is all but a lost one because photography is so easy and shows all the details1 still you can make them with some black glazed paper and a pair of sharp shears with a little practice4 ,take a sheet of black glazed paper#db about #b inches wide and #c inches long and seat your sitter with the side of his or her face turned toward you4 ,now with a pair of sharp shears begin to cut the paper1 starting at the chin and going on up the face to the hair1 then around to the back of the head and finally cutting out the collar and bust4 #db ,glazed paper can be bought at stationery stores or you can get it from ,dennison ,mfg4 ,co41 #eth ,ave4 and #bfth ,st41 ,n4 ,y4 ,c4 ,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 likeness4 ,a pair of silhouettes are shown in ,fig4 #ed4 ,transfer ,pictures1 or ,decalcomania4--,of course you know what transfer pictures are4 ,there are very few boys indeed who have not bought and used little #e cent packages of jim-crow transfer pictures and you will remember that usually only about half of the picture transferred came off4 ,but this was because they were made for fun and not for real work4 ,now transfer pictures1 or decalcomania 7pronounced de-cal-co-ma-ni-a7 or decalcomanie as the ,french call it1 from the ,latin de which means down1 plus calquer1 which is ,latin for trace1 plus mania which is ,greek for madness1 are used by hundreds of thousands by painters and decorators in every line of work4 ,these pictures are made with skill and care and when used properly will not break or come off4 ,these transfer pictures can be bought in #aj1jjj different subjects and cost from #a cents to a couple of dollars each4 ,the pictures include every subject imaginable from simple little flowers to birds with wonderful plumage and from cupids in groups to world's fair buildings2 then there are letters and monograms and beautiful crests and coats-of-arms in gold and brilliant colors4 ,when you get ready to do decalcomanie write to ,palm1 ,fechteler and ,company1 #fg ,fifth ,avenue1 ,new ,york1 or to their western branch at #ed ,west ,lake ,street1 ,chicago1 ,ills41 for a price-list and this will give you a description1 the height and length of each picture1 the number of pictures on a sheet and the price per sheet4 ,how to ,transfer the ,pictures4--,the regular pictures can be transferred to wood1 metal1 painted surfaces1 etc41 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 good1 quick drying1 rubbing varnish which you can get at a paint store1 or better1 use a transfer varnish which you can buy of the above company for #ce cents for a pint can4 ,after you have applied the varnish to the face of the picture let it dry until it is very tacky2 now put the face of the transfer down on the surface1 wet it with water on a sponge and roll it down hard with a felt roller4 ,in a couple of minutes wet the paper again thoroughly with water and peel it off2 roll it down at once with a wet felt roller and tap it off with a piece of chamois skin4 ,after the design or picture has dried for #bj minutes or so1 the varnish around it can be removed by dampening it with dilute turpentine1 ammonia or1 better1 with a detergent made of equal parts of turpentine and crude oil and immediately rubbing it away lightly and quickly with a dry1 soft rag4 ,after the picture has been transferred as above1 it should be given one or more protecting coats of varnish the next day4 ,,chapter ,,vi ,,some ,,kinks ,,in ,,photography ,since the slogan you press the button and we'll do the rest has come to be so well known everybody makes photographs4 ,but there are a number of kinks in and side issues of photography that are amusing1 instructive or useful and which if you do not already know about will prove of service to you4 ,how to ,make ,blue ,prints4--,this is the very simplest and one of the most useful kinds of photography4 ,you need but very little material to make the pictures with and the little you need will cost less than a dollar4 ,illustration3 ,,fig4 #ee4 ,a ,,photo ,,printing ,,frame ,the ,materials ,required4--,buy1 or you can make1 7#a7 a #e #g printing frame as shown in ,fig4 #ee and get a sheet of clear glass to fit it1 and 7#b7 a couple of dozen sheets of #e #g blue-paper#dc which you can buy at any photographic supply house4 #dc ,you can make blue print paper by dissolving ammonium ferric citrate in warm water and coating the surface of the paper with it by floating it on top of the solution4 ,now take one of the drawings you have made on tracing paper or on tracing cloth with ,india ink as ,i described in the last chapter and lay it with its inked surface on the glass2 lay on this a sheet of blue-paper with its sensitized side on the tracing paper or cloth2 put the back of the printing frame on top of the blue-paper1 press the springs into place and set the frame in the sunlight4 ,every few minutes open a half of the hinged back of the printing frame and take a look at the blue paper to see if the printing is far enough along4 ,when the lines of the drawing show plainly on it take the print out of the frame and wash it1 as it is called1 by letting water run on it or by putting it through several changes of water4 ,when it is well washed hang it up on a line by a corner to dry and you will have a good1 clear print with white lines on a blue ground4 ,in this way by using a negative that you have made with a camera1 especially if it is a marine view1 you can get some very pretty and artistic pictures4 ,another ,kind of ,contact ,printing4--,if you like nature you can use the above process of contact printing to fine advantage4 ,instead of blue paper it is better to use what is known as solio paper#dd or silver paper4#de #dd ,solio paper is coated first with gelatin and then with silver4 #de ,silver paper is coated first with albumen and then with silver4 ,to make a contact silver print first put a finely veined leaf1 the filmy wing of a butterfly1 a piece of delicate lace or any other thin1 translucent object on the glass in the printing frame1 lay a sheet of solio1 or silver paper over it1 then put the back in the frame and fix the springs4 ,set the frame so that the sunlight will fall full on the glass side of it4 ,from time to time open half of the hinged back and see how the print is coming on2 make the print a couple of shades darker than you want it when finished1 but be careful not to overexpose it for silver paper prints much quicker than blue paper4 ,to ,tone and ,fix the ,picture4--,to tone 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 chloride of gold1 or toning bath as it is called4 ,to fix a print means to treat it so that the light will no longer act upon it and this is done with a solution of hyposulphite of soda or just hypo as it is called for short4 ,the easiest way to tone and fix your silver prints is to buy a bottle of solio toning solution#df which is a combined toning and fixing bath4 ,take the print from the frame and do not wash it but put it into a tray in which you have mixed #b ounces of solio toning solution and #d ounces of cold water4 #df ,it can be bought at any store where photographic materials are sold or you can make it yourself from the formula given on this page4 ,when the print takes on the proper color put it into another tray containing a solution made of #a ounce of salt and #cb ounces of water2 let it stay in this bath for #e minutes to stop the toning4 ,now put the print into another tray and wash it in #af changes of water or in running water for an hour4 ,if you make a half or a dozen prints at once you can tone and fix them at the same time4 ,recipe for a ,combined ,toning and ,fixing ,solution4--,to make a combined toning and fixing bath mix up two solutions1 called stock solutions1 as follows3 ,stock ,solution ,a4--,dissolve in #bj ounces of cold water #b ounces of hypo1 #a ounces of alum in crystals and an ounce of granulated sugar4 ,then dissolve an ounce of borax in #b ounces of hot water and mix it with the hypo solution2 let it stand over night and then pour off the clear liquid4 ,stock ,solution ,b4--,dissolve of a grain of pure chloride of gold and #cb grains of acetate of lead in #d ounces of water4 ,now when you want to tone a picture or half a dozen #d #e prints1 take #d ounces of the stock solution ,a and an ounce of the stock solution ,b and pour them into a tray and tone them as ,i have previously described4 ,the ,simplest ,kind of a ,camera4--,when you can buy a real camera for two or three dollars it seems of little use to make one1 so just consider the camera ,i shall describe as a scientific curiosity rather than an apparatus of utility4 ,illustration3 ,,fig4 #ef4 ,,an ,,easily ,,made ,,pin-,,hole ,,camera ,a4 ,cross section showing the notched strips4 ,b4 ,the way the shutter works4 ,to make a pin-hole camera1 so called because a pin hole takes the place of a lens1 form a box of pasteboard or of thin wood #d inches square and #h inches long2 cut a hole of an inch in diameter in one end for the pin hole4 ,fit a strip of wood an inch thick and #d inches long1 having notches cut into it to a depth of inch1 to the sides of the box as shown at ,a in ,fig4 #ef4 ,these notched strips are to hold a sensitized dry plate4#dg ,next make a shutter1 that is1 a little device to open and close the pin-hole2 it is simply a bit of sheet brass #b inches long1 inch wide at one end and an inch wide at the other end as shown at ,b4 ,drill a hole 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 hole4 #dg ,a dry plate is a sheet of glass coated on one side with gelatin and bromide of silver which makes it sensitive to light4 ,now to make the pin-hole1 and certainly no pin-hole was ever more important than this one4 ,glue a thick piece of nice smooth tinfoil over the hole on the inside of the box and with a fairly good-sized pin1 or better a needle1 prick a smooth hole in the center of it4 ,you are ready now to take a picture and to do so slip a sheet of ground glass#dh into the grooves in the camera up close and then farther back until you can see the picture plain4 ,this done take the camera into your dark-room1#di and load a dry plate into it1 put the cover on the box and fasten a black cloth over it with a rubber-band as shown at ,c in ,fig4 #ef4 #dh ,you will find directions for making it in ,chapter ,,ix4 #di ,a dark room must be used because a ray of any kind of light except red will spoil a dry plate the instant it strikes it4 ,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 paper4 ,go out and point your camera at the object you want to photograph1 be it a landscape1 a seascape or a scapegoat1 press down on the lever for a second1 let go of it when it will drop back and cover the pin-hole again and the exposure is made4 ,how to ,develop a ,dry ,plate4--,next take your camera into your dark-room and develop the plate1 that is1 immerse it in a chemical solution called a developer to bring the picture out on it4 ,to do this you must get a tray and put the exposed dry-plate in it1 film side up1 and pour the developer over it4 ,illustration3 ,,fig4 #ef;,c4 ,,the ,,pin-,,hole ,,camera ,,complete ,,with ,,cloth ,,and ,,rubber ,,band ,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 time4 ,when you see the image very plainly take the plate out of the developer1 wash it in clean water and then lay it with the film side up in a tray containing the fixing bath4 ,let the negative--when the plate is exposed and developed it is called a negative--remain in the fixing bath until all the white parts1 that is1 the free silver which was not affected by the light1 have disappeared and then let a gentle stream of water run on it for an hour or wash it in #af changes of clean water4 ,stand it in a negative rack over night to dry and then you can make prints from it4 ,how to ,make the ,developer4--,you can make a good1 tried and true developer in two solutions as follows3 ,pyro ,solution1 ,a4--,take #a ounce of pyrogallic acid1 called pyro for short1 dissolve it in #bh ounces of water and then add #bj minims of sulphuric acid4 ,soda ,solution1 ,b4--,dissolve #b ounces of desiccated#ej carbonate of soda and #c ounces of sulphite of soda in #bh ounces of water4 #ej ,desiccate means thoroughly dry4 ,when you want to develop a plate mix an ounce of the pyro solution and an ounce of the soda solution with #d ounces of water and to do this you need a graduated glass4 ,how to ,make a ,fixing ,bath4--,to make a good fixing bath for dry plates dissolve #a ounce of hypo1 #fj grains of sulphite of soda in crystals and ounce of borax in #bj ounces of water4 ,a developer can only be used for one or two plates but you can fix #ej plates in the same fixing bath4 ,a ,good and ,cheap ,camera4--,to take real pictures you want a real camera4 ,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 #c #d inches4 ,with a camera of this size you can take nicely proportioned little pictures to give to your friends1 to keep in your album1 to make enlargements of and to make lantern slides of by direct contact printing and this will save you a lot of trouble4 ,illustration3 ,,fig4 #eg4 ,,two ,,cheap ,,and ,,good ,,cameras ,a4 ,a ,brownie box kodak4 ,b4 ,a folding kodak4 ,the cheapest #c #d camera you can buy is a ,no4 #c ,brownie box kodak1#ea see ,a ,fig4 #eg1 which costs about #c4jj4 ,a folding ,no4 #c ,brownie camera1 shown at ,b1 will serve your needs much better and this one will cost you in the neighborhood of #e4ej1 or you can buy a ,graflex camera#eb for #ge4jj if father is rich and mother doesn't care4 #ea ,these cameras can be bought most anywhere or you can send to the ,eastman ,kodak ,company1 ,rochester1 ,n4 ,y4 #eb ,with this kind of a camera you can see the object you are photographing up to the very instant you snap the shutter4 ,every good camera has what is called a rectilinear lens1 that is1 a compound lens formed of two achromatic lenses1 which means that each acromatic lens is made up again of two lenses one of which is of crown glass and the other is of flint glass1 and these two latter lenses are cemented together with ,canada balsam4#ec #ec ,this is a clear gum that is obtained from a tree called the ,canada balsam4 ,now whereas a common convex lens will produce all the colors of the rainbow around its edges when a ray of light passes through it1 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 picture1 an acromatic lens keeps all the lines straight1 or rectilinear1 and hence its name4 ,these little cameras are filled with mechanical snap shutters and they use roll films1 that is the sensitive silver and gelatine emulsion is spread on a thin celluloid film instead of on glass plates4 ,these roll films come on spools in lengths of and #a dozen each and they can be loaded into the camera in daylight4 ,the same kind of developing and fixing solutions are used for films that are used for dry-plates4 ,how to ,make an ,enlarging ,apparatus4--,to make an enlarged picture of a small negative take out the back of your camera and get two perfectly clear sheets of glass to fit the opening4 ,make a box of inch thick wood1 #f inches wide1 #f inches long and #g inches high and have the top of it separate so that it can be lifted off and put on the box4 ,in the middle of the top near one edge cut a hole #a 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 nitrogen #ajj watt electric lamp#ed which gives about #ge candle power1 as shown at ,a in ,fig4 #eh4 #ed ,the ,delco ,light ,co41 #eb ,park ,place1 ,new ,york1 sells these lamps and all other electrical supplies4 ,illustration3 ,,fig4 #eh;,a4 ,a ,,home-,,made ,,enlarging ,,apparatus ,the lamp set in the top of the illuminating box4 ,cut a hole out of the front board #c x #d inches and fasten a sheet of ground glass#ee or1 better1 of opal glass#ef over the opening4 ,get a sheet of bright tin #f inches wide and #aj inches long1 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 ,b4 #ee ,ground glass can be bought at a glazier's or you can make it as explained in ,chapter ,,ix4 #ef ,opal glass4 ,next make a stand for holding the bromide paper#eg which is to be used for the enlargement4 ,about the easiest way to do this is to take a #a inch thick board #f inches wide and saw off a piece #ab inches long4 ,fasten your drawing board to it with a couple of angle blocks as shown at ,d1 and you are ready to make an enlargement4 #eg ,bromide paper is a paper sensitized with a compound of silver and bromine4 ,how to ,make an ,enlargement4--,when you have the apparatus ready set the camera and the illuminator1 as the box with the light in it is called1 on another table4 ,put the negative between two plain sheets of glass and then fasten them to the camera with a couple of large rubber bands2 set the illuminator with the ground-glass screen close up against the negative in the back of the camera1 as shown at ,c4 ,now set the drawing board stand about #d feet away from the lens of the camera to make an #h #aj enlargement4 ,open the shutter1 turn on the light and focus the camera1 that is1 move the stand to and from the camera until the enlarged picture is sharp4 ,when you get it so1 close the shutter and cover up the cracks where the light leaks through with a dark cloth4 ,make the room perfectly dark except for your dark-room light and then put a sheet of bromide paper on the drawing board with thumb tacks4 ,open the shutter of the lens and expose the paper to the light passing through the negative and then close it again4 ,the bromide paper is developed and fixed just like a dry plate when your enlargement is done4 ,illustration3 ,,fig4 #eh;,b4 ,a ,,home-,,made ,,enlarging ,,apparatus ,b4 ,the illuminator showing the tin reflector in it4 ,c4 ,the camera4 ,d4 ,the stand for holding the bromide paper4 ,in handling bromide paper you must be almost as careful as you are with dry plates or films4 ,before making a picture it is a good scheme to test the length of time to expose the paper4 ,to do this take a sheet of bromide paper and cut it into strips #a inch wide and #aj inches long2 fasten a strip at a time diagonally across the board and expose the first one for say #e minutes and then develop it1 when you can usually tell about how long the exposure should be4 ,a ,developer for ,bromide ,paper4--,a good stock solution developer for bromide paper1 velox paper1 films and dry plates can be made by adding these chemicals to #be ounces of hot water in the order named and stirring in each one until it is dissolved2 elon ounce2 desiccated sulphite of soda #a ounces2 hydrochinon ounce2 desiccated carbonate of soda #e ounces2 potassium bromide #cj grains and wood alcohol #c ounces4 ,illustration3 ,,fig4 #eh;,c4 ,a ,,home-,,made ,,enlarging ,,apparatus ,e4 ,cross section top view of the enlarging apparatus4 ,this developer will keep for a long time if the bottle containing it is kept full1 otherwise the air will act on it4 ,to develop six #h #aj bromide prints use #a ounce of the stock solution and #f ounces of water4 ,to fix bromide prints keep them moving in a bath made by dissolving #h ounces of hypo in #b quarts of water and then adding ounce of metabisulphite of potassium and ounce of powdered alum4 ,let the prints remain in this bath for about #aj minutes and then wash them thoroughly4 ,how to ,make a ,reflectoscope4--,a reflectoscope is a kind of magic lantern but instead of using transparent glass slides you can use any picture or opaque object such as the works of a watch1 your hand1 etc1 and throw an image of it on the screen4 ,illustration3 ,,fig4 #ei ,a ,,cheaply ,,made ,,reflectoscope ,a4 ,the projector4 ,b4 ,the illuminator4 ,if you have a folding camera#eh you can convert it into a dandy reflectoscope1 so get busy with your tools4 ,make a box--it is really two boxes fastened together--of the peculiar shape shown in ,fig4 #ei1 and it can be of wood or of metal as you wish4 #eh ,a box camera can not be used because its focus is fixed4 ,first make the larger box1 which we will call the projector1 and this should be #d inches long1 #e inches wide and #e inches high#ei--;and leave the front1 back and one side off4 ,to the top and bottom fasten on two wood cleats an inch square and #e inches long to fix the projector to the camera with4 ,this box is shown at ,a in ,fig4 #ei4 #ei ,it must fit the back of your camera4 ,illustration3 ,,fig4 #ei;,c4 ,a ,,cross ,,section ,,top ,,view ,,of ,,the ,,reflectoscope ,this done1 make another box for the illuminator #c inches wide1 #c inches long on one side1 and #d inches long on the other side1 and #e inches high4 ,bend a piece of bright tin for the reflector and set this in the back as shown at ,b4 ,cut a #a inch hole through the top for an electric lamp as described in the directions for making an enlarging lantern2 the top should be tight fitting but so made that it can be taken off and put on at your pleasure4 ,now glue1 screw1 solder or otherwise fix the two boxes together and the reflecting part of the apparatus is done4 ,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 ,c1 which is a top view of the reflectoscope4 ,illustration3 ,,fig4 #ei;,d4 ,,the ,,reflectoscope ,,ready ,,for ,,use ,to ,use the ,reflectoscope4--,tack a white sheet to the wall and set the reflectoscope at a distance of about #aj feet from it with the lens pointing toward it1 of course4 ,next turn on the light in the box and turn off all the lights in the room and make it as dark as you can4 ,hold a picture of any kind against the opening in the back of the projector box and then focus the camera until the picture on the screen is as sharp as you can get it4 ,the way the reflectoscope works is like this3 the picture is projected upon the screen in virtue of the fact that the direct light from the lamp1 as well as that portion of it which is reflected back by the tin1 is thrown against the surface of the picture or object held in the opening2 from this the light is reflected through the lens which enlarges it and projects it on the screen4 ,how to ,make a ,magic ,lantern4--,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 condensing lens#fj and this will cost #ej cents to #a4jj1 according to size4 #fj ,the ,l4 ,e4 ,knott ,apparatus ,co41 ,boston1 ,mass41 sells a #b inch condensing lens for #ej cents2 a #c inch one for #ge cents1 and a #d inch one for #a4aj4 ,for this lantern you can use either a box or a bellows camera1 though the latter is better because the picture can be focused4 ,whichever you use make a base of a #a inch thick board1 #e inches wide and #ad inches long and nail or screw two strips of wood an inch wide1 inch high and #h inches long along the edges on one side as shown at ,a in ,fig4 #fj4 ,if your camera is of the box kind set it in between the strips on the base on the front end1 but if it is of the bellows type then you will have to make a shelf for it as shown at ,b to hold the camera in place as shown at ,c4 ,next make an illuminator as described above in the text ,how to ,make an ,enlarging ,apparatus1 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 lens4 ,this lens is a plano or a double convex lens as shown at ,d and while it should be #d inches in diameter to get all of the picture on the screen you can use a lens as small as #b inches though all of the picture will not show4 ,illustration3 ,,the ,,base ,,of ,,the ,,lantern ,,the ,,frame ,,to ,,hold ,a ,,pocket ,,folding ,,camera ,,how ,,the ,,camera ,,is ,,fixed ,,to ,,the ,,frame ,,plano ,,convex ,,double ,,convex ,,condensing ,,lenses ,,one ,,of ,,the ,,lantern ,,slide ,,holders ,,front ,,board ,,illuminator ,,fig4 #fj4 ,,the ,,parts ,,of ,a ,,home-,,made ,,magic ,,lantern ,cut out six clips of sheet brass inch wide and an inch long and punch a hole in the end of each piece4 ,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 inch4 ,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 ,e4 ,the next and last thing to do is to cut two strips of tin or brass #a inch wide and #c inches long and bend each one over the long way as shown at ,f2 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 #c inches apart as shown at ,e4 ,these bent strips form the holder for the lantern slides4 ,the magic lantern complete is shown at ,g4 ,illustration3 ,,fig4 #fj;,g4 ,,the ,,magic ,,lantern ,,ready ,,for ,,use ,how to ,work the ,lantern4--,tack a bed-sheet up on the wall2 turn on the light in the illuminator and turn off all the lights in the room2 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 holder4 ,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 enough4 ,if it is a pocket folding camera you can focus it and get a picture with much better definition4 ,how to ,make ,lantern ,slides4--,a lantern slide is a sheet of glass with a transparent picture on it4 ,a standard lantern slide is #c #d inches and one of this size can be used in any full sized magic lantern or stereopticon4#fa #fa ,a stereopticon is really two magic lanterns1 but the word is now often used to mean a high-grade magic lantern4 ,to make lantern slides by direct contact printing is not a hard thing to do at all1 and all the equipment you need to make them besides the chemicals is a printing frame4 ,put a sheet of clean glass in it and lay your negative on it with the film side up4 ,now lay the lantern slide plate#fb with the film side down on the negative just as though you were going to make a print1 but you must make it in your dark room1 using a white light to expose it of course1 for it is just as sensitive as a dry plate or a film4 ,when you expose it hold the printing frame about #ab inches away from the light4 #fb ,lantern slide plates can be bought at any photographic supply house4 ,a lantern slide plate is developed1 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 plates4 ,when you have the lantern slide made1 place a sheet of clear glass of the same size--called the cover-glass--on the film side of it and bind the edges with passepartout binding1 that is a strip of paper gummed on one side4 ,it is then ready for use4 ,how to ,make ,radium ,photographs4--,you can make radium photographs1 or skiagraphs as they are called1 with any one of a number of radioactive substances and at a very small outlay4 ,the four most important radioactive substances1 if we except radium itself1 are black uranium oxide1 pitchblende1 thorium nitrate and uranium nitrate4 ,you can buy any one of these substances in a glass stoppered bottle for #a4jj or the set of four for #c4ej4fc #fc ,the ,l4 ,e4 ,knott ,apparatus ,co41 ,boston1 carries these radioactive substances in stock4 ,while the radioactivity 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 envelope1 which is opaque to the light4 ,illustration3 ,,fig4 #fa4 ,a ,,photograph ,,of ,a ,,coin ,,made ,,with ,,radium ,that is1 the coin is laid on the envelope containing the dry plate1 and the bottle with the radioactive substance in it is laid on top of the coin4 ,let them remain undisturbed in this way for a couple of days and you will find on developing the plate a very good radiograph1 or shadow picture of the coin as shown in ,fig4 #fa4 ,trick ,photography ,spirit ,photographs4--,when photography was young ,sir ,john ,herschel1 the great astronomer1 got up what he called magic photographs and these have been worked under the name of spirit photographs by half of the mediums in the business4 ,the idea is to show the victim of superstition his future wife or her future husband4 ,to this end the medium shows a piece of perfectly blank paper about an inch square4 ,she--sometimes it's a he--then dips the bit of paper into a saucer of what seems to be ordinary1 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 his1 or her joys and sorrows will look like4 7,what's the use when they will know so well afterward87 ,be that as it may1 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 are6 7,fifty cents1 please47 ,now the trick is done like this and you can have some fun repeating it4 ,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 them2 wash them well and then soak them in a saturated solution#fd of bichloride of mercury which will bleach out the picture and leave the paper perfectly white again2 this done dry the paper and put it away until you want to use it4 #fd ,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 pressure4 ,when you do1 make a strong solution of hypo1 soak the picture in it for a minute or two1 press it to your subject's forehead and the picture will appear4 ,one ,way to ,catch ,big ,fish4--,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 it4 ,it is simply a case of exaggerated perspective4 ,hence the camera is an apparatus very well adapted for camouflage as the ,french call faking4 ,you can easily try it out by having a friend lean back in a chair and put his feet on the table4 7,if the table is of highly polished mahogany request him kindly to take off his spurs first47 ,stand your camera in front of him so that his feet will be nearest the lens and then take his picture4 ,the result is that he will be about all boots and very little head4 ,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 in ,fig4 #fb4 ,this will make the fish loom up as big as the cod in a ,scott's ,emulsion ad41 and the boy will be the size of the lone fisherman as shown at ,b4 ,it will be some time before the scales will drop from the eyes of the person who is sizing up the picture4 ,you want to use a small stop 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 background4 ,illustration3 ,,fig4 #fb4 ,,one ,,way ,,to ,,catch ,a ,,cod ,a4 ,how it is done4 ,b4 ,how it looks when done4 ,taking ,caricature ,photographs4--,the word caricature 7pronounced care-i-ca-ture7 means a portrait in which some part of it is distorted so that it produces a comical effect4 ,now there are a lot of ways to make photographic caricatures but one of the best is to use what is called a special foreground4 ,this foreground is a sheet of cardboard or a piece of muslin stretched on a frame about #a feet wide and #b feet long4 ,draw on the cardboard or muslin any kind of a funny little body such as an anemic fellow in a bathing suit1 or a lank athlete rowing in a tub1 or a gilded youth riding a donkey2 and finally cut out a place around his collar for the neck of the sitter4 ,seat your subject and have him hold the foreground as shown at ,c in ,fig4 #fb so that his head comes just above the collar of the picture and then take a photograph of him4 ,illustration3 ,,fig4 #fb;,c4 ,,how ,,caricatures ,,are ,,made ,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 ,mecca4 7,if you will keep this picture for #bj years the fellow who sat for it will gladly pay you a hundred dollars for it47 ,,chapter ,,vii ,,printing ,,and ,,its ,,allied ,,arts ,if there ever was a boy who did not want a printing press ,i have yet to meet him4 ,ever since the day when ,gutenburg#fe invented movable types1 and that was some #ejj years ago1 every boy--and not a few men--have wanted to set a few stickfuls of type and run off some impressions on a press1 and many thousands of them have gratified that highly civilized ambition4 #fe ,johanne ,gutenburg was a ,german printer4 ,he invented movable types about the year of #adej4 ,but you fellows of to-day have all the best of it1 for you can buy a printing outfit complete for #a4ej on up to anything you want to pay for it4 ,after all is said and done though1 you can get more real enjoyment out of a small self-inking press than you can out of a larger one4 ,not only is there a lot of fun in printing cards1 etc41 for yourself but there is money in it too1 if you go about it the right way1 but that is another story4#ff #ff ,to make money out of job-printing on a small scale read ,money ,making for ,boys by the present author and published by ,dodd1 ,mead and ,co41 ,new ,york ,city4 ,kinds of ,printing ,presses4--,there are two kinds of printing presses made and these are 7#a7 hand inked presses1 and 7#b7 self-inking presses4 ,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 machined1 that is finished up1 for to do good printing a good outfit is needed to begin with4 ,small hand inked and self-inking presses are sold in the toy departments of nearly all stores at prices ranging from #a4ej to #e4jj and this will include a font of type4 ,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 printing4 ,the ,parts of a ,self-,inking ,press4--,the ,excelsior is the name of a small self-inking printing press that has been on the market for #ej years and it is a good one4 ,the description of it which follows will fit any other model self-inking press just as well1 for they are all built on the same principle4 ,there are seven chief parts to this press and these are 7#a7 the body2 7#b7 the type bed2 7#c7 the platen2 7#d7 the ink-roller carriage2 7#e7 the ink table2 7#f7 the chase1 and 7#g7 the handle1 all of which are shown in ,fig4 #fc4 ,the body of the press serves to support all the other parts4 ,the bed1 as you will see1 is really a part of the body casting and the feet of the type rest against it4 ,for this reason it must be perfectly smooth and even1 and it is planed off1 that is machined1 to make it so4 ,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 it4 ,the card1 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 bed4 ,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 back4 ,illustration3 ,,fig4 #fc4 ,a ,,model ,,self-,,inking ,,printing ,,press ,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 it2 the rollers get their ink from the ink table and this is a disk which revolves and on which the ink is spread2 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 evenly4 ,the type when set is locked in an iron frame called a chase and this fits on the bed2 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 functions4 ,how the ,press ,works4--,let's suppose now1 that you have the type set in the chase and the chase is fixed in the press2 that you have put some ink on the ink-table and a card or a sheet of paper on the platen4 ,now when you press down on the handle it moves the platen up1 the grippers hold the card1 or sheet of paper to it1 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 arc1 that is1 part of a circle1 by a ratchet so that it keeps a fresh surface exposed to the ink rollers all the time4 ,when the card1 or paper makes contact with the type you pull the handle up2 this swings the platen back2 the grippers relax their pressure2 the ink-rollers move down over the face of the type2 you take out the printed card or sheet with your left hand and put in a blank one with your right hand1 when you are ready to make another impression4 ,it may surprise you to know that any one can print from #ejj to #fjj cards an hour and if you are expert you can run off from #a1jjj to #b1jjj cards per hour4 ,sizes and ,prices of ,presses4--,the ,excelsior press comes in three sizes and the price depends on the size of the chase4 7#a7 ,a press having a chase #c #e inches costs #e4jj and this is large enough to print cards1 labels1 envelopes1 etc42 7#b7 a #e #h press costs #ah4jj and this one will do nice jobs up to postal card size2 and 7#c7 a #f #aj press costs #be4jj and is large enough to print bill-heads1 letter-heads and circulars1 or you can print a little newspaper on it4 ,the ,outfit ,you ,need4--,your outfit will1 of course1 depend largely on the size of press you have4 ,outfit for a #c #e ,press4--,a couple of dollars will buy all the fixtures you need and these consist of 7a7 a font of type1 7b7 some leads1 7c7 a type case1 7d7 an assortment of furniture1 and 7e7 a can of black ink4 ,a font of type means enough of a kind having the same face and body and the right amount of each letter to set up an ordinary job4 ,you will find more about type under the next heading called ,type and ,typesetting4 ,leads are thin strips of type metal less than type-high which are used to separate the lines of type2 and a type case is a shallow wooden tray divided into little compartments called boxes in which the letters of a font of type are kept apart4 ,outfit for a #e #h ,press4--,the fixtures of a press of this size include all of those named above and 7a7 three fonts of type1 7b7 type cases for them2 7c7 a set of gage pins1 and 7d7 a pair of tweezers1 or a bodkin4 ,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 place4 ,the tweezers1 or bodkin1 which is a large needle1 is used for picking out type from a form when you are correcting it4 ,outfit for an #h #aj ,press4--,this outfit should have all the fixtures of both of those described above and you will need not less than four fonts of type1 while a composing stick1 which is a little metal tray to hold the type in as you set it1 is a necessity4 ,these fixtures are shown in ,fig4 #fd4 ,illustration3 ,,paper ,,guage ,a--,,wood ,,furniture ,b--,a ,,lead ,d--,a ,,bought ,,guage ,,pin ,e--,,regular ,,printer',s ,,tweezers ,,with ,,coarse ,,serrated ,,flat ,,points ,a ,,bodkin ,c--,a ,,common ,,pin ,,bent ,,for ,a ,,guage ,,pin ,a ,,composing ,,stick ,,fig4 #fd4 ,,an ,,outfit ,,for ,a ,,model ,,press ,about ,type and ,setting ,type4--,relative ,number of ,type ,letters4--,in looking over type catalogues you will see that the fonts are listed as #d;,a1 or #h;,a-#aj;,a1 etc4 ,now this means that in the #d;,a font there are #d capital ,a letters and that all of the other letters are in proportion to the ,a's that are likely to be used1 thus3 ,illustration3 ,a #d;,a ,,font ,a ,b ,c ,d ,e ,f ,g ,h ,i ,j ,k ,l ,m ,no4 of letters to font #d #b #c #c #e #b #b #c #d #b #b #c #c ,n ,o ,p ,q ,r ,s ,t ,u ,v ,w ,x ,y ,z ,no4 of letters to font #d #d #c #b #d #d #d #b #b #b #b #b #b ,with an #h;,a-#aj;a font there are of course twice as many of each capital letter as in a #d;,a font while of the lower case letters1 which means the small ones1 there are #aj a's and the number of the others are in proportion to their use1 thus3 ,illustration3 ,,an #h;,a-#aj;a ,,font a b c d e f g h i j k l m ,no4 of letters to font #aj #d #f #h #ah #d #d #h #aj #b #c #h #f n o p q r s t u v w x y z ,no4 of letters to font #aj #aj #f #c #aj #aj #aj #f #d #d #b #d #b ,styles of ,type4--,for card work you want a plain block letter font like that shown at ,a1 a script like ,b1 or an old ,english like that shown at ,c4 ,for envelopes1 bill1 letter head and other job work three fonts of engraved plate style as shown at ,d1 ,e and ,f will give good results4 ,illustration3 #bc;,a #a4jj ,a ,,theodore ,,roosevelt #abcdefghij #h;,a #bd;a #d4ej ,b ,miss ,alice ,verlet #abcdefghi #aa;,a #cd;a #b4ej ,c ,lieut4 ,john ,hodder ,stuart #abcdefghi #bb;,a #a4jj ,d ,,engraved ,,card ,,style ,,is ,,preferred #ebdfh #af;,a #a4je ,e ,,handsome ,,engraved ,,effects #abc ,a#af #a4be ,f ,,engraved ,,plate ,,style #adj ,for circulars you should have several fonts of different styles of type as shown at ,g1 ,h1 ,i1 ,j and ,k4 ,illustration3 #ah;,a #cf;a #b4ij ,g ,,clear ,,cut ,faces ,popular #abc #ae;,a #a4ie ,h ,,excelsior ,,presses #abcde ,a #b4aj ,i ,,graino #a #aj;,a #ae;a #e4ce ,j ,,good for many places #c #aa;a #bj;a #c4jj ,k ,good and ,clear for poster and circular printing4 ,a fine addition to any printing office4 #abcdefgh ,and finally should you intend to print a cook-book1 a town directory or a newspaper you will need a half1 or a full font of #ab point plain pica ,roman1 as it is called1 and which is shown at ,l4 ,illustration3 ,l #ab ,point ,no4 #a1 #be lbs4 #ab4jj4 7,half font1 #ab lbs41 #f4ej7 ,,plain ,pica ,roman1 a ,,face for many uses4 ,books1 circulars and jobbing4 ,very clear and easy to read4 ,cast from nickel metal and most durable known4 ,l z #abcdefghij ,the ,parts of a ,type4--,before explaining how to set type1 make ready and print1 there are a few little things about letters and about type which are good to know4 ,first let's take1 by way of illustration1 the letter ,h ,h4 ,now you will observe that the first ,h is plain and the second one is embellished by fine lines at the top and bottom and these embellishments are called ser-ifs4 ,as simple a bit of metal as a type has more parts to it than you can shake a stick at1 but you ought to learn them by heart4 ,named1 these parts are 7a7 the body of the type2 7b7 the front2 7c7 the back2 7d7 the face or letter2 7e7 the nicks2 7f7 the feet2 7g7 the groove2 7h7 the shoulder2 7i7 the bevel1 and 7k7 the pin marks1 and all of these are pointed out in ,fig4 #fe4 ,illustration3 ,,fig4 #fe4 ,,the ,,parts ,,of ,a ,,type ,it very often happens in italics and script type that a part of a letter will stand out beyond the body and this little extension is called the kern4 ,the nick in the type is to help the type-setter1 or compositor as he is called1 to set the type the right way in the stick1 that is you always set the type with the nicks down and toward you4 ,the pin-mark is made by a sharp instrument which removes it from the mold4 ,finally a c e m n o r s u v w x z are called short letters2 j is a long letter in that it takes up the full breadth of the face2 b d f h i l t are upstroke1 or ascending letters1 while g p q are downstroke or descending letters4 ,the ,sizes of ,type4--,type is made in standard sizes and not so very long ago each size was known by a name4 ,then a change was made and the point system1#fg as it is called1 came into general use4 ,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 point4 #fg ,this is the standard system of sizes for type bodies4 ,it is so called because it is measured in decimal points or fractions of an inch2 that is1 #a point is 4#jach inch1 so that nonpareil1 as it used to be called1 is now #f point and bourgeois is #i point1 etc4 ,illustration3 ,,table ,,of ,,type ,,sizes ,,old ,,names ,,of ,,sizes ,,new ,,point ,,sizes ,pearl #e point ,agate #e 8 ,nonpareil #f 8 ,minion #g 8 ,brevier #h 8 ,bourgeois #i 8 ,long ,primer #aj 8 ,small ,pica #aa 8 ,pica #ab 8 ,english #ad 8 ,great ,primer #ah 8 ,your ,type ,cases4--,there are two kinds of type cases and these are made to hold 7#a7 the capital1 or upper case letters1 and 7#b7 the small or lower case letters4 ,the reason the capitals are called upper case letters is because the case that holds them is set higher on the composing stand than the case which holds the small letters2 this brings the small letters nearer to the hand of the compositor and as they are used more than the caps he can set the type faster4 ,the arrangement of the cases is shown at ,a in ,fig4 #ff4 ,illustration3 ,,fig4 #ff;,a4 ,,how ,,the ,,type ,,cases ,,are ,,arranged ,there are several schemes of type-cases but ,i shall only describe three of them4 ,the first is a small type case #ab inches square with #dh boxes in it and you can buy one for #ce cents4 ,it is good enough for any one who doesn't want to go to the bother of learning the regular case4 ,a plan view of the lay of a regular upper and a lower case is shown at ,b and ,c4 ,you will see that the e box in the lower case is larger than any other and this is because there are more e's used in setting up a job than any other one letter4 ,and you will also observe that the letters are distributed and the boxes spaced in a very uneven way1 but this arrangement brings the letters that are used the most into the easiest places to reach4 ,illustration3 ,,fig4 #ff;,b4 ,,the ,,upper ,,case ,illustration3 ,,fig4 #ff;,c4 ,,the ,,lower ,,case ,setting the ,type4--,where you have more than one line to set you should by all means use a composing stick and a small one will cost you a dollar4 ,it should be held in the left hand as shown in ,fig4 #fg1 that is1 with the open side from you and the slide to the left4 ,now read a few lines of your copy1 pick the first letter from its box and set it in the left hand corner of the stick with the nick in the type toward your thumb4 ,take the next letter from its box and let it slide into the composing stick against the first letter and so on from left to right until you have the first word set up4 ,illustration3 ,,fig4 #fg4 ,,how ,,to ,,hold ,a ,,composing ,,stick ,now put in a medium sized space1 which is made just like a type but only shoulder high and without any letter on it1 and begin to set the next word4 ,if when you get to the end of the line there is a space left but not enough to start another word1 put a thin space between the words to lengthen out the line1 or justify it as it is called4 ,when you have set the line put a lead1 that is a thin strip of typemetal which comes to the shoulder of the type1 against it and start a new line and so on until you have the stick half full of type4 ,the type must now be taken out of the stick and placed on a smooth surface1 such as a piece of slate or a stone called an imposing stone1 and to do this without dropping some or all of the type and making pi of it1 takes practice4 ,to do it like a journeyman1 put a lead at the top and bottom of the type1 set the stick on the stone1 grip the top and bottom with your fore fingers and thumbs and the sides with your other fingers1 hold it tight and you can then easily lift it out and into the chase as shown in ,fig4 #fh4 ,illustration3 ,,fig4 #fh4 ,,putting ,a ,,stick ,,of ,,type ,,in ,,the ,,chase ,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 trouble4 ,when you can manage half-a-stick full of type you can then try a stick full4 ,making ,ready4--,after you have the type1 which is to make up the form1 set in the chase on the imposing stone1 or table1 fill in the top and bottom spaces with long pieces of wood furniture and the ends with hollow metal furniture and then lock up the form1 that is screw or otherwise fix it in the chase4 ,now there are two kinds of chases used with small presses and these are 7#a7 screw chases and 7#b7 plain chases4 ,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 place4 ,illustration3 ,,fig4 #fi4 ,,tools ,,for ,,locking ,,up ,a ,,chase ,when a plain chase is used1 quoins1 that is wedges made of wood1 as shown in ,fig4 #fi--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 shooting stick1 so that the type is held firmly in place4 ,the next thing to do is to plane the form1 that is1 you take a block of wood one side of which is covered with a piece of felt4 ,lay this on the type and tap it gently with the mallet to get all of the type even on top4 ,you can make a planer or buy one for a quarter ready made4 ,this done1 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 latter4 ,ink the type and run off a few impressions2 but be careful that the grippers are set so that they will just catch the edges of the sheet but will not strike the type form4 ,if part of the impression does not come out plain1 paste a piece of paper on the paper backing on the platen and1 oppositely1 if a part of the impression is too heavy a bit of the under sheet of paper backing must be cut away4 ,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 in4 ,instead of cardboard you can use three bent pins to gage the sheet1 or1 still better1 use regular steel gage pins 7see ,fig4 #fd71 for these can be adjusted to a nicety4 ,printing the ,job4--,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 roller4 ,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 pins2 take away your hand and press the handle down with your left hand2 raise it up1 take the printed sheet out with your left hand1 feed in another one and so on until the job is done4 ,how to ,clean ,type4--,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 benzine1 or turpentine and when all the ink and smut is gone wipe it with a clean rag4 ,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 also4 ,to do good printing everything must be immaculately clean4 ,about ,distributing ,type4--,after you have cleaned the type1 unlock the form and then take a line o' type at a time on a lead in your left hand2 pick off two or three letters at once and drop each one into its respective box4 ,the ,ink and ,rollers4--,the ,ink4--,while of course you will buy your ink all ready to use you may like to know how it is made4 ,here's a recipe for a printing ink that is as old as the hills and as good as gold3 ,balsam of capivi #d ounces2 lampblack #a ounces2 indigo ounce2 ,india red ounce1 and turpentine dry soap #a ounces2 mix these ingredients well in a mortar with a pestle2 then mix the mass with boiled linseed oil to the right thickness4 ,when buying ink for job printing get one that is a quick drier and this costs from #ej cents to #a4ej a pound according to quality4 ,you can also buy colored inks in red1 white1 blue1 yellow1 green1 brown and purple in #d ounce cans for #fj cents a can4 ,the ,rollers4--,while it is cheaper and better to buy ink rollers ready made1 if you want to try your hand at making them yourself get #a pound ,peter ,cooper's best glue2 #a quart best sugar house syrup1 and #a pint of glycerine4 ,soak the glue in rain water until it is soft1 drain off all the excess water1 put it in a glue pot and set it on a slow fire until it is melted4 ,now put in the syrup1 boil it for half an hour1 stirring it the while1 and skim off the scum that comes to the top4 ,about #e minutes before you take it from the fire add the other things and then pour the mixture into the mold1 which is simply a brass cylinder of the diameter and length you want the roller4 ,the stock1 as the spindle of the roller is called1 is set exactly in the middle of the mold and the composition is poured into it4 ,printing in ,colors4--,printing in two or more colors1 or color printing1 is not only interesting work to do1 but profitable1 since you can easily get orders for it4 ,it is a little harder to do a good job with colored inks than it is with black ink1 but if you will use plain type and good colored ink you will have small trouble in doing a creditable job4 ,printing in ,gold4--,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 cotton1 or print the job with gold size which makes the powder stick better4 ,dust the excess powder off with a bit of cotton when the letters will stand out in gold beautifully4 ,you can buy a #c ounce can of gold size for a quarter and bronze powder can be had in #a ounce cans in gold1 silver1 cardinal red and copper4 ,all of the above materials can be bought of the ,kelsey ,press ,company1 ,meriden1 ,conn41 and you ought to send for one of their catalogues4 ,and ,finally ,your ,stock ,supply4--,you will need a supply of both visiting and business cards2 paper for labels1 handbills and newspapers--that is1 if you intend to print one--and paper for bill-heads1 statements1 letter-heads and envelopes to match them4 ,cards come in all sizes and colors and in any quantity however small2 they are sold under the name of thin white1 thin colored1 heavy china1 business bristol1 fine bristol1 extra fine bristol1 satin enameled and linen finished bristol4 ,then there are cards with gold beveled and lace edges2 fancy embossed1 with round edges1 and for mourning4 ,paper can be bought that is gummed on one side for labels2 linen and bond papers are used for correspondence2 the cheapest kind of white and colored paper is good enough for handbills but you should use a good white stock for newspaper work4 ,before ordering 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 buying4 ,the ,art of ,paper ,making ,of course you know what paper looks like and how it feels1 but it is not so likely that you know what it is and how it is made2 but paper making is an art so old1 so wonderful and so useful1 that you ought to make enough to know all about it4 ,what ,paper ,is4--,paper is made by chemical and mechanical processes from rags1 straw or wood into thin sheets4 ,these materials are formed of fibers made up of what chemists call cellulose#fh and this substance is in turn composed of ,c,h,o1 that is #f atoms of carbon1 #aj atoms of hydrogen and #e atoms of oxygen4 #fh ,cellulose forms the ground-work of all vegetable tissues whether they are the tender shoots of a fern or the hard wood of trees4 ,how to ,make ,paper4--,whatever material you use to make the paper of it must be converted into a pulp first4 ,cotton or linen makes the best paper--this is called rag paper--because these materials are nearly pure cellulose to begin with4 ,making the ,pulp4--,to make a little paper take about a pound of white cotton or linen rags and cut them up into little bits2 boil them in a solution of caustic soda for a couple of hours1 to get out all the dirt and grease1 and stir them often4 ,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 separated4 ,you can do this by putting the fabrics into a chopping bowl1 wetting it down with clean water and then using a pair of chopping knives on them until the fibers are cut fine1 and you must change the water often4 ,in paper mills a rag engine1 as it is called1 is used to wash and break up the rags4 ,illustration3 ,,fig4 #gj4 ,a ,,frame ,,for ,,paper ,,making ,the ,molds ,you ,need4--,make half-a-dozen frames of wood inch thick and an inch wide1 and about #e #h inches on the sides2 and cover these with brass wire netting having about #bj wires to the inch as shown in ,fig4 #gj4 ,school slate frames are good for this purpose4 ,laying the ,paper4--,now spread a thin layer of pulp on the wire netting of each frame1 or mold1 and set them to one side to dry4 ,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 making4 ,in this way pile up the blotting paper and the paper in the making and then put them under pressure2 this you can do by placing the pile between two smooth #a inch thick boards and screwing them together with a couple of wood clamps4#fi ,after an hour or so you can take the clamps from the pile and separate the sheets of paper from the blotting paper4 #fi ,a description of these clamps will be found in ,chapter ,i4 ,next place the paper between sheets of oil board1#gj make a pile of them and screw them up between the wood clamps again good and tight and leave them there over night2 then hang up each sheet of paper by a corner with a clip and let it dry4 #gj ,this is a heavy oiled paper and you can buy it at a painter's supply store1 or of ,c4 ,b4 ,hewitt and ,bros41 #dh ,beekman ,st41 ,new ,york ,city4 ,sizing and ,finishing4--,when the sheets are dry take them down and lay them carefully in a pile for sizing4 ,make the sizing by dissolving gelatine in hot water until it is about as thick as milk with the cream in it4 ,pour the sizing into a shallow dish or1 better1 a photographic tray2 lay each sheet1 first one side and then the other1 on the sizing and be careful to wet it evenly all over4 ,put the sized paper between the sheets of oil board again1 make a pile of them1 screw on the wood clamps1 let them stay under pressure for half a day and1 finally when you take them out let them dry slowly and you will have a hand made paper that you have made with your own hands4 ,how to ,bind ,books ,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 it4 ,but while ,i do not want you to believe that you can do a job that would anywhere nearly equal it1 you can bind a book good enough so that you will not feel ashamed to let any one see it4 ,illustration3 ,,the ,,boards ,,boards ,,glued ,,to ,,cloth ,,width ,,of ,,book ,,fig4 #ga4 ,,how ,,to ,,cut ,,boards ,,and ,,cloth ,,for ,,book ,,binding ,making the ,cover4--,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 inch longer as shown at ,a in ,fig4 #ga4 ,lay these boards on a piece of muslin or calico1 or you can buy regular book-binder's cloth for the purpose#ga and cut it #b inches wider than the length of the boards and three times as long as the width of one of them as shown at ,b4 #ga ,for book binders' materials of all kinds send to ,thomas ,garner and ,co41 #aha ,william ,street1 ,new ,york4 ,for book binders' leather materials address ,du ,pont ,febrikoid ,co41 ,equitable ,bldg41 ,new ,york4 ,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 an inch wider than the thickness of the book you are binding as shown at ,b and ,c2 this done glue the edges of the cloth over on to the other sides of the boards as shown at ,d in ,fig4 #gb4 ,illustration3 ,,fig4 #gb4 ,,sewing ,,on ,,the ,,muslin ,,flap ,while the back is drying take a piece of good muslin and cut it #a inches shorter than the length of the book and within #b inches as wide as the width of the back of the book when it is flat open4 ,for instance suppose the book is #e inches wide and #a inch thick which is #aa inches in all2 then you would cut the muslin #i inches long4 ,the muslin on the book is shown at ,e4 ,sewing the ,book4--,the next operation is to sew this piece to the back of the book2 for this work you will need a thin sharp awl1 a hammer1 a large darning needle and some strong linen thread--waxed thread is the best4 ,before doing so1 however1 take a sheet of good white paper and make a couple of fly-leaves for the front and back of the book2 now punch a line of holes inch from the back1 through the book as shown at ,f1 then put on the piece of muslin and sew it to the book good and tight1 and be sure the flaps are even4 ,illustration3 ,,fig4 #gc4 ,,the ,,bound ,,book ,,complete ,this done spread some glue on the pasteboard covers1 place the back of the book on the cloth binding between the covers1 turn it over on the front cover and rub the muslin down smooth on it2 then do the same thing with the back4 ,all that remains for you to do now is to turn back one of the blank pages which you sewed on to the book and glue it on the cover which will conceal the muslin flap4 ,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 clamps4 ,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 shelf4 ,putting on the ,title4--,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 it1 or on a piece of cloth and glue it to the front of the cover as shown in ,fig4 #gc4 ,,chapter ,,viii ,,rubber ,,stamps1 ,,die ,,sinking1 ,,burning ,,brands ,,and ,,stencils ,rubber ,stamps ,a rubber stamp is type matter molded in rubber which is then mounted on a block with a handle as shown in ,fig4 #gg4 ,when the stamp is inked and then pressed on a smooth surface it leaves an impression on it4 ,rubber stamps are useful for marking tags1 books1 boxes1 bundles1 etc41 but it is very bad taste to use them for letter-heads and envelopes4 ,how to ,make ,rubber ,stamps4--,the ,materials ,needed4--,to make rubber stamps you will need 7#a7 one or more fonts of type2 7#b7 a composing stick if you intend setting up more than one line2 7#c7 a frame called a chase1 #d #e inches on the sides made of a strip of wood #a inch wide and #a inch high1 which is the height of type from its feet to its shoulder2 7#d7 another frame1 called the matrix frame1 made of a strip of wood #a inch wide1 inch thick and #d #e inches on the sides4 ,these two frames are shown at ,a and ,b in ,fig4 #gd4 7#e7 ,two smooth boards #a inch thick1 #f inches wide and #g inches long2 7#f7 a tooth-brush2 7#g7 a couple of pounds of dental plaster of ,paris1 and 7#h7 a pound of pure unvulcanized rubber4 ,dental plaster is finer than the ordinary kind and you can buy all you will need from your family dentist for #e or #aj cents a pound4 ,unvulcanized rubber for rubber stamps comes in sheets about inch thick and is sold under the name of signature stamp gum and you can buy it for about #a4jj a pound4#gb #gb ,you can buy signature stamp gum of ,the ,goodyear ,tire and ,rubber ,company1 #aj ,central ,park ,west1 ,new ,york ,city4 ,in ordering of this firm ask for ,no4 #djic1 inch thick4 ,illustration3 ,,fig4 #gd4 ,,the ,,matrix ,,frame1 ,,chase ,,and ,,boards ,,for ,,making ,,rubber ,,stamps ,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 pressure2 when it gets cold it is not only much stronger than before but it is very elastic as well4 ,making the ,mold4--,since you know how to make pewter castings and how to set type1 making a rubber stamp will be as easy as rolling off a log4 ,when you have the type set up that you want to make the rubber stamp of1 put a lead#gc on each side of it1 oil it all over with sweet oil and tie a string around it tight4 ,lay the thick1 shoulder high wood frame over the type matter you have set and see that it is in the middle of it4 #gc ,see the preceding chapter on printing4 ,next mix up a little more than enough plaster with cold water in a bowl to fill the frame2 stir it with a tablespoon and make it about as thick as sorghum molasses4 ,pour the plaster all around the type in the frame and fill up the space between them as high as the face of the type4 ,now let the plaster set1#gd that is1 get hard1 which it will do in a very few minutes4 ,when it is hard enough to hold the type in place and yet before it gets solid take the tooth-brush1 dip it in water and brush away the plaster until it is exactly even with the frame1 and hence1 even with the shoulders of the type as shown in ,fig4 #ge4 #gd ,when calcium sulphate is heated it loses its water of crystallization and forms a powder1 which we call plaster of ,paris2 the plaster has the power of taking up water and forming a solid substance1 and this process is called setting4 ,when the plaster has set hard oil the face of the type and the plaster with sweet oil2 now lay the thin frame over the thick frame2 mix up some more plaster with water and make it thin enough so that it will flow easily into every little space of the type and fill the frame up with it4 ,let this frame stay on the lower frame over night so that it will get very hard and you can then lift it off1 when a very sharp impression of the type faces will be formed in it shoulder deep1 that is as deep in the plaster as the face of the type is high4 ,this frame with its plaster impression is called the matrix4 ,illustration3 ,,fig4 #ge;,d4 ,,the ,,type ,,in ,,the ,,chase4 ,e4 ,,plaster ,,of ,,paris ,,impression ,,in ,,the ,,matrix ,,frame ,vulcanizing the ,rubber4--,cut a piece of the unvulcanized gum rubber inch wider and longer all round than the impression of the type2 peel the strip of muslin from the strip of rubber gum and lay it on the matrix4 ,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 ,fig4 #gf4 ,half fill a kettle with water2 lay the mold on top of the kettle--but not in the water--and put both of them in a hot oven for #cj minutes4 ,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 them4 ,the steam from the kettle will keep the wood from charring and the rubber from burning but has no other action on it4 ,illustration3 ,,fig4 #gf4 ,,the ,,matrix ,,with ,,the ,,rubber ,,gum ,,in ,,place ,,ready ,,to ,,vulcanize ,the heat vulcanizes#ge the rubber gum and makes it springy and stretchy1 but if it gets too hot it will become hard and you will have hard rubber instead4 ,to get just the right degree of heat a vulcanizer1#gf which is simply a little boiler with a thermometer on top1 is used by rubber stamp makers4 #ge ,vulcanizing is the process of heating raw ,india rubber with sulphur2 the sulphur combines with the rubber to form a new compound4 ,if a large amount of sulphur is used and great heat is used hard rubber1 or vulcanite1 or ebonite is formed4 ,if a small amount of sulphur and a low heat are used the elastic rubber that is so common is formed4 #gf ,the ,s4 ,s4 ,white ,dental ,mfg4 ,co41 #e ,union ,square1 ,new ,york1 sells them1 and unvulcanized rubber as well4 ,mounting the ,rubber4--,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 ,fig4 #gg4 ,illustration3 ,,fig4 #gg4 ,,the ,,rubber ,,stamp ,,ready ,,to ,,use ,how to ,use a ,rubber ,stamp4--,a special kind of ink is used for rubber stamps1 as writing ink is too thin and printing ink spoils the rubber4 ,to ,make an ,ink ,pad4--,cut out two blocks of pine wood each of which is inch thick1 #b inches wide and #c inches long2 cut out four strips of woolen cloth #b #c inches1 lay two of the strips on each block and then cover the latter by gluing a piece of muslin over it4 ,pour a dozen or #ae drops of rubber stamp ink on each pad and rub the surfaces of both of them together to distribute the ink evenly4 ,when not in use keep their inked surfaces together and in a box so that the dust will not get on them4#gg #gg ,you can buy a good rubber stamp pad for a quarter4 ,rubber stamps1 pads1 and ink can be bought of the ,everson and ,reed ,co41 #hh ,chambers ,st41 ,n4 ,y4 ,c4 ,to ,make ,rubber ,stamp ,inks4--,a ,black ,ink4--,mix #c parts of lampblack with #g parts of olive oil4 ,a ,red ,ink4--,mix #b parts of vermilion with #c parts of olive oil4 ,a ,blue ,ink4--,mix #c parts of aniline blue and #f parts of oleic acid with #id parts of castor oil4 ,a ,green ,ink4--,mix #be parts of aniline blue1 #ae parts aniline lemon yellow1 #ej parts oleic acid and castor oil #iej parts4 ,how to ,make a ,copygraph ,pad4--,a copygraph pad1 or hectograph1 as it is often called--from the ,greek hekaton which means #ajj1 and graph to write1 hence to write a hundred--is a gelatine pad for duplicating a letter or a drawing4 ,to use a copygraph pad you must write your original letter with an aniline ink2 then you lay it on the pad and rub it down with your fingers4 ,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 pad1 rub it and pull it off you will have a copy almost as bright and clear as the original4 ,in this way as many as #ej or #ajj copies of the original letter can be made4 ,to make a copygraph pad put #a ounce of the best gelatine in enough water to cover it and let it stand for #bd hours4 ,put a tablespoonful of table salt into a cup of water1 pour it into the outside can of a water jacketed pot4 ,put #f ounces of glycerine in the inside pot1 set the pot on the stove and heat it good and hot1 or to be exact1 to about #bjj degrees ,fahrenheit4 ,drain off all the water from the gelatine and put the latter in the glycerine while it is yet on the fire2 stir the mixture slowly every once in a while in order to prevent bubbles from forming1 and skim off the froth that forms on top of it4 ,when you have a nice smooth mixture stir in a teaspoonful of oil of cloves to keep it sweet4 ,next make a pan of sheet zinc a little larger than the letter you want to copy and an inch high1 or you can use a tin pie pan if you merely want to try it out4 ,set the pan on a level table1 fill it with the hot mixture1 let it stand over night and it is ready to use4 ,how to ,copy a ,letter4--,you must write your letter with a special aniline ink1 called hectograph ink1 and use a new steel pen to do it with4 ,while the writing is getting dry take a small clean sponge1 wet it with cold water1 squeeze it as dry as you can1 wash the face of the gelatine with it before you try to make an impression or else you will spoil the pad4 ,this done1 lay the sheet of paper with the written side down on the pad and gently rub your fingers over every part of it4 ,let the paper stay on the pad for a couple of minutes1 then grip a corner of it and pull it slowly and evenly from the pad as shown in ,fig4 #gh4 ,now you are ready to make your copies4 ,to do this lay a clean sheet of paper on the pad1 rub it as you did the original1 let it remain for a minute and pull it off4 ,keep on making copies until you have as many as you want or the impression gets too faint4 ,illustration3 ,,fig4 #gh4 ,,pulling ,,an ,,impression ,,from ,,the ,,copygraph ,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 copy4 ,how to ,make ,hectograph ,inks4--,black ,ink4--,mix #aj parts of methyl violet2 #bj parts of nigrosene2 #cj parts of glycerine2 #e parts of gum arabic and #fj parts of alcohol4 ,heat it until the anilines are dissolved and stir until all are thoroughly mixed4 ,red ,ink4--,mix #aj parts of fuchsin1 #aj parts of alcohol2 #aj parts of glycerine and #ej parts of water4 ,heat and stir as before4 ,die ,sinking ,how to ,make ,badges1 etc4--,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 too1 for every boy wants a badge or a medal4 ,illustration3 ,,sheet ,,of ,,german ,,silver ,,or ,,brass ,,with ,,shield ,,marked ,,on ,,it ,,the ,,shield ,,cut ,,out ,,fig4 #gi;,a1 ,b4 ,,first ,,steps ,,in ,,making ,a ,,badge ,badges can be made of any kind of sheet metal inch thick or more but ,german silver#gh makes mighty pretty ones for it takes a high polish and remains bright a long time4 ,to cut out a shield1 a star or any kind of a badge get a and a inch straight cold chisel and a and a inch curved cold chisel1#gi also a block of hard wood one side of which must be nice and smooth4#hj #gh ,you can buy ,german silver in any quantity and thickness of ,patterson ,bros41 ,park ,row1 ,n4 ,y4 #gi ,the ,p4 ,f4 ,smith ,co41 #cbe ,west #dbnd ,st41 ,n4 ,y4 ,c1 make these chisels4 #hj ,you can make it so by scraping it with a piece of glass4 ,draw the outline of the badge you intend to make on a sheet of metal2 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 ,fig4 #gi4 ,when you have it cut out1 file off the rough edges4 ,how to ,sink the ,letters4--,for this part of the work you will need a set of inch steel letters#ha as shown in ,fig4 #hj and they will cost in the neighborhood of #c4jj4 #ha ,can be had of ,hammacher1 ,schlemmer and ,co41 ,fourth ,ave4 and #acth ,street1 ,new ,york4 ,illustration3 ,,fig4 #gi;,c4 ,,the ,,badge ,,on ,a ,,flat-,,iron ,,in ,a ,,vise4 ,d4 ,,sinking ,,in ,,the ,,letters ,mark the lines on the badge on which the letters are to be sunk with a very soft lead pencil1 or1 better1 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 bone4 ,otherwise you will have trouble in getting the lines out4 ,now lay the badge on a perfectly smooth piece of iron--a flat-iron screwed in a vise1 see ,c1 is good4 ,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 serifs#hb on the lower edge of the letter exactly on the middle of the line you have drawn as shown at ,d4 #hb ,see ,chapter ,,vii1 on ,printing4 ,illustration3 ,,fig4 #hj4 ,,steel ,,letters ,,and ,,figures ,,for ,,die ,,sinking ,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 surface4 ,finish stamping the name by working both ways from the middle letter1 for this is the way to get the name on the badge evenly4 ,with a set of steel letters and figures you can also stamp key checks1 jewelers' checks1 baggage checks and name plates and also sink names on wood1 metal1 leather1 etc4 ,finishing ,up the ,badge4--,the next thing to do is to solder a pin on the back of the badge as shown at ,e in ,fig4 #gi4 ,scrape the back up and down the middle bright and clean2 put a small safety pin on the badge and hold them together with a pair of tweezers4 ,then put on a couple of drops of soldering fluid4#hc #hc ,see page #ca4 ,illustration3 ,,the ,,back ,,with ,,pin ,,soldered ,,on ,,ready ,,to ,,wear ,,fig4 #gi;,e1 ,f4 ,,last ,,steps ,,in ,,making ,a ,,badge ,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 solder4 ,when the solder runs let it cool and the pin will be on securely enough for all ordinary purposes4 ,next polish up the badge by rubbing it with powdered rottenstone mixed with a little machine oil and then finish it off with some crocus4 ,if you have a lathe of any kind get a felt wheel#hd and use the rottenstone and oil on it and then the crocus4 #hd ,f4 ,w4 ,gesswein ,co41 ,inc41 #af ,john ,st41 sells engravers'1 opticians'1 platers' and polishers' supplies4 ,heat the stamped surface of the pin just a little and put some black enamel1 which you can get at the hardware store1 into the letters2 rub off all that sticks to the surface but leave all that is in the sunk letters4 ,put it away and let the enamel dry thoroughly when you will have a regular badge as shown at ,f4 ,burning ,brands ,a burning brand is useful to mark the handles of tools1 boxes or anything made of wood by burning a name or a design into them4 ,how to ,make a ,burning ,brand4--,to make a burning brand1 say with your initials on it1 make a cardboard box inch wide1 #a inch high and #c inches long and without a top4 ,mix up some plaster of ,paris1 fill the box with it and let it set4 ,when it is perfectly hard and dry tear the cardboard box away from it1 and on the narrow side of it1 that is the one that is inch wide1 mark out your initials1 reversing the letters just as they are on type4 ,take a sharp pocket knife and cut away the plaster from around the letters to a depth of inch1 thus leaving the letters standing out in relief like type letters as shown at ,a in ,fig4 #ha4 ,give it a couple of coats of shellac varnish#he which not only protects the plaster to a certain extent but prevents it from sticking to the mold4 #he ,you can make this varnish by dissolving yellow gum shellac in alcohol or you can buy it at a paint store4 ,illustration3 ,a ,,plaster ,,of ,,paris ,,pattern ,,for ,a ,,burning ,,brand ,,the ,,burning ,,brand ,,complete ,,fig4 #ha4 ,a ,,burning ,,brand ,,of ,,iron ,,or ,,copper ,now take this pattern to a brass foundry and have a brass casting made of it4 ,when you get it file it up nice and smooth and be careful to keep the surface of the letters perfectly flat4 ,this done1 drill a inch hole in the center of the back of the brand to a depth of an inch and thread it with a inch tap4 ,the next and last thing to do is to get an iron rod inch in diameter1 and #ab inches long1 bend a ring on one end1 thread the other end with a inch die and screw it into the brand1 when it will look like ,b4 ,how to ,use the ,burning ,brand4--,to use the burning brand put it in a fire and when it is about red hot1 take it out and press it firmly on the wood you want to mark and your initials will be left on the wood as long as the wood lasts1 nearly4 ,stencils ,a stencil is a piece of heavy paper or thin sheet of metal in which letters or a design are cut through with broken lines1 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 sponge4 ,there are two kinds of stencils1 namely 7#a7 those used for practical work and 7#b7 those used for decorative purposes4 ,how to ,cut ,stencils4--,you can cut your stencils in either 7a7 oil board1#hf or 7b7 in thin sheet brass or copper4 ,paper stencils1 as those cut in oil board are called1 are much easier to make than those cut in sheet metal and as they are quite durable they will probably serve your every need4 #hf ,oil board can be bought of ,c4 ,b4 ,hewitt and ,bros41 #dh ,beekman ,st41 ,new ,york4 ,cutting ,paper ,stencils4--,all you need to cut paper stencils with is a sheet of oil board and a pen-knife with a good1 sharp-pointed blade4 ,a stencil alphabet is shown at ,a in ,fig4 #hb and by taking a look at it you will see exactly where the lines must be broken to hold the letters together4 ,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 parts4 ,for every line of letters you want draw a pair of lines across the oil board and have the space between them whatever you want the height of the letters to be4 ,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 left2 by lettering the oil board or metal this way you will get the whole name or word exactly in the middle of the sheet4 ,illustration3 ,,fig4 #hb4 ,,stencil ,,letters ,,and ,,stencils ,a4 ,how stencil letters are cut4 ,b4 ,a stencil for marking boxes4 ,c4 ,decorative stencil for wall borders4 ,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 point4 ,start at the top of each line if it is a vertical one1 or on the left hand side if it is horizontal2 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 paper4 ,in cutting the stencil you can turn the sheet around to bring the lines into the best position for cutting4 ,it does not take much pressure to cut through the board but press down hard enough on the blade to 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 corners4 ,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 metal4 ,cutting ,brass ,stencils4--,to cut sheet metal stencils use annealed#hg sheet metal about ,no4 #be ,brown and ,sharpe gauge2#hh mark out the letters or design as for paper stencils and then cut them with stencil chisels4 ,when you have the stencil all cut file the burr 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 sharp4 ,a practical stencil is shown at ,b4 #hg ,patterson ,bros41 ,park ,row1 ,new ,york1 carry sheet brass and copper in stock for stencils4 #hh ,the ,brown and ,sharpe ,wire ,gage is also used for measuring the thickness of sheet metal4 ,how to ,use ,practical ,stencils4--,a short1 stubby brush1 called a stencil brush and made especially for the purpose is the best kind to use to stencil with4 ,dampen it a little and rub it on a cake of stencil ink2#hi hold the stencil down tight to the surface you are to mark and then dab--not paint--the spaces in it with the brush4 #hi ,nearly every stationery store carries stencil ink and brushes in stock1 or you can get them of ,hammacher1 ,schlemmer and ,co41 ,cor4 ,fourth ,ave4 and #acth ,street1 ,n4 ,y4 ,c4 ,how to ,make ,stencil ,inks4--,dissolve #d ounces of shellac and #a part of borax in a little boiling water and put in enough logwood to make it red if this is the color you want it1 or blue carmine if you want it to be blue4 ,then add enough hot water to make it about as thick as cream4 ,how to ,use ,decorative ,stencils4--,art stencils can be used with good effect for certain kinds of decorative work1 but it is especially adapted for putting borders on kalsomined walls4 ,you can cut these stencils1 see ,c in ,fig4 #hb1 after your own design or you can buy them already cut4#ij #ij ,write to the ,frost and ,adams ,co41 ,cornhill1 ,boston1 ,mass41 for a catalogue of their ,art ,cut ,stencils4 ,also to ,sears1 ,roebuck and ,co41 ,chicago1 ,ills41 for a list of their decorative stencils4 ,mixing ,colors for ,stenciling ,borders4--,to make the colors for decorative stencils stir a very little moresco stenciling color#ia with some hot water2 be careful not to use too much color or the effect on the kalsomined or frescoed wall will be too contrasting4 ,beautiful colors in half-a-dozen tints can be had for this work4 #ia ,made by ,benjamin ,h4 ,moore and ,son's ,co41 #ahj ,william ,st41 ,n4 ,y41 and sold by paint dealers generally4 ,,chapter ,,ix ,,the ,,art ,,of ,,working ,,glass ,one of the most fascinating of the mechanical arts is working in glass4 ,one reason for this is because it is a substance so beautiful1 so hard and so fragile that it seems to the ordinary observer to be beyond the pale of tools4 ,au contraire1 as the ,french say it1 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 it4 ,further1 the tools you need are few and the material is inexpensive4 ,what ,glass ,is4--,before getting down to the processes by which glass can be worked it is a good scheme to know about the substance itself4 ,hieroglyphic#ib inscriptions on the ,egyptian monuments show that the art of working glass was practiced #d1jjj years ago or before the ,hebrew exodus4#ic ,now glass is a chemical compound1 the chief substance of which is sand4 #ib ,the early ,egyptians carved the history of their arts on stone in a sign language called hieroglyphics from the ,greek hieros which means sacred1 and glypho which means to carve4 #ic ,the departure of the ,israelites from ,egypt under the guidance of ,moses4 ,common glass is made by melting sand1 lime and soda together4 ,sand is formed of a chemical element called silica2 lime is calcium carbonate and soda is sodium carbonate and there you have three chemical elements which when they are melted together make common window glass4 ,glass which contains lime is called crown glass and it is this kind which is used in making one of a pair of achromatic#id lenses4 ,flint glass which is the kind of glass used in making the other one of a pair of achromatic lenses contains lead instead of lime4 #id ,an achromatic lens is one that is free from color4 ,flint1 or lead1 glass melts more easily than crown1 or common1 glass and this is a good pointer for you to remember when you are getting glass for your glass blowing experiments4 ,bohemian glass1 which is largely used for chemical apparatus1 is made of sand1 lime and potash4 ,colored glass is made by putting small quantities of various substances into the melted glass4 ,thus oxide of cobalt#ie gives a blue color2 oxide of chromium1 or cupric oxide a green2 one of the copper oxides gives it a red color1 uranium#if a yellow1 etc4 #ie ,cobalt is a metal and is usually found along with nickel4 #if ,uranium is also a metal4 ,how to ,cut ,glass4--,about the simplest and most useful process for you to know is how to cut glass4 ,to cut window glass you need 7#a7 a glass cutter2 7#b7 a drawing board and 7#c7 a ,t square4 ,there are two kinds of glass cutters on the market and these are 7a7 steel cutters and 7b7 diamond cutters4 ,the first kind has a little steel wheel in the end1 as shown at ,a in ,fig4 #hc4 ,you can buy one for a quarter and it will serve all your needs very well4 ,if money is no object you can buy a glass cutter with a diamond point such as glaziers use for about #d4jj4 ,this kind of a glass cutter has a chip of genuine diamond in a swivel end and it is a pleasure to cut glass with one of them4 ,it is shown at ,b4 ,illustration3 ,,fig4 #hc4 ,,glass ,,cutters ,a4 ,a steel wheel glass cutter4 ,b4 ,a diamond point glass cutter4 ,how to ,use a ,glass ,cutter4--8,there are tricks in all trades but ours10 said the carpenter as he drove in a screw with a hammer1 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 cuts4 ,to use a diamond cutter1 hold it just as you would hold a pencil and grip the three sided part with your thumb1 index and middle fingers1 as shown at ,c4 ,then place the cutter against the straight edge of your ,t square1 press it down firmly on the glass and draw it along evenly4 ,to make the right kind of a cut hold the diamond at a sharp angle1 that is1 very slanting1 and raise it slowly until a smooth1 sound and clear cut is made4 ,don't hold it straight up and down or you will surely spoil it1 and never never cut twice over the same line4 ,illustration3 ,,fig4 #hc;,c4 ,,the ,,right ,,way ,,to ,,hold ,a ,,diamond ,,point ,,glass ,,cutter ,it takes more skill to use a diamond cutter the right way than to use a steel cutter1 but a little practice will make you proficient4 ,illustration3 ,,fig4 #hd4 ,,how ,,to ,,cut ,a ,,pane ,,of ,,glass ,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 ,fig4 #hd2 hold it tight and then make a good1 clean cut4 ,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 on4 ,if not put it into one of the notches on the shank of the glass cutter and you can then easily break it off4 ,how to ,finish ,off ,glass ,edges4--,when you cut a sheet of glass the edge left by the cutter will be slightly rough4 ,to smooth it up and round off the corners rub it on a whetstone1 that is any kind of a coarse stone on which you have poured a little water4 ,a better way is to grind it on a grindstone if you have one4 ,how to ,drill ,holes in ,glass4--,to drill a hole through a sheet of glass make a layer of putty an inch thick and as large as the sheet you are going to drill and lay the glass on it4 ,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 hard4 ,take a ,morse twist drill and1 if you know how1 grind it on a grindstone to a sharper point than it has when you get it2 the next best thing to do is to sharpen it on your oilstone4 ,the best kind of a drill stock to use is an archimedian1 or a reciprocating one1 as shown at ,b in ,fig4 #aa1 on page #bi1 for then the pressure on the glass is even in every direction4 ,set the drill on the glass at the point where the hole is to be made2 hold it with the fingers of your left hand to keep it from slipping and lubricate it well with turpentine4 ,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 glass4 ,you will find it quite hard to drill a hole less than inch in diameter through ordinary glass because the drills will break and when you drill a hole over inch in diameter you will find it a slow job because of its size1 but you can drill a hole up to inch in diameter if you go slow and are careful4 ,a ,couple of ,ways to ,cut ,glass ,tubing4--,the ,first ,way4--,a simple way to cut1 or rather break off a piece of glass tube evenly is to make a cut all round the tube with a three-cornered file#ig and you can break it off at the line without trouble4 #ig ,the right name of a three cornered file is a three square file4 ,illustration3 ,,fig4 #he4 ,a ,,cutter ,,for ,,glass ,,tubes ,the ,second ,way4--,an easy and sure way to cut glass tubing off smooth is to use a gauge glass cutter2#ih this is a ,v steel rod with a seat on one end and a steel cutting wheel on the other4 ,the arm of the rod holding the wheel is marked off in fractions of an inch like a rule and a stop with a set screw in it slides on this rod as shown in ,fig4 #he4 #ih ,you can buy one of these tools of ,hammacher1 ,schlemmer and ,co41 ,fourth ,ave4 and #acth ,st41 ,new ,york4 ,to use the cutter set the stop on the rod at the length you want to cut the tube2 then put the rod with the cutter on it in the tube and with the seat outside2 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 easily4 ,how to ,cut ,glass ,disks4--,by sawing out a round board1 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 glass4 ,illustration3 ,,fig4 #hf4 ,a ,,circular ,,glass ,,cutter ,but to cut out a perfectly round disk you must have a circular glass cutter#ih;a as shown in ,fig4 #hf4 ,it has an adjustable cutter head mounted on a square rod so that the head can be turned on it4 ,the rod is mounted on a hardwood base so that it can revolve around the latter4 #ih;a ,you can buy one of these tools of ,hammacher1 ,schlemmer and ,co41 ,fourth ,ave4 and #acth ,st41 ,new ,york4 ,after the cutter head is set on the rod for the size of the circle you intend to cut hold it down on the glass by the thumb-piece4 ,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 up4 ,this circular glass cutter1 which is called the ,little ,beauty1 will cut a circle #bj inches in diameter and costs about #ej cents4 ,if you are making a frictional electric machine this is the tool you need to cut the glass plates with4 ,how to ,bend ,glass ,tubing4--,it is useful to know how to bend a piece of glass tubing1 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 experiment4 ,there are just two things you need to bend glass tubes with and these are 7#a7 a ,bunsen burner#ii and 7#b7 the glass tubing1 both of which you can buy of ,eimer and ,amend1 ,fourth ,avenue1 ,cor4 #ahth ,street1 ,new ,york4 #ii ,complete instructions for making a ,bunsen burner will be found in ,the ,magic of ,science by the present author and published by ,fleming ,h4 ,revell ,co41 ,new ,york4 ,what a ,bunsen ,burner ,is4--,this is a burner in which a jet of ordinary illuminating gas is mixed with air1 the amount being regulated by a ring which opens and closes the air holes in the burner4 ,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 burn4 ,a plain ,bunsen burner is shown at ,a1 in ,fig4 #hg4 ,if you have no gas in your house you can use an alcohol lamp#ajj which you can either buy or make for yourself4 #ajj ,how to make an alcohol lamp out of an ink-bottle is explained in ,the ,magic of ,science4 ,bending the ,glass ,tube4--,to bend a piece of glass tube you should have a fish tail jet set in the end of the ,bunsen burner to give a wide flame like an illuminating burner as shown at ,b4 ,hold the tube over the flame of the burner1 or alcohol lamp until it is heated red hot all along the place you want to bend it4 ,illustration3 ,,fig4 #hg4 ,,kinds ,,of ,,bunsen ,,burners ,now turn the tube in the flame with your fingers until it is heated evenly all around and becomes soft2 take it from the flame and quickly but gently bend it as you will which you can do very easily4 ,with very little practice you will be able to make a good smooth bend just where you want it4 ,how to ,blow ,glass ,to ,round the ,ends of a ,tube4--,when you cut a tube either with a file or a glass cutter the edge of the end will be sharp but not smooth4 ,all you have to do to round it is to heat it in the flame until it begins to melt1 when the glass will run and make a smooth edge4 ,to ,border the ,ends of a ,tube4--,to border 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 better4 ,illustration3 ,,fig4 #hh4 ,,bordering ,,the ,,end ,,of ,a ,,tube ,take a piece of charcoal and shave it down with your knife to form a cone the size you want the border to be4 ,heat the end of the tube by turning it in the flame until it is quite soft and then push in the charcoal cone1 as shown in ,fig4 #hh4 ,to ,seal ,off the ,end of a ,tube4--,to close one end of a tube1 or seal it off as it is called1 heat it in a fish-tail burner just as ,i explained for bending glass4 ,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 in ,fig4 #hi4 ,cut a nick in the thin solid part with a file and break it off4 ,if you want a closed end as shown at ,b heat the end of the tube you have sealed off and press it down on a piece of iron4 ,illustration3 ,,fig4 #hi4 ,,sealing ,,off ,,the ,,end ,,of ,a ,,tube ,illustration3 ,,fig4 #ij4 ,,how ,,to ,,make ,a ,,hole ,,in ,a ,,tube ,to ,make a ,glass ,nozzle4--,in setting up chemical apparatus it very often happens that a glass nozzle is needed4 ,to make a nozzle seal off a piece of glass tube as described above and by nicking it with a file you can have the hole in the end of the tube any size you want it4 ,to ,make a ,hole in a ,tube4--,to make a hole of any size in a tube1 or piercing it1 as it is called1 you ought to have a sharp pointed flame and a blow-pipe1 which is described farther on4 ,cork up one end of the tube1 heat the point1 see ,a in ,fig4 #ij1 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 formed4 ,when the bulb is cold take a file and gently crack the thin glass and trim it away2 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 ,b4 ,illustration3 ,,fig4 #ia;,a4 ,,welding ,,two ,,tubes ,,together4 ,b4 ,,making ,a ,t ,,tube ,to ,join ,two ,tubes of the ,same ,size4--,put a cork into one end of one of the tubes and hold the other end in the flame as well as one end of the other tube as shown at ,a in ,fig4 #ia4 ,let the ends of the tubes get hot enough to melt but not thicken2 now press the melted ends together hard enough to make them stick together but not hard enough to make them form a thick ring4 ,illustration3 ,,fig4 #ib;,a4 ,a ,,regular ,,blow-,,pipe ,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 trifle4 ,while you are blowing keep turning the glass in the flame to make the joint nice and smooth4 ,to ,join ,one ,tube to the ,side of ,another ,one4--,first make a hole in the side of the tube in the manner already described and then cork up both ends2 heat the tube around the hole and one end of the other tube as shown at ,b1 in ,fig4 #ia4 ,when they are soft press them together hard enough to make a good joint4 ,it is a good scheme to wrap cotton around the joint while it is still hot to anneal the glass1 which means to make it less brittle by letting it get cold slowly4 ,illustration3 ,,fig4 #ib;,b4 ,,cross ,,section ,,of ,a ,,home ,,made ,,blow-,,pipe ,to ,blow a ,bulb on the ,end of a ,tube4--,how to ,make a ,blow-,pipe4--,for blowing bulbs on tubes1 for flasks and the like1 you need a regular glassblower's blow-pipe in order to get a hotter flame than a ,bunsen burner gives4 ,you can buy a blow-pipe as shown at ,a in ,fig4 #ib for #a4ej1aja or you can easily make one as follows3 get a brass tube inch in diameter and #aj inches long and drill a inch hole in it #c inches from one end2 fit another pipe of the same size and length at an angle of about #cj degrees to the first one2 put a stopcock in the latter pipe and solder it to the first pipe over the hole as shown at ,b in ,fig4 #ib4 #aja ,blowpipes and bellows can be bought of ,hammacher1 ,schlemmer and ,co41 ,fourth ,ave4 and #acth ,st41 ,new ,york4 ,next take a glass tube inch in diameter and #ad inches long and make a bend in it #c inches from one end4 ,make a hole through a cork and push it over the glass tube2 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 it4 ,illustration3 ,,fig4 #ib;,c4 ,,the ,,glass ,,blowing ,,arrangement ,,ready ,,to ,,use ,connect the lower end of the glass tube with a rubber tube about #c inches long to a brass tube of the same size and #h inches long and fit a stopcock into this pipe4 ,this completes the burner but you want to set the lower ends of the two tubes into and through the top of your table so that the stopcocks are above it and the lower ends of the tubes project below the table4 ,next connect the large brass tube with a gas jet or other source of illuminating gas and the small brass tube with a foot blower or other source of compressed air as shown at ,c4 ,the blower can be an ordinary molders' bellows which you can buy for about #a4ej1 or you can make a pair1 or you can buy a regular blowpipe bellows as shown at ,d1 which are very much better1 for about #h4jj4 ,illustration3 ,,fig4 #ib;,d4 ,a ,,regular ,,foot ,,bellows ,by adjusting the mouth of the glass tube--which is the air tube--that is1 drawing it in and out of the mouth of the brass tube which is the gas tube1 and by regulating the amount of air and gas1 a pointed flame or a brush flame1 that is1 a flame of large size1 can be had at the mouth of the blowpipe according to the work you are doing4 ,how to ,blow a ,bulb4--,take a good piece of glass tube about inch in diameter and #ae inches long2 draw one end out long and thin for about #c inches as shown at ,a in ,fig4 #ic4 ,illustration3 ,,fig4 #ic4 ,,first ,,steps ,,in ,,blowing ,a ,,glass ,,bulb ,a4 ,drawing out the tube4 ,b4 ,forming glass rings on the tube4 ,then heat a small part of the tube in a large1 or brush flame1 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 point4 ,do the same thing above the ring thus formed1 and so on until you have several rings of glass as shown at ,b1 which are thick enough to make the sized bulb you want4 ,illustration3 ,,fig4 #ic;,c4 ,,making ,a ,,thick ,,ring ,,of ,,glass ,next heat the narrower parts marked a a a a 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 ,c2 and in doing so be mighty careful that the walls do not cave in4 ,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 together4 ,at this instant take it from the flame and1 still turning it1 blow into it with a few little quick blasts until you get the size and shape you want as shown at ,d4 ,illustration3 ,,fig4 #ic;,d4 ,,last ,,step ,,in ,,blowing ,a ,,glass ,,bulb ,how to ,etch ,glass4--,there are two ways to etch glass and these are 7#a7 with a sand blast and 7#b7 with acid4 ,the ,sand ,blast ,process4--,the process which follows is a simplified form of the regular sand-blast way of doing it1 and with it you can easily make a ground glass surface or etch a stencilled name or a design on a sheet of glass4 ,all you need is 7#a7 a box with a tight fitting lid #e inches wide1 #e inches high and #aj inches long as shown at ,a in ,fig4 #id4 ,cut a hole in one end1 say #d #d inches1 thus leaving a margin of wood an inch wide all around2 7#b7 a pound of rather coarse emery1 and 7#c7 a pound of shot4 ,illustration3 ,,fig4 #id;,a4 ,,parts ,,of ,,the ,,apparatus ,,for ,,sand ,,blast ,,etching ,clean the surface of the glass you are going to etch with warm water with a little soda in it1 wash it off and rub it dry4 ,next cut a stencil with your name on it or you can make a geometrical design by folding a sheet of paper and cutting it out with a pair of shears4 ,coat the glass with a thin layer of mucilage1 lay the stencil on it and rub it down flat4 ,rub the mucilage off clean in the cut out parts with a slightly moist sponge and be sure to get it all off too4 ,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 box4 ,lay this on the end of the box with the hole in it1 lay the glass over it and fix them all together tight with rubber bands as shown at ,b in ,fig4 #id1 or tie it up with string4 ,the cloth cut-out between the box and glass will prevent the emery from sifting through4 ,illustration3 ,,fig4 #id;,b4 ,,sand ,,blast ,,apparatus ,,put ,,together ,,ready ,,for ,,etching ,put the shot and emery in the box1 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 with as much force as possible4 ,keep this up for #ae minutes or half an hour when the glass will be etched deep enough4 ,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 tool4 ,this process of etching can be used for metals as well as for glass4 ,how to ,make ,ground ,glass4--,to make ground glass go about it as above described but in this case no stencil is needed4 ,the ,acid ,process4--,hydrofluoric acid is made by treating fluor-spar#ajb with sulphuric acid4 ,the acid which is thus formed acts on glass by eating into it and for this reason it must be kept in either rubber1 lead or platinum bottles upon which it has no effect4 ,in etching large surfaces the acid is not put on the glass directly2 because it eats so smoothly the effect is not striking enough2 instead the following process is used which leaves a rough surface more nearly like that of the sand blast4 #ajb ,fluor-spar is calcium fluoride2 you can buy it of ,eimer and ,amend1 #dth ,ave4 and #ahth ,st41 ,new ,york1 or of the ,l4 ,e4 ,knott ,apparatus ,co41 ,boston1 ,mass4 ,make a lead dish the size of the glass you want to etch and with the sides an inch high4 ,put about an ounce of powdered fluor-spar into the dish and pour enough concentrated sulphuric acid on it to make a thick paste4 ,coat the surface of the glass with paraffin1 or beeswax and rosin1 and then with a steel scriber1 or other pointed instrument scratch on your name or the design you intend to etch1 clear through to the glass4 ,lay the glass with the waxed side down on the dish containing the fluor-spar mixture1 as shown at ,a in ,fig4 #ie1 and let it stand over night4 ,the vapor formed by generating hydrofluoric acid in this way attacks the silica1 that is the sand1 of the glass with which it has a great tendency to unite1 and thus the glass disintegrates or is eaten away4 ,illustration3 ,,fig4 #ie4 ,,etching ,,glass ,,with ,,acid ,a4 ,etching a sheet of glass with fluor-spar4 ,b4 ,etching a thermometer tube with hydrofluoric acid4 ,the next morning when you take off the glass1 scrape off the wax and you will find the name or design etched on it4 ,to etch the graduations on thermometers1 burettes1 etc41 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 ,b1 using a splinter of wood for the purpose4 ,how to ,cement ,glass4--,to cement glass clean the edges or surfaces to be fixed together with hot water in which you have put a little soda2 dry well with a clean cloth and then be careful not to let your fingers touch the cleaned parts4 ,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 possible4 ,to make the cement dissolve #b ounces of the best gum arabic in some hot water and then add #a ounces of pulverized starch and ounce of sugar and stir until they are dissolved4 ,heat the mixture in a pot or a tin can which sets in a larger pot or tin of water--or water bath as it is called4 ,when the starch gets clear take it from the fire1 put in a few drops of oil of cloves to keep the cement sweet and let it get cold1 when it should be about as thick as cream4 ,a ,simple ,way to ,frost ,glass4--,make a saturated solution of alum water1 which means to dissolve as much alum in hot water as possible4 ,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 slowly1 when the alum will cover the glass with fine crystals4 ,this is a good substitute for ground glass4 ,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 arabic4 ,substitutes for ,glass4--,there are a number of substances that can be used instead of glass4 ,in some cases a substitute is better than glass but generally they are used because they are cheaper4 ,mica4--,this mineral1 which is also but wrongly called isinglass1 is found in ,farther ,india2 it is a silicate and can be split into thin sheets2 in color it ranges from colorless to a jet black and from the transparent to the translucent4 ,it is useful in many ways because it is fireproof4 ,gelatine4--,gelatine is obtained from the skins1 hoofs and horns of animals4 ,isinglass is a nearly pure gelatine and is a white1 tough1 partly transparent substance which is obtained chiefly from the air-bladders of fish4 ,to make sheets of either gelatine1 or isinglass1 dissolve some of the finest glue1 or isinglass--the latter is the best--in enough hot water so that it will form a flexible solid sheet when it is cold4 ,while it is still hot strain it through a piece of cheese cloth2 this done1 grease a clean sheet of glass and build up the edges with some putty2 warm the glass and pour on the gelatine to a thickness of inch4 ,now lay another greased and hot sheet of glass on top of the gelatine and let it stay there until it is cold4 ,the sheets of gelatine can be given any color by adding a little aniline to the gelatine while it is hot4 ,how to ,silver a ,mirror4--,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 one4 ,as you know1 a mirror is a sheet of clear glass free from air bubbles and upon the back of which is a film of silver4 ,the silver bath is made by mixing a weak solution of silver nitrate with ammonium hydroxide until the solution is clear and then adding a little caustic potash to it4 ,this done1 put in a few more drops of ammonia and finally a very little glycerine4 ,now float the glass on this mixture when the surface will soon be coated with silver4 ,when the film is thick enough take the glass from the bath1 wash the film of silver on the back of it with clean1 cold water1 dry and varnish it and your mirror is done4 ,,chapter ,x ,,toys ,,for ,,the ,,kiddies ,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 any1 and if you haven't1 then ,i'm truly sorry for you4 ,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 too4 ,and when you are making them let the little folks watch you for this will please them greatly and make them doubly happy4 ,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 with4 ,of course all toys cannot be of this kind for some of them are made to be funny and others are made to be lifelike1 but these are the three chief kinds of toys4 ,how to ,make a ,policeman's ,puzzle4--,get two strips of wood inch thick1 an inch wide and #aa inches long and cut handles on one end of each strip4 ,saw with your scroll saw out of inch thick wood1 two policemen #f inches high and also one ,baxter ,street clothier of ,semitic persuasion1 #c inches high as shown in ,fig4 #if4 ,pivot the leg near the foot of each policeman to the ends of both of the strips by driving a couple of brads through and into them and then nail the ,israelite fast to the top strip with a couple of brads4 ,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 be4 ,a little red and blue water color will add to the realism of the toy4 ,illustration3 ,,fig4 #if4 ,a ,,policeman',s ,,puzzle1 ,,or ,,now ,,will ,,you ,,be ,,good ,how to ,make an ,automobile ,truck4--,this little toy will bring a lot of unalloyed joy to any tiny1 weentie fellow and it's easy to make1 too4 ,cut out a board for the bottom inch thick1 #d inches wide and #ad inches long2 trim down one end of it so that it is #b inches wide in front as shown at ,a ,fig4 #ig4 ,bore a inch hole #b inches from the front end4 ,saw off a block of wood #a inch square and #b inches long--this is to brace the seat with--and glue this block across the body #f inches from the back as shown by the dotted line in ,fig4 #ig4 ,make a seat of a board inch thick1 #a inches wide and #c inches long and glue or nail it to the block4 ,illustration3 ,c--,,the ,,hood ,b--,,side ,,view ,,top ,,view ,,fig4 #ig4 ,,plans ,,for ,,the ,,automobile ,,truck ,to make the body or box1 cut out two strips of wood inch thick and make one #b inches wide and the other #b inches wide and #d inches long for the front and back1 and two strips of wood #b inches wide and #f inches long for the sides4 ,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 bottom4 ,next round off the lower edge of the short board that is left2 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 bottom2 this brings the tail-board so that it can be closed up or let down as the side view at ,b shows4 ,saw off two inch square blocks and have both of them just a shade over #d inches long and these are for the axles4 ,nail one fast near the rear of the bottom #b inches from the back end1 and nail the other one fast to the front of the bottom #a inch from the end4 ,illustration3 ,,fig4 #ig;,d4 ,,the ,,automobile ,,truck ,,ready ,,to ,,run ,make a hood out of a block of wood #a inches wide and long and #b inches high and bevel off the top as shown at ,c2 nail this to the bottom in front as shown in the top and side views4 ,for the steering wheel saw out a wheel inch thick and #a inches in diameter4 ,the last thing to do is to saw out four wheels inch thick and #b inches in diameter2 drill a inch hole in the exact center of each wheel and screw it on the end of the axle with a #a inch long1 round head1 wood screw4 ,paint the automobile a bright red when it will look like ,d and run like a fire engine4 ,how to ,make a ,swell ,coaster4--,this is a practical toy that every little tot will like immensely4 ,it is just as simple as the automobile but it must be made very much stronger4 ,illustration3 ,a--,,top ,,view ,d--,,steering ,,handle ,c--,,side ,,view ,b--,,axle ,,support ,,fig4 #ih4 ,,plans ,,for ,a ,,swell ,,coaster ,get a board1 hardwood is the best1 or #a inch thick1 #e inches wide and #ad inches long and saw it out so that one end is #b inches wide as shown at ,a in ,fig4 #ih2 bore a hole #a inch in diameter in the front end and inch holes across the back at the places marked with circles4 ,next make the rear axle support and for this saw out of a #a inch thick board a piece #d inches wide and #g inches long and saw out of one end of it a piece #b inches square4 ,take your brace and bit and bore a inch hole through the hangers as shown at ,b4 ,screw this support to the seat across it #a inches from the rear end4 ,brace the support by screwing an angle brace1 as shown in the side view ,c1 to it and the seat4 ,this done make the steering handle1 and for it you want to use a stick of hardwood #a inch thick1 #b inches wide and #ae inches long2 saw a piece out of one end #a inches wide and #b inches deep for the axle support for the front wheel2 saw the other end down until it is #a inch wide and #f inches deep4 ,illustration3 ,,fig4 #ih;,e4 ,,the ,,coaster ,,ready ,,to ,,ride ,,on ,round off this smaller end for the handle1 as shown at ,d1 and bore a inch hole close to the end for the handle bar4 ,slip the rounded end through the hole in the front part of the seat1 drive a nail through it just above the seat and glue in a piece of wood an inch in diameter and #f inches long1 for the handle bar4 ,saw out three wheels each of which is #d inches in diameter1 bore a inch hole in the center of each one4 ,set one of the wheels between the hangers of the steering handle1 slip a bolt through them and screw on a nut4 ,push a bolt through each of the other wheels and through a hanger of the axle support and screw on a nut1 when the coaster is ready to run1 as shown at ,e4 ,a coat of bright paint will make it more attractive but it won't run any better4 ,how to ,make a ,nifty ,wheelbarrow4--,this is a cute wheelbarrow and will tickle any little choptie 'most half to death and you can make it in no time4 ,get two sticks of wood inch square and #bd inches long and round off one end of each one about #c inches down for the handle4 ,next bore inch holes half way through in the other ends of the sticks #d inches back for the axle2 bore two more inch holes #f inches back of the first two1 and finally #e inches back of the last ones bore two more inch holes1 as shown at ,a in ,fig4 #ii4 ,this done cut off four sticks an inch in diameter--or inch square ones will do--and make one of them #d inches long2 the next one #f inches long1 the third #h inches long1 and the last one #aj inches long4 ,out of a board #a inch thick saw a wheel #e inches in diameter and bore a hole in its center an inch in diameter4 ,smear some glue on the middle of the shortest stick and slip the wheel on it so that it is exactly in the middle4 ,make the body1 that is the box1 of the barrow of wood inch thick and have it #d inches wide at one end1 #f inches wide at the other end1 #e inches high and #g inches long4 ,through the middle1 but a little toward the back and near the upper edge1 bore two holes a shade larger than an inch in diameter and slip the third longest stick through the holes in the body2 drive a brad through the stick on each side of the body to keep the latter from slipping from side to side1 but it must swing easily on the stick4 ,illustration3 ,a--,,top ,,view ,,of ,,wheelbarrow ,b--,,side ,,view ,c--,,wheelbarrow ,,complete ,,fig4 #ii4 ,a1 ,b4 ,,plans ,,for ,,the ,,nifty ,,wheelbarrow1 ,c4 ,,the ,,barrow ,,ready ,,to ,,wheel ,you are now ready to assemble the wheelbarrow and if you intend to paint it you must do so before you put it together4 ,to assemble it smear glue on the ends of all the cross-sticks1 except the one with the wheel on it for this one must revolve1 and drive on the handles1 being careful that the axle of the wheel does not bind4 ,a side view of the wheel barrow is shown at ,b4 ,when it is done1 see ,c1 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 wheelbarrow8 ,how to ,make a ,high-,low ,swing4--,here is a peace promoter and a queller of disturbances wherever there are very little kiddies around4 ,it is an indoor swing that can be hung from the top of a door-case4 ,further1 though it may look a little complicated in the drawing1 it is simplicity itself4 ,first take the seat and for this1 as for all of the wood for the swing1 use inch thick stuff4 ,cut out two side bars #a inch wide and #ac inches long and drill a inch hole in the end of each one4 ,across these bars nail four cross bars #b inches wide and #ad inches long as shown at ,a in ,fig4 #ajj4 ,next make the sides of the swing and from each of these saw off two strips #a inch wide and #ac inches long as shown at ,b4 ,bore a hole in each end of both sticks to match the holes in the side bars of the seat and then bore two inch holes in both sticks and have each hole #b inches from the end4 ,saw off two strips of wood inch thick and #a inch wide for each side1 cut down and round the ends1 smear glue on them and drive them into the cross-sticks4 ,the backs of the swing1 as you will see at ,c1 are made exactly like the sides except that they are #ad inches long1 and finally a single bar #a inch thick and wide and #ad inches long with a inch hole in each end goes across the front of the swing to keep the little fellow from falling out4 ,illustration3 ,a--,,the ,,seat ,b--,,the ,,sides ,c--,,front ,,bar ,,fig4 #ajj4 ,,plans ,,for ,,the ,,high-,,low ,,swing ,now get two pieces of good inch thick manila rope about #aj feet long2 double each piece in the middle and pass one end through the hole in the front bar1 thence through two holes in the side-strips and finally through the hole in the cross-bar of the seat and then knot it4 ,this done pass the other end through the holes in the cross-strips of the back1 then through the holes in the cross-strips of the side and last of all through the cross-bars of the seat4 ,fix the other piece of rope the same way and swing is done1 as shown at ,d4 ,illustration3 ,,fig4 #ajj;,d4 ,,the ,,swing ,,ready ,,to ,,swing ,,low1 ,,swing ,,high ,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-case1 put the little tot in and give him or her a swing4 ,how to ,make a ,stick ,horse4--,this is a great improvement over riding a broomstick because it doesn't take so much imagination to change it into a runaway horse4 ,saw out of a board #e inches square the head of a fiery steed as shown at ,a in ,fig4 #aja and paint it a dapple-gray1 with a mane on its neck to look like a real pony4 ,make a rein of webbing and then nail the head on a stick or #a inch square and #c feet long for the rider to straddle4 ,illustration3 ,,the ,,head ,,of ,,the ,,horse ,,the ,,stick ,,horse ,,complete ,,fig4 #aja4 ,,ride ,a ,,stick ,,horse ,,to ,,banbury ,,cross ,make an axle of a stick #a inch square and #d inches long2 whittle the ends down until they are an inch in diameter and nail the axle to the free end of the long stick4 ,saw out a pair of wheels of inch thick stuff1 #d inches in diameter and bore a inch hole through their centers4 ,slip a wheel over each end of the axle and drive a thin nail through each end to prevent the wheels from coming off1 and it will be fit and ready to ride as shown at ,b4 ,how to ,make a ,pony and ,cart4--,if this little pony and cart are to be played with in the house you can make it the size marked in ,fig4 #ajb but if it is to be used out-of-doors then you should make it twice the size4 ,get a nice smooth board an inch thick1 draw on it a horse1 at least as good as the one shown in the picture1 and then saw it out4 ,paint it any color but red or green1 for ponies1 even in little picture books1 are never of these colors4 ,make a frame #a inches wide and #d inches long by nailing two strips of wood an inch square with a block of wood an inch square and #a inch long between them4 ,this leaves an opening an inch wide and #a inches long as shown at ,a4 ,saw out of a piece of inch thick wood a wheel #a inch in diameter and drill a inch hole through its center4 ,set the wheel in the opening and drive a wire nail through the frame and the center of the wheel for it to run on4 ,this done nail1 glue or screw the horse to it as shown at ,b4 ,make the cart next1 see ,c1 which is simply a box made of or inch stuff1 #c inches high1 #d inches wide and #f inches long4 ,nail a strip of wood an inch square and #d inches long on the bottom and in the middle of it4 ,saw out a pair of wheels #b inches in diameter and screw them to the ends of the strip of wood so that they can turn freely4 ,next make the shafts2 these are formed of two strips of wood inch thick and about #e inches long4 ,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 them4 ,illustration3 ,,complete ,,frame ,,for ,,the ,,wheel ,,pony ,,cart ,,fig4 #ajb ,a1 ,b4 ,,plans ,,for ,a ,,pony ,,and ,,cart4 ,c1 ,d4 ,,the ,,pony ,,and ,,cart ,,when ,,done ,glue1 or otherwise fasten the shafts to the horse1 as shown at ,d1 and you can then show your little brother how to play with it1 but don't break it before you give him a chance to play with it too4 ,the finished pony and cart will then look like the picture4 ,how to ,make a ,life-like ,goose4--,nearly all geese1 including goslings1 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 string4 ,illustration3 ,,fig4 #ajc4 ,,how ,,the ,,life-,,like ,,goose ,,is ,,made ,a4 ,the size of the board for the body4 ,b4 ,the size of the board for the head and neck4 ,c4 ,the crank shaft which makes the goose life-like4 ,get two pieces of thin wood inch thick1 #c inches wide and #f inches long2 draw the outline of a goose's body on one of them1 as shown at ,a in ,fig4 #ajc1 and then fasten them together with a couple of brads4 ,saw them out and drill a inch hole through them in the center of the circle which is the wheel2 also drill1 or bore1 three inch holes at the points near the edge of the body as shown by the larger circles4 ,on a board inch thick1 #b inches wide and #e inches long draw out the head and the neck of a goose1 as shown at ,b1 saw it out and drill a inch hole near the end of its neck4 ,now paint the bird's body and the anterior part of its anatomy--by which ,i mean its head and neck4 ,saw out two wooden wheels #b inches in diameter and drill a hole in the center of each one4 ,cut off a piece of iron wire inch thick1 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 ,c4 ,the next move is to put each end of the wire through the small hole in the body1 then force a wheel on each end of the wire tight and bend up what is left of the latter4 ,illustration3 ,,fig4 #ajc;,c4 ,,goosie1 ,,goosie ,,gander1 ,,where ,,shall ,i ,,wander ,make three pins of wood inch in diameter and inch long2 smear some glue on the ends and drive them gently through the holes2 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 head4 ,when finished it will look like ,c4 ,now when a string is tied to the front part of the goose's body and your little sister 7or you7 pulls it over the floor1 the goose will run its head to and fro and forth and back in a most real and life-like fashion4 ,how to ,make a ,dancing ,sambo4--,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 to4 ,illustration3 ,,fig4 #ajd;,a4 ,,the ,,dancing ,,sambo ,saw out1 or carve out1 or both1 the head and body of a black rascal named ,sambo1 and make them of a single piece of wood2 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 in ,fig4 #ajd4 ,fasten the arms and legs to the body with pins so that they will swing freely4 ,the figure should be about #f inches high and painted in #c or #d bright colors4 ,when you have it done fix the end of a wire inch in diameter and #e inches long1 firmly into the back of ,sambo's body4 ,make a box #c inches wide1 #c inches high and #f inches long2 bore or cut a hole inch in diameter in one end2 turn it upside down and drill a hole through the middle of the top and drill a inch hole through both sides #b inches back from the large hole in it as shown at ,b4 ,illustration3 ,,fig4 #ajd;,b4 ,,the ,,mechanism ,,of ,,the ,,dancing ,,sambo ,cut off a strip of wood an inch square and as long as the box is wide1 drill a 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 line4 ,now cut off a strip of hardwood inch thick and #c inches long for the lever and drill a inch hole through it #b inches from one end2 slip the lever through the hole in the end of the box with its end under the cross-bar2 pivot the lever by running a wire through the hole in it and the sides of the box as shown at ,b4 ,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 lever4 ,this is all there is to the working mechanism of ,sambo4 ,by working the end of the lever with your fingers as though you were sending a telegraph message1 as shown at ,a1 the small time ,ethiopian will execute all sorts of fancy dance steps and cut up antics that will keep the children1 and the grown-ups too1 in great good humor for a long time4 ,by working the lever cleverly you can give the darkey distinctive characteristics that not even a member of his own race ever possessed4 ,illustration3 ,,fig4 #aje;,a4 ,,the ,,wireless ,,pup4 ,,the ,,slot ,,in ,,the ,,floor ,,of ,,the ,,dog ,,house ,how to ,make a ,wireless ,pup4--,this is a most remarkable bull-pup for he will jump out of the kennel when you or any one else calls him1 when you clap your hands or on any other occasion when a loud noise is made4 ,always make a dog-house for a pup before you catch him so that when he gets home he'll know he's there4 ,use smooth inch thick pine boards for the house and cut out a piece #g inches wide and #h inches long for the floor4 ,cut a slot clear through the board #a inches from one end and parallel with the edge of the back and have it an inch wide and #a inches long2 then on each end of the slot cut a groove an inch long and inch deep as shown at ,a in ,fig4 #aje4 ,illustration3 ,,fig4 #aje;,b4 ,,the ,,back ,,end ,,of ,,the ,,dog ,,house ,cut out two pieces for the sides of the house #d inches wide and #h inches long and screw them to the floor4 ,now bevel off the top edges of the sides with a plane to allow for the slope of the roof but before you put it on you must install the wireless apparatus that makes the pup jump out of the dog-house4 ,make a back out of a board #g inches square as shown at ,b4 ,this apparatus consists of five chief parts and these are 7#a7 a spanker2 7#b7 a solenoid2 7#c7 a stiff piece of clock-spring2 7#d7 a telephone transmitter and 7#e7 two or three cells of dry battery4 ,illustration3 ,,fig4 #aje;,c4 ,,the ,,spanker ,,with ,,electric ,,solenoid ,,control ,the spanker1 so called because it spanks the pup out of his kennel1 is shown at ,c2 it is simply a strip of wood inch thick1 #a inch wide and #c inches long4 ,tack1 or otherwise fix1 a piece of tin to one side of it to form an electrical contact2 cut a inch hole in the middle of it and then drive a brad in each edge near one end4 ,the spanker sets in the slot in the floor and the brads rest in the grooves and serve as pivots4 ,a solenoid is merely an electromagnet with a loose iron core in it4 ,make a cardboard spool #a inches long and #a inches in diameter and have the hole in it inch in diameter2 wind it full of ,no4 #bj or #bb double cotton covered magnet wire and your solenoid is done4 ,an iron bolt inch in diameter and #a inches long makes a good plunger1 as the loose iron core is called4 ,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 ,d4 ,illustration3 ,,fig4 #aje;,d4 ,,cross ,,section ,,side ,,view ,,of ,,the ,,wireless ,,pup ,,ready ,,for ,,action ,make a contact plate 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 in contact with the tin on the spanker4 ,put a stop in front of the spanker to prevent the latter from falling too far forward4 ,illustration3 ,,fig4 #aje;,e4 ,,the ,,front ,,end ,,view ,,of ,,the ,,wireless ,,pup ,,house ,next get a strong1 stiff piece of clock-spring1 punch two holes in one end and screw it to the back of the house near the top1 with the free end of the spring pressing out the spanker4 ,fasten by means of hangers1 or otherwise1 an ordinary telephone transmitter to the roof of the house as shown at ,d4 ,now make the front of the house and cut #d #e opening in it for the pup to get in and out1 and a hole #a inches in diameter1 as shown at ,e1 so that when you put the front on1 the hole will be directly over the mouthpiece of the transmitter4 ,before putting on the front connect up the apparatus as shown at ,d1 that is1 connect one of the wires of the transmitter to the contact plate2 join the other wire of the transmitter to the battery2 lead one of the wires of the solenoid to the tin on the spanker4 ,when these connections are made the circuit will be complete if a battery is connected in and the spanker is pushed back4 ,now put on the front of the house and then make the pup4 ,illustration3 ,,fig4 #aje;,f4 ,,when ,,you ,,call ,,the ,,wireless ,,pup ,,or ,,clap ,,your ,,hands ,,he ,,comes ,,out ,,of ,,his ,,dog ,,house ,,in ,a ,,hurry ,saw the body of the pup and his legs out of separate pieces of wood and glue them together4 ,he should be #b inches high and #e inches long when done and he must slide easily on the floor4 ,see ,f1 ,fig4 #aje4 ,the action of the wireless pup is like this3 ,you push the pup into the house and back against the spanker as far as he will go2 this presses the spring back and at the same time makes connection with the contact plate which closes the circuit4 ,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 spring4 ,if now you call loudly1 or clap your hands1 the carbon granules in the transmitter will vibrate and this will suddenly weaken the current1 and1 hence1 the magnetism of the solenoid4 ,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 kennel4 ,,chapter ,,xi ,,home ,,made ,,musical ,,instruments ,there is music in everything if you only know how to get it out without cracking it4 ,when a small boy beats a pie-pan with a stick1 or drums on a wooden fence he is making music1 only the neighbors won't believe it4 ,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 nerves1 especially if he is writing a book2 hence he thinks the sounds are noise but it is really music of a bombastic#ajc order4 #ajc ,the gong1 drum1 bell1 and cymbals all set up sound by concussion and these are called bombastic instruments4 ,by this ,i mean that what we call noise is sound set up by uneven air waves#ajd in time and volume while music is made by a tone1 or tones1 of even air waves4 ,any musical instrument that produces sound by shock1 or concussion as it is called1 is said to be bombastic4 #ajd ,for the theory of air waves and sound see ,the ,magic of ,science by the present author1 published by ,fleming ,h4 ,revell and ,co41 ,new ,york4 ,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 them1 or octave as it is called1 and tune them so that the pitch--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 vibrate you will produce pleasing tones1 and by combining these tones properly you will have a resemblance of what we call music4 ,the ,musical ,coins4--,how to ,make ,them4--,a simple and very pleasing way to show that there is music even in cold brass is to take a piece of sheet brass1 or1 better1 sheet steel1 about inch thick and scribe on it with a pair of compasses eight circles whose diameters range from #b inches to #c inches4 ,illustration3 ,,fig4 #ajf;,a4 ,,the ,,musical ,,coin ,saw them out and file them down so that each one will ring out a whole number1 as it is called in physics2 that is1 if the largest and deepest toned coin1 or disk1 makes #bej vibrations a second1 the next one must make #ejj vibrations a second1 the next #gej and so on until the smallest and highest pitched coin will make #bjjj vibrations a second4 ,when each coin rings out its whole number1 or nearly so1 you will have what is known as a harmonic series4 ,now saw notches in the edges of each one as shown at ,a in ,fig4 #ajf and then file them until the tone of each one is just right4 ,how to ,play ,them4--,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 dies down#aje and its edge strikes progressively against the surface of the table it will ring out in a clear1 loud tone4 #aje ,if you will look closely at the spinning coin you will see that when it spins fast at first the axis about which it rotates is its diameter and that the coin stands upright4 ,as the coin commences to die down 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 center4 ,this motion is the same as the processional motion of the earth4 ,illustration3 ,,fig4 #ajf;,b4 ,,how ,,to ,,hold ,,the ,,musical ,,coin ,,to ,,spin ,,it ,the coins should be laid in a row on the table and whatever note you want to ring out pick up the coin which will produce it1 hold it as shown at ,b1 and give it a little spin4 ,you can soon learn to spin them with either hand and keep two or more of them going at the same time1 when you will have that agreeable combination of tones that is known in music as harmony4 ,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 novelty4 ,the ,musical ,tomato ,cans4--,how to ,make ,them4--,the musical tomato cans make a bombastic instrument--very bombastic ,i should say4 ,be that as it may1 get eight tomato cans1 soak the labels off carefully and keep them4 ,next melt off the tops of the cans and paste the labels on them again4 ,set each can on a piece of felt as shown in ,fig4 #ajg4 ,illustration3 ,,fig4 #ajg4 ,,the ,,chopin ,,tomato ,,can ,now by pouring water in the cans you can tune 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 octave4 ,you do not need to put any water in the first can but use this one for the fundamental note1 that is the note on which the chord is formed4 ,make a couple of mallets1 as the sticks to beat the cans with are called1 of a pair of sticks about as thick as a lead-pencil and twice as long and glue a wooden ball inch in diameter on one end of each one4 ,to ,play the ,tomato ,cans4--,when you have tuned the cans set them in a row on a piece of felt1 or a couple of thicknesses of thick woolen cloth will do1 and with a mallet in each hand tap them softly4 ,while some folks who have no ear for melody1 harmony and dissonance#ajf may say that both the instrument and the performer ought to be canned still the instrument is a great one to play ,chopin's#ajg funeral dirge#ajh on4 ,undertakers are crazy about the musical tomato cans4 #ajf ,these are the three chief factors that make up the various combinations of tones which we call music4 #ajg ,chopin 7pronounced ,sho-pan7 was a ,polish musical composer4 #ajh ,a dirge is a tune expressing grief and mourning4 ,the ,musical ,glasses4--,how to ,make ,them4--,different from the tomato cans1 the musical glasses make about the sweetest music ever heard4 ,to make a set get eight very thin glass goblets and mount them on a board #ab inches wide and #b feet long4 ,an easy way to do this is to fasten the foot of each goblet down 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 ,fig4 #ajh4 ,to tune the glasses pour water in them until each has exactly the right pitch and together they form an octave4 ,when you have learned to play simple tunes on an octave of musical glasses you can build up the set to #bb glasses or three octaves1 which will give you enough notes to play almost any of the popular airs4 ,illustration3 ,,fig4 #ajh4 ,,the ,,musical ,,glasses ,how to ,play the ,glasses4--,before starting in to play moisten the rims of the glasses and rub your fingers with water in which you have put some vinegar1 or better1 a little acetic acid1#aji until they feel quite rough4 #aji ,this is the acid contained in vinegar that gives it its value4 ,now when you lay the tips of your fingers flat on the rim of a glass and rub them around it1 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 out4 ,by varying the pressure of your fingers on the glasses you can produce a very beautiful tremolo effect4 ,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 glass4 ,if you can play a set of musical glasses well your services will be in demand for all kinds of entertainments4 ,the ,tubular ,harp4--,how to ,make ,it4--,this easily made instrument gives out tones very much like those of the musical glasses but they are much deeper and louder4 ,illustration3 ,,fig4 #aji ,a1 ,b4 ,,the ,,harp ,,of ,a ,,thousand ,,thrills ,to make this harp you will need #ab feet of inch bell-metal#aaj tube--brass tube will do but it is not as good--and cut it into eight pieces2 saw off the first tube #b feet long and cut off each of the other pieces an inch shorter than the one before it4 ,cylindrical sticks of wood can also be used for the tubes4 #aaj ,brass and bell metal tubing can be bought of the ,u4 ,t4 ,hungerford ,brass ,copper ,co41 #hi ,lafayette ,st41 ,new ,york4 ,get two strips of wood #a inch square and #c feet long and screw them together as shown at ,a in ,fig4 #aji with a couple of thumb screws2 this done bore eight inch holes in the sticks every #d inches apart and smooth them out with a half-round file4 ,glue a strip of cloth on the side of each strip that is bored out1 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 ,b4 ,illustration3 ,,fig4 #aji;,c4 ,,how ,,to ,,play ,,the ,,harp ,to tune the tubes saw off and file off the end of each tube until it gives forth the proper note4 ,when you have tuned them make a stand to hold the instrument and this can be of either wood1 or metal tubing if you want the harp to look nice and you don't care about the expense4 ,the harp is shown complete at ,c4 ,how to ,play the ,harp4--,when you have made the stand get a pair of old gloves and cut off the fingers2 powder some rosin and rub it well into the palms of the gloves4 ,this done1 put on the gloves1 grip the top of the tube and draw your hand slowly down toward the sounding board1 as shown at ,c1 and a beautiful tone will be emitted4 ,not only does the tube vibrate to make the sound but as it is hollow it acts as a resonator1 that is1 the sound will set up sympathetic vibrations in the tube which will renforce the simple vibrations of the tube both in strength and quality4 ,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 voice4 ,the ,musical ,push ,pipe4--,how to ,make ,it4--,this musical instrument is an organ pipe but it is played like a slide trombone1 that is by pushing in and pulling out a slide that fits inside of it4 ,spruce is the best wood to make the organ pipe of but you can use any other kind you have at hand4 ,saw off four strips of wood inch thick and #af inches long and have two of them #c inches wide and the other two #b inches wide1 as shown in ,fig4 #aaj4 ,saw off one of the #c inch wide boards so that it will be #ab inches long and plane down one end to a sharp edge as shown at ,b4 ,take another board an inch thick and make it #b inches high and #c inches wide as shown at ,d4 ,cut out a board for the end inch thick1 #b inches wide and #b inches long and bore a inch hole in it as shown at ,e4 ,illustration3 ,,the ,,push ,,the ,,pipe ,,back ,,board ,,top ,,front ,,board ,,lower ,,front ,,board ,,lip ,,side ,,boards ,,end ,,mouth ,,piece ,,fig4 #aaj4 ,,parts ,,of ,a ,,musical ,,push ,,pipe ,as you supply this pipe with air by blowing in it1 take a common thread spool and trim down one end of it as shown at ,f so that you can get it into your mouth2 then glue the large end over the hole in the bottom board4 ,next glue the sides together to form a square tube and make and glue into the lower end a three-cornered piece of wood #b inches wide1 #c inches high and #b inches thick as shown at ,g4 ,this will bring one of its sharp edges just under and very close to the sharp edge of the short side of the pipe4 ,glue the thick piece of wood shown at ,d to the lower end of the pipe so that it leaves a inch space between its top edge and the sharp edge of the short side of the pipe4 ,finally glue the mouthpiece in the lower end of the tube and this part of the push pipe is done4 ,if now you will place your hand over the open top of the pipe and blow through the mouthpiece1 a soft note like that of a steamboat whistle will issue from it4 ,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 it4 ,to do this fit the organ pipe with a movable stop1 or push1 which slides in and out of the pipe4 ,make this push of two strips of inch thick wood1 #b inches wide and #ab inches long2 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 handle4 ,the stop1 or slide1 will of course be open on two sides and must slip snugly but easily in the pipe4 ,to ,play the ,push ,pipe4--,if now you will blow through the mouthpiece and slide the stop in and out various tones and semi-tones will be produced4 ,it takes very little practice to learn just where to stop the slide to make a given note--that is if you are at all apt in playing musical instruments4 ,a push pipe#aaa is just the thing for a black-face musical act4 #aaa ,a push pipe can be bought for #d4jj of the ,l4 ,e4 ,knott ,apparatus ,co41 ,boston1 ,mass4 ,illustration3 ,,fig4 #aaj;,j4 ,,how ,,the ,,push ,,pipe ,,is ,,played ,the ,curious ,xylophone4--,how to ,make ,it4--,this instrument1 which is pronounced zil-o-fon1 is cheap to make or buy#aab and is easy to learn to play4 #aab ,can be bought of any dealer in musical instruments or of the ,l4 ,e4 ,knott ,co41 ,boston4 ,to make one cut off fifteen bars of a stick of maple an inch thick1 inch wide and make the longest one #e inches4 ,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 tone1 because any variation in thickness will make a difference in the length of them4 ,hence the above rule-of-thumb method for determining the sizes of them4 ,drill a inch hole through both ends of each bar and string them on a wire to keep them in place4 ,make two rolls of straw inch in diameter and #bj inches long2 fix the ends of these rolls on a board as shown in ,fig4 #aaa and lay the maple bars on them when they are ready to be played on4 ,how to ,play the ,xylophone4--,the xylophone is played with a pair of hammers4 ,to make the latter cut off two sticks inch in diameter and #h inches long2 get or turn two wooden balls #a inch in diameter2 bore a inch hole in each one and glue in one of the sticks4 ,illustration3 ,,fig4 #aaa4 ,a ,,xylophone4 ,,the ,,bars ,,are ,,made ,,of ,,wood ,take a hammer in each hand and hold it loosely2 stand over the xylophone so that the sticks of the hammers are parallel with and about #f inches above the bars of the xylophone and with the ball ends in the middle of the bar it is over4 ,now pound the bars for dear life and the faster the tune the more musical it will sound4 ,for this reason pieces like the ,circus ,life ,gallop are especially adapted for the xylophone4 ,the ,peculiar ,tubaphone4--,how to ,make ,it4--,by using brass tubes1 or better1 tubes made of bell metal1 you can have a xylophone of another order4 ,use tubing inch in diameter and have the first one #e inches long for the fundamental4 ,keep on sawing them off and filing them down until you have them all done and all in tune4 ,make a wooden frame of inch stuff and have the bottom #b inches wide at one end1 #d inches wide at the other end and #ag inches long4 ,illustration3 ,,fig4 #aab4 ,a ,,tubaphone4 ,,the ,,bars ,,are ,,made ,,of ,,metal ,,tubes ,saw off two strips of wood an inch thick1 #a inch wide and #ag inches long4 ,bore fifteen inch holes #a inch apart measured from their centers in them2 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 ,fig4 #aab4 ,how to ,play the ,tubaphone4--,to play this peculiar instrument use a couple of felt covered mallets2 these can be made by winding a little ball of string around one end of each stick which should be about inch in diameter and #h inches long1 and then covering it with felt4 ,beat the tubes with the felt mallets in exactly the same way you do when you play the xylophone4 ,the ,cathedral ,chimes4--,how to ,make ,them4--,this is one of the easiest musical instruments to make and the music produced by it is impressive in its tone and depth4 ,to make it saw off a board1 or inch thick1 about #ab inches wide and #bb inches long and screw a block #a inch square to each corner for it to rest on4 ,get eight binding posts#aac of the size shown at ,a in ,fig4 #aac2 drill eight inch holes in the board1 #d in a row with the holes #e inches apart and have the rows also #e inches apart1 and then screw a binding post into each hole4 #aac ,these can be bought of the ,manhattan ,electrical ,supply ,co41 ,park ,place1 ,new ,york ,city4 ,illustration3 ,,fig4 #aac4 ,,the ,,cathedral ,,chimes ,a4 ,a full sized binding post4 ,b4 ,the chimes on the sounding board4 ,make eight spirals of ,no4 #ad spring brass1 steel or1 better1 phosphor-bronze#aad wire2 you can do this by cutting off eight pieces of the wire each of which is #bj inches long4 ,draw a spiral on a sheet of paper as described in ,chapter ,v so that the inside turn of wire is about inch in diameter1 the outside turn about #c inches in diameter and each turn of wire will be separated from the other by a space of inch as shown at ,b4 #aad ,get it of the ,u4 ,t4 ,hungerford ,brass and ,copper ,co41 ,hungerford ,building1 ,new ,york4 ,with your round nose pliers bend each length of wire like the pattern you drew on the paper4 ,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 them4 ,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 unison4 ,make a couple of wood mallets and cover the ends with leather or rawhide4 ,how to ,play the ,cathedral ,chimes4--,strike the inside turn of wire up close to the end that is fastened to the binding post1 and a tone will issue from the spiral that is long1 deep and loud1 for the wire with its free end forms a very perfect vibrating body4 ,the olian ,harp4--,how to ,make ,it4--,this harp is of very ancient origin and it gets its name from olus who1 in classic mythology1 was the father of the winds1 and very appropriately is it named1 too1 for it is the wind that plays it4 ,make a box of inch thick wood1 #b inches deep1 #e inches wide and #c feet long2 use clear pine1 or deal will do1 for the sides of it but the ends should be of beech to hold the tuning pins and the hitch pins4 ,cut a sound hole #c inches in diameter near both ends of the board which is to be used for the top2 then glue the box together and screw up the ends with your wood clamps to hold it together tight while it is drying4 ,illustration3 ,,fig4 #aad4 ,,the ,,harp ,,of ,,aeolus ,when it is thoroughly dry1 drill a dozen inch peg holes inch deep in one end1 six in a row as shown at ,a in ,fig4 #aad4 ,make a dozen pegs to fit the holes and these should have wings on them as shown at ,b like violin pegs4 ,each peg should be about #a inches long and each one should have a inch hole drilled near the top of the shank for the end of the string to pass through4 ,the hitch pins can be brass brads driven into the other end of the box and in a line with the holes1 all of which is shown at ,a4 ,make two bridges of hard wood inch thick2 have each one #a inch high and #e inches wide and with #ab notches cut in one side4 ,now get a dozen catgut strings of different thicknesses and put them on the sounding board2 to do this twist a loop on the end of each one2 thread the other end through the hole in the peg and tighten it up a little4 ,when you have all of the strings in place set a bridge under each end and then tune the strings in unison1 but don't stretch the strings on very tight or the wind won't make them vibrate4 ,this done1 cut out another inch thick pine board and glue a block inch square and #a inches long to each corner and set it on top of the harp4 ,the purpose of this cover is to make the wind blow with as much force as possible over the strings4 ,how the ,wind ,plays ,it4--,to the end that old olus 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 slant4 ,pull the window down on the harp in order to make all of the wind pass between the cover and the strings4 ,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 prevail4 ,an ,egyptian ,fiddle4--,how to ,make ,it4--,the early ,egyptians invented the fiddle1 or rebab as they called it1 but they did not play it with a bow4 ,later in medieval times1 that is in about the #ith century1 this fiddle came to be called a rebec and it was then played with a bow4 ,i'll bet though that the fiddle ,i shall tell you how to make and play sounds better than any ,egyptian rebab ever made--though it is not exactly a ,stradivarius4#aae #aae ,the priceless fiddles made by the famous old violin maker ,antonio ,stradivari of ,cremona1 ,italy1 in the early part of the #agth century4 ,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 or inch thick wood except the ends which should be of inch thick stuff2 this box should be #d inches high1 #f inches wide at one end1 #h inches wide at the other end and #ab inches long4 ,cut a hole #f inches in diameter in the center of the board which you are going to use for the sounding board1 and then glue all of the pieces together using wood clamps to hold them tight4 ,for the neck take a stick of wood #a inches wide1 #b inches thick and #ae inches long2 cut it down until one end is #a inch thick and cut a piece out of this end inch wide and #a inch deep2 bore a conical hole through this end and fit in a peg4 ,next saw out the other end #b inches deep for a length of #c inches back and glue and screw this end of the neck to the narrow end of the box4 ,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 ,fig4 #aae4 ,cut out a bridge of a piece of hard wood inch thick1 #a inch high and #a inches long as shown at ,c2 and1 finally1 make a tail-piece of a bit of hard wood inch thick an inch wide at one end1 #a inch wide at the other end and #b inches long4 ,drill a hole in each end and whittle or plane the large end to a sharp edge4 ,in the middle of the large end of the sounding box bore a inch hole and glue in a hard wood peg for a hitch-pin4 ,fasten the tail-piece to the hitch-pin with a piece of catgut string4 ,slip the end of an ,a violin string through the hole in the sharp end of the tail-piece2 knot it to keep it from pulling through1 and bring the other end up and thread it through the hole in the peg in the neck4 ,finally put the bridge under the string and tighten it up4 ,tune it to the treble1 or ,g clef1 if you know enough about music to do it1 or if not tune it so that it gives a pleasing tone4 ,illustration3 ,,fig4 #aae4 ,,plans ,,for ,,an ,,egyptian ,,fiddle ,how to ,make the ,bow4--,the best kind of wood to make a violin bow of is ,brazilian lance-wood or of snake-wood1 but for this one stringed fiddle of yours you can use a piece of beech4 ,take a strip of wood an inch thick1 #a inch wide and #bd inches long and saw it out as shown at ,d2 then round up the stick and sandpaper it smooth4 ,cut out two blocks to fit the ends1 or frogs as they are called3 drill a hole in each one and screw it to the bow but not very tight4 ,illustration3 ,,fig4 #aae;,d4 ,,how ,,the ,,bow ,,is ,,made ,now comes the hard part and that is putting on the hairs2 get #ej or #fj white horsehairs about #b feet long2 ,i do not advise pulling them out of ,dobbin's tail but rather to buy a bunch of them from ,sears1 ,roebuck1 and ,co41 ,chicago1 ,ill41 for #aj or #bj cents4 ,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 tight2 this done fasten the other ends of the hairs under the opposite block1 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 blocks4 ,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 chapter1 that is1 it has a lot of fine teeth on it and all of them run the same way4 ,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 strokes4 ,illustration3 ,,fig4 #aae;,e4 ,,how ,,the ,,fiddle ,,is ,,played ,do not use much rosin on the bow but rosin it often4 ,you can buy a piece of regular violin bow rosin for #e cents but the kind that gives the best results is the genuine ,bernardel imported from ,france and which costs about a quarter4 ,it bites hard on the string and makes a large volume of sound4 ,the way the fiddle is played is shown at ,e4 ,,chapter ,,xii ,,some ,,evening ,,entertainments ,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 enjoy4 ,this is not at all a hard thing to do but as it takes time to get the props 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 done4 ,it is a noble plan to give a divertisement1 or soire#aaf 7pronounced sware7 as the old time magicians used to call it1 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 pleasure4 #aaf ,this is a ,french word and it means an evening social gathering4 ,moreover1 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 them4 ,naturally since you know all about it and they don't know anything about it1 questions will be in order and you are the one who will have to answer them2 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 mystery4 ,after the divertisement is over it will furnish food for conversation for a long time to come4 ,now while ,i have used the words entertainment and divertisement1 both of which mean about the same thing and that is amusement1 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 demonstrations4 ,in this way you will not only please and develop good fellowship in the family1 but you will instruct the members of it at the same time4 ,finally1 don't make your divertisements too long4 ,better by all means make each one only #ae or #bj minutes long and have everybody in high good humor and saying that it was all too short1 than to give them an hour and have everybody gappy and bored half-to-death4 ,cartoons ,while ,you ,wait4--,this is a good feature to start off your season's divertisements with4 ,make a substantial easel on which to set a large drawing board as shown in ,fig4 #aaf1 or you can fasten the paper to a wall with thumb tacks if you live in a home and not in a residence4 ,get a dozen sheets of good white print paper--you can buy a quire 7#bd sheets7 #bd #cf inches for #be cents--and tack a dozen sheets to your drawing board or the wall4 ,also buy a stick of black marking crayon1#aag which is better than chalk or charcoal for it makes a heavy black line that will not smut1 blur or rub off4 #aag ,you can buy a marking crayon at a hardware or stationery store4 ,illustration3 ,,fig4 #aaf4 ,,how ,,an ,,easel ,,is ,,made ,drawing the ,cartoons4--,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 based4 ,then make a simple line drawing of the boxer reaching for the maxillary of his invisible opponent as shown in ,fig4 #db1 over in the chapter called ,drawing ,simply ,explained1 and then draw the horse galloping home on the three-quarter stretch4 ,next draw around these simple line figures1 which are really the skeletons of the man and beast1 the outlines as shown in ,fig4 #dc4 ,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 performance1 and then all you have to do is to mark over the lines with the crayon4 ,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 ,fig4 #dd and mark on the proportions of the human body4 ,have your next sheet ruled off into squares with the lines #b inches apart2 draw in the face and at the same time explain that this makes it easy for any one to get the features in proportion4 ,now comes the grand finale#aah 7pronounced fi-na-le7 and that is your cartoons4#aai ,you should practice drawing these and also have some patter#abj about each one so that when you do them for the family audience your tongue will be as clever as your fingers4 ,you can begin by explaining how the expressions 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 lines4 #aah ,the last part of an exhibition and it is generally the climax of it4 #aai ,a cartoon is usually a caricature of a person or thing done in sketchy style4 ,the word comes from the ,french carton1 which means pasteboard4 #abj ,witty or amusing talk to help along the act4 ,draw eight circles #e or #f inches in diameter in a double row on the paper with your marking crayon as shown at ,a in ,fig4 #aag4 ,now you say first that sleep can be represented by four straight horizontal lines and you draw them as shown in the first circle4 ,next draw four vertical lines in the second circle and before you can say awake your little audience will see it and laugh its approval4 ,illustration3 ,,fast ,,asleep ,,wide ,,awake ,,some ,,joy ,,more ,,sorrow ,,quite ,,modest ,,much ,,disdain ,,somewhat ,,surprised ,a ,,little ,,angry ,a ,,fig4 #aag;,a4 ,,first ,,principles ,,of ,,cartooning ,joy is represented by four little arcs1 or curved lines with the ends of each pointing up1 which you draw in the third circle1 while sorrow is1 of course1 shown by four curved lines the ends of which point down as in the fourth circle1 since the emotion of sorrow is the opposite to that of joy4 ,show how modesty is depicted by drawing four little angles in the fifth circle with the vertex1 or point of each one at the bottom1 while disdain1 which is the reciprocal of modesty1 can be illustrated in the sixth circle by reversing the positions of the angles and having their vertices at the top4 ,to portray surprise all you have to do is to draw four little circles inside the seventh large circle and you will have caught the expression4 ,finally in the eighth circle draw two slanting lines for the eyes1 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 anger1 7or maybe it's a ,chinaman47 ,illustration3 ,,by ,,de ,,light ,,of ,,de ,,silvery ,,moon ,,pat ,,and ,,his ,,poipe ,,he ,,has ,,just ,,heard ,a ,,joke ,b ,c ,d ,,fig4 #aag ,b1 ,c1 ,d4 ,,three ,,simple ,,cartoons ,,that ,,you ,,can ,,do 99 99 99 99 99 ,now without my telling you how to draw the cartoons shown at ,b ,c and ,d in ,fig4 #aag1 draw each one of them half a dozen times on a sheet of paper with your marking crayon and when you get before your audience you will be able to do them like a lightning crayon artist4 ,thirty ,minutes of ,chemistry4--,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 patter4 ,the ,mystic ,glass of ,milk4--,the ,effect4--,you show a glass of perfectly clean water and blow through it with a glass tube1 clay pipe or a straw when it becomes to all intents1 though not to all purposes1 milk of the cow variety4 ,see ,fig4 #aah4 ,illustration3 ,,before ,,blowing ,,through ,,straw ,,after ,,blowing ,,through ,,straw ,,fig4 #aah4 ,,the ,,oracle ,,of ,,amor1 ,,or ,,are ,,you ,,in ,,love8 ,the ,cause4--,to perform this chemical trick get #ej grams of good quicklime and powder it in a pint milk bottle4 ,let it stand for #bd hours and shake it every once in a while4 ,let it stand another #bd hours and then pour off the clear solution1 which is called lime water#aba and this is the common name of mystic milk4 #aba ,you can buy it in a drug store all ready to use4 ,the ,chemical ,action4--,in the first place the lime in the water is calcium hydroxide and when you blow through the lime water the carbon dioxide in your breath acts on the calcium hydroxide and forms a white insoluble powder commonly known as limestone4 ,since the calcium carbonate does not dissolve in the water it remains suspended in the solution and this gives it an opalescent hue that doth verily look like the lactic fluid which is white but woe unto the milkman who sells it as such4 ,for the ,fun of the ,thing4--,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 water4 ,you must see to it1 of course1 that those whom you want to make believe are in love are given the lime water2 then have everybody blow and it is a sure sign that those who change the water into milk are in love4 ,the ,magic ,fountain4--,the ,effect4--,you show an empty bottle1 or ,florence flask1 and then push a cork with two holes in it into the mouth of the bottle4 ,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 bottle4 ,through the other hole in the cork push a medicine dropper1 or fountain pen filler4 ,the end of the long tube projects down into a bowl containing water which you have colored blue#abb either with indigo or with copper sulphate or you can make a beautiful violet by dissolving in it a little potassium permanganate4 ,the arrangement of the apparatus is shown at ,a in ,fig4 #aai4 #abb ,any kind of colored water will do for this experiment4 ,illustration3 ,,fig4 #aai;,a4 ,,the ,,mystic ,,fountain ,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 full4 ,the ,cause4--,instead of the bottle being empty as it looks to be1 you have previously filled it with hydrogen chloride gas of which #ejj volumes will dissolve in #a volume of water4 ,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 it4 ,this leaves a vacuum when1 of course1 the atmospheric pressure on the colored water in the bowl forces it up through the nozzle to fill the vacuum4 ,illustration3 ,,fig4 #aai;,b4 ,,making ,,hydrogen ,,chloride ,,gas ,this water dissolves the rest of the gas in the flask and more water is forced up until the bottle is nearly full of it1 all of which produces a very mysterious and at the same time a mighty pretty effect4 ,how to ,make ,hydrogen ,chloride ,gas4--,to make this gas take another bottle and fit a two hole stopper into it2 in one hole put a funnel and in the other an ,l tube as shown at ,b #aai4 ,in the bottom of the bottle put of a cup of common table salt2 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 ,b4 ,the apparatus set up1 pour sulphuric acid down the funnel1 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 it1 into the mouth of the bottle filled with the hydrogen chloride gas4 ,the ,vicious ,soap ,bubbles4--,the ,effect4--,show a dish of soap-suds and then blow bubbles with the apparatus described below4 ,when the bubbles take on a size of about #c inches in diameter shake them off and they will rise slowly and gracefully in the air4 ,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 revolver4 ,the ,cause4--,the bubbles are filled with a mixture of hydrogen gas and oxygen gas and when these two gases are simply mixed they form a very explosive compound which is called detonating gas4 ,when the flame is brought close enough to the bubble it fires the gases in it1 and they explode and combine chemically to form water4 ,the apparatus necessary to do this experiment with is shown in ,fig4 #abj4 ,it consists of 7#a7 a hydrogen gas generator and 7#b7 an oxygen gas generator4 ,the hydrogen bottle or flask is fitted with a two hole stopper through which runs a glass funnel and an ,l tube just as described in the fountain experiment and shown at ,b in ,fig4 #aai4 ,connected to the ,l tube is a length of rubber tubing into the other end of which another ,l tube is fitted4 ,the oxygen bottle or flask is fitted with a single hole stopper which has an ,l tube running through it as shown at ,b in ,fig4 #aai4 ,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 tube4 ,now place the two short ,l tubes side by side and cement them together with sealing wax4 ,a long length of rubber tube is forced on over the ends of the double tube and1 finally1 a clay pipe is fitted into the free end of the rubber tube1 all of which is shown in ,fig4 #abj4 ,illustration3 ,,fig4 #abj4 ,,the ,,vicious ,,soap ,,bubbles ,set the bottles or flasks as far apart as possible and in the hydrogen bottle put a handful of granulated zinc4 ,dilute hydrochloric acid#abc is poured down the funnel on the zinc when hydrogen will be set free1 or generated as it is called4 #abc ,if you want to buy dilute hydrochloric acid ask for normal hydrochloric acid4 ,put a small handful of a mixture of #b parts of potassium chlorate and #a part of manganese dioxide1 finely powdered1 in the oxygen bottle and then set a ,bunsen burner under it when it will give off oxygen4 ,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 right4 ,caution4--,do not bring a flame anywhere near the apparatus and as a further precaution wrap a thick towel around the hydrogen flask4 ,the bubbles that are blown rise in the air because both the hydrogen and the oxygen are lighter than the air4 ,the ,uncanny ,wheel4--,the ,effect4--,a pitcher is shown full of emptiness and then a cardboard wheel1 #d inches in diameter1 with buckets1 or cones #a inch high and inch across glued to the rim and which is mounted on a wire so that it can be revolved1 is passed for examination4 ,placing the wheel on the table you hold the empty pitcher above it and pour out nothing on it when the wheel will turn round just as though you were pouring water on it4 ,it is indeed uncanny4 ,the idea is shown at ,a in ,fig4 #aba4 ,the ,cause4--,but it is all canny enough when you know how it is done4 ,while the pitcher is apparently empty you have1 forsooth1 previously filled it with a gas called carbon dioxide4 ,this gas is #a times as heavy as air4 ,the cardboard wheel does not move in the air because the latter pushes on all parts of it equally4 ,when1 however1 you pour the carbon dioxide gas on it from the pitcher1 since it 7the gas7 is heavier than the air it fills the little buckets and makes them heavier just as surely as if you poured water on them2 and hence the wheel revolves4 ,illustration3 ,,fig4 #aba4 ,,the ,,uncanny ,,wheel ,how to ,make ,carbon ,dioxide ,gas4--,take a perfectly dry bottle or flask of the kind shown in the fountain experiment2 fit it with a single hole stopper and push a glass tube through it until it nearly touches the bottom as pictured at ,b4 ,set the bottle at a slant and put a mixture in it of equal amounts of powdered copper oxide 7that is cupric oxide7 and wood charcoal4 ,heat this mixture over a ,bunsen burner until it glows and for a few minutes longer2 the bottle will then be full of the carbon dioxide gas4 ,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 experiment4 ,giving a ,travelogue4--,a travelogue is simply a talk on travel1 or on a country1 illustrated with pictures of some kind4 ,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 neither1 it does mean that you must read up on it4 ,to do this get several good books on whatever country you intend to talk on1 read them carefully1 and then outline a route just as though you had gone over it yourself1 but this must of course conform to the pictures you can get4 ,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 it4 7#a7 ,the first and least expensive way is to cut a dozen or twenty pictures out of magazines1 arrange them according to your route and build up your talk around them4 ,as you describe each place pass the pictures1 which should be mounted on cardboard1 in turn to each person present4 7#b7 ,a better way is to get a set of stereographs of the trip or the country you are to talk on and a stereoscope#abd and pass the picture showing the view and the instrument to each person present4 #abd ,a stereoscope and the stereograms can be bought from ,underwood and ,underwood1 #dag ,fifth ,ave41 ,new ,york1 or ,sears1 ,roebuck and ,co41 ,chicago1 ,ill4 ,each stereograph1 as the picture is called1 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 dimensions4 ,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 time4 7#c7 ,a far better plan than either of the above schemes is to make a reflectoscope#abe as described in the chapter called ,some ,kinks in ,photography4 ,you can show any kind of a picture in a reflectoscope if it is not larger than #ce 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 reflectoscope4 #abe ,you can buy one of the ,bausch and ,lomb ,optical ,company1 ,rochester1 ,new ,york1 and you can get post-card views for it of the ,post-,card ,store1 #idf ,broadway1 ,new ,york4 7#d7 ,finally either make1 or better1 if you can afford it1 buy1 a magic lantern#abf that will take the regular full size lantern slides1 namely1 #c #d inches square4 ,sets of lantern slides#abg 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 success4 #abf ,for magic lanterns and slides address the ,charles ,beseler ,co41 #aca ,east #bcrd ,street1 ,new ,york4 #abg ,sets of lantern slides can be rented of the ,charles ,beseler ,co41 #aca ,east #bcrd ,street1 ,new ,york ,city4 ,an ,electrical ,soire4--,experiments in electricity are always interesting to all however young or old1 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 spectacular4 ,now there are some very extraordinary effects that you can show with static electricity#abh which do not require apparatus of any kind as you will presently see1 but if you will make or buy a inch induction coil#abi you can perform a series of classic experiments that will create a profound and lasting impression on all who see them4 #abh ,many experiments with static electricity will be found in ,the ,book of ,electricity by the present author and published by ,d4 ,appleton and ,co4 #abi ,complete instructions for making an induction coil will also be found in ,the ,book of ,electricity4 ,demonstrating ,electricity ,without ,apparatus4--,did you ever rub a cat in a dark room in the winter and see the sparks fly8 ,well this is one way to make electricity without apparatus though you need a cat#acj to do it with4 #acj ,a cat is not apparatus but only a kitten growed up4 ,the ,electrified ,papers4--,but you can make a lot of electricity by simply rubbing a newspaper if you know how to rub it and it is perfectly dry4#aca #aca ,winter is the best time to do experiments in static electricity4 ,illustration3 ,a--,,electrifying ,a ,,strip ,,of ,,newspaper ,b--,,electric ,,attraction ,,fig4 #abb4 ,,the ,,electrified ,,paper ,tear off a strip of newspaper1 lay it flat on a table and rub it with your finger nails as shown at ,a in ,fig4 #abb4 ,when you try to take the paper from the table you will find that it sticks to it quite tenaciously4 ,this is because you have positively electrified the paper when you rubbed it and the surface of the table under it is negatively electrified by induction4#acb ,now since positive and negative electricity attract each other1 the paper and the table are pulled together4 #acb ,the theory of induction is simply explained in ,the ,book of ,electricity by the present author4 ,how to ,electrify a ,person4#acc--,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 bones4 #acc ,since the paper is positively electrified the person must be negatively electrified4 ,to perform this experiment electrify a strip of newspaper as above and then hold it close to some one's face2 instantly there will be a mutual attraction between them and the paper will be drawn to and stick to his or her cheek4 ,put an electrified paper on the cheek of each person present as shown at ,b and tell them they belong to the same club4 ,this will get a laugh but it will not lessen their interest in the experiment in the least4 ,how ,like ,repels ,like4--,electrify two strips of newspaper this time and hold them together by the ends4 ,instantly the free ends of the papers will fly apart for like signs of electricity repel each other4 ,that is1 since both strips of paper are positively electrified and hence are of like signs1 they repel each other4 ,if they were negatively electrified they would repel each other just the same4 ,in either case it shows that there is a force acting across the space between the two strips of paper4 ,making ,experiments ,with ,apparatus4--,with a dry battery of two or three cells1 an electric bell1 a common steel magnet and an electromagnet1 all of which you can easily make or buy#acd for a dollar or so1 you can provide entertainment enough for an hour's demonstration1 and food for thought to last a year4 #acd ,the ,l4 ,e4 ,knott ,apparatus ,co41 ,boston1 ,mass41 and ,the ,manhattan ,electric ,co41 ,park ,row1 ,new ,york1 sell all these things4 ,the ,induction1 or ,spark ,coil4--,an induction coil is an apparatus for changing a direct low pressure1 but large quantity current from a battery into an alternating high pressure but small quantity current1 which is called high tension1 or high potential1 electricity4 ,with an induction coil you can make any number of wonderful experiments such as miniature streaks of lightning1 lighting up ,geissler tubes1 which produce brilliant and beautiful colors showing the electric discharge in gases1 etc41 etc4 ,by fixing these tubes to a small electric motor#ace so that they can be revolved while the high tension current is passing through them1 the effects are further heightened4 #ace ,a small electric motor can be bought for #a4jj of any dealer in electrical supplies or of the ,manhattan ,electrical ,supply ,co41 ,park ,row1 ,new ,york4 ,demonstrating ,wireless ,telegraphy4--,all you have to do to make your induction coil into a wireless transmitter1 that is1 the sending apparatus1 is to put a couple of brass balls on the points of the spark-gap1 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 copper that rests on the floor as shown at ,a in ,fig4 #abc4 ,to make a receiver that will tap out the signals you send on your transmitter1 you will need 7a7 a coherer1 7b7 a relay1 7c7 an electric bell and 7d7 a dry cell4 ,you can make the coherer but the other three pieces of the apparatus you had better buy4 ,illustration3 ,,fig4 #abc4 ,a ,,simple ,,wireless ,,demonstration ,,set ,for the coherer cut off a piece of brass rod inch in diameter and #a inches long1 file the ends off even and slip them through the holes in the binding post4 ,put a pinch of nickel and silver filings into a piece of glass tubing about an inch long and push the ends of the rod into the tube with the filings between them4 ,screw the rods into a couple of binding posts set #b inches apart on a block as shown at ,b and your coherer is done4 ,connect up the coherer1 relay1 tapper and dry cell on a board as shown in the wiring diagram at ,c2 fasten a wire to one of the rods of the coherer and to a nail near the ceiling2 fix a wire to the other coherer rod and to a small sheet of brass or copper which rests on the floor4 ,illustration3 ,,fig4 #abc;,b4 ,,cross ,,section ,,of ,,the ,,coherer ,,showing ,,its ,,construction ,now when you press the key or button of the sender1 which is on one side of the room1 the bell of the receiver1 which is on the opposite side of the room1 will ring out a signal4 ,the fact that there are no wires connecting the sender with the receiver will create much wonder4 ,the theory of wireless telegraphy is rather deep but you will find it simply explained in my ,book of ,wireless published by ,d4 ,appleton and ,co41 ,new ,york ,city4 ,reading ,palms for ,fun4--,many years ago when ,p4 ,t4 ,barnum was exhibiting a sacred white elephant1 which was nothing more nor less than a small ,indian elephant covered with whitewash1 and the good folks were breaking their necks to pay their hard-earned coin to see it1 the great showman remarked that 8the ,american people love to be humbugged40 ,and they do4 ,now palmistry is a kind of mild humbuggery on a small scale and for an evening of fun and bunkum-squint you can't find anything to beat it4 ,illustration3 ,,fig4 #abd;,a4 ,,the ,,parts ,,of ,,the ,,hand ,,named ,,according ,,to ,,science ,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 ignorance4 ,the first is palm1 pronounced pom2 the second is palmist1 pronounced pol-mist1 and the third is palmistry1 which is pronounced pol-mis-try2 now be sure to say them right4 ,illustration3 ,,fig4 #abd;,b4 ,,the ,,parts ,,of ,,the ,,hand ,,named ,,according ,,to ,,palmistry ,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 it2 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 with it is mechanically inclined or is of an artistic temperament4 ,further you can gather--not from the hand but from the face1 stature1 carriage1 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 peculiarities4 ,in fact the palmistry of the palmists is simply a study in deduction1 very much a la ,sherlock ,holmes1 of the person as a whole1 and it is by no means limited to an investigation of the hand alone4 ,how to ,read ,palms4--,there are two things which you should learn before you begin to read palms and these are 7#a7 the names of the different parts of the hand1 and 7#b7 the lines and mounts of the hand4 ,the names given and the corresponding parts of the human hand are shown at ,a in ,fig4 #abd2 these are the scientific names and you will add very greatly to your stock of knowledge to get them down by heart4 ,the names1 of the lines and the mounts of the hand are given and shown at ,b and these are the terms that are used by palmists4 ,you will observe that the eminences are called mounts and these are named after the planets of the solar system1 for the ancients supposed that they were inter-related4 ,to get by as a palmist it goes without saying that you must have these all down pat4 ,to find out what kind of health the subject is in1 grip the hypothenar eminence1 which is the side of the hand opposite the pollux1 or thumb1 between your thumb and fingers and squeeze it a little2 if it is perfectly firm and the palm has a good healthy color you are quite sure that its owner is in good health1 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 good1 nay worse1 it is even bad1 and you will not offend your subject by so saying4 ,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 time4 ,indeed to be a successful palmist tell every one whose hand you read that she or he will live to be anywhere from #hj to #ajh1 and you'll be on the safe side4 ,the line of the heart1 according to palmistry1 indicates the affections and passions of a person4 ,always tell a fellow that he is a great lover and that he is constant1 but you can say to a girl that she is capricious1 which means about the same thing as being fickle1 and both the man and the maid will be highly pleased4 ,the line of ,saturn 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 sance#acf then and there and hold a wake to prove you're right4 #acf ,a sitting given by a medium or a palmist is called a sance 7pronounced sayance74 ,apollo1 as the line of fortune is called1 is a good one to talk at length on2 you can tell every subject that he or she has had bad luck1 but that fortune will follow2 that he or she will marry a pretty girl1 or a handsome man as the case may be1 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 8you'll live happily ever after40 ,since folks will foolishly believe in palmistry don't try to convince them to the contrary1 but while there is nothing in it1 when you play palmist tell them only the nice1 pleasant things and you will then be doing them a real service4 ,just two more pointers on the ignoble art of palmistry and these are 7#a7 read the palms of each one present right out loud before the whole gathering1 and 7#b7 be mighty careful that the single girls and married ladies do not switch rings and so lead you into the trap of thinking that the former are enjoying a state of connubial felicity 7whatever state#acg that may be7 and that the latter are living in a territory#ach of single blessedness4 #acg ,probably ,utah4 #ach ,most likely ,arizona4 ,a ,talk on the ,steam ,engine4--,for your final evening entertainment give a thumb-nail lecture on steam and the steam-engine4 ,you will find every one is interested in steam because it is one of the great prime movers but there are very few people indeed who have any idea of how a steam engine works4 ,if you will do exactly as ,i tell you1 you can talk on and demonstrate the principles of a steam engine so that1 whatever the age of your listeners1 they will know1 when you are through1 exactly how and why a steam engine runs and develops power4 ,making the ,model ,engine4--,the engine ,i shall tell you how to build is not a model that runs by steam1#aci but one made almost entirely of wood and the purpose of it is not actually to produce power but to show exactly how it works4 #aci ,how to build model steam engines and all other kinds is explained in my new book ,engine ,building for ,boys1 published by ,small1 ,maynard and ,co41 ,boston1 ,mass4 ,to the end that this may be done the cylinder and steam chest 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 clear4 ,make the cylinder first and the easiest way to do it is to saw out two disks of wood for the cylinder heads of inch thick stuff1 #d inches in diameter and bore a inch hole through the center of one of them for the piston to slide through1 as shown at ,a1 ,c and ,f in ,fig4 #abe4 ,turn1 or whittle out a piece of wood for the stuffing box1#adj #a inch in diameter and inch long1 and bore a 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 and ,f4 #adj ,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 rod4 ,illustration3 ,,fig4 #abe;,a4 ,,working ,,drawings ,,for ,,the ,,demonstration ,,steam ,,engine4 ,,cross ,,section ,,side ,,view ,,of ,,the ,,engine ,next saw out two rings of inch thick wood1 make the outside #d inches in diameter and the inside #c inches in diameter1 see ,c1 and glue one of the rings to each end of the cylinder heads4 ,now cut out of a sheet of thin cardboard1 or better of tin1 a piece #e inches wide and #f inches long2 cut two holes an inch in diameter and have the center of each hole an inch from one of the long edges and inch from each of the short edges as shown at ,d4 ,the next thing on the list is the piston and the piston rod4 ,for the piston1 saw out a disk of wood #c inches in diameter and bore a inch hole through it in the center4 ,the piston rod is simply a piece of wood an inch in diameter and #ab inches long2 cut a slot in one end inch wide and an inch deep and bore a inch hole through it as shown at ,c4 ,put the piston inside of the cylinder1 slip the piston rod through the hole in the cylinder head1 smear some glue on the end of it and fit it into the hole in the piston4 ,the steam chest is next in order2 for it use inch thick wood and saw out four pieces #b inches square2 two of these pieces are for the heads of the steam chest1 as shown at ,a and ,b1 and in the center of one of them drill a inch hole for the slide valve rod to go through4 ,turn1 or whittle out1 a piece of wood for the stuffing box an inch in diameter and inch long1 bore a inch hole through the center of it and glue it to the center of the steam chest head that has the hole in it as shown at ,a1 ,c and ,f4 ,saw two holes #a inches square out of the other two #b inch square blocks and glue these to the steam chest heads4 ,now make a trough of inch thick wood1 or of cardboard or tin1 #a inches square1 outside measurement1 and #b inches long2 this is for the sides of the steam chest2 as shown at ,a and ,f4 ,illustration3 ,,fig4 #abe;,b4 ,,end ,,view ,,of ,,the ,,engine4 ,d4 ,,the ,,crank ,,shaft4 ,e4 ,,the ,,rocker ,,arm ,bore a inch hole in the center of the top of the trough2 this hole is for the intake port1 that is the opening through which the steam flows from the boiler into the steam chest4 ,bore three inch holes in a line in the middle of the bottom of the trough as is also shown at ,a and ,f4 ,the two holes nearest the ends are the ports to let the steam into and out of the opposite ends of the cylinder1 and the central hole1 or port1 is the exhaust port ,c4 ,illustration3 ,,fig4 #abe;,c4 ,,top ,,view ,,of ,,the ,,engine ,next make the slide-valve2 use inch thick wood and make it inch high1 #a inch wide1 and #a inch long on top and #b inches long on the bottom2 the bottom1 as you will observe at ,a and ,e1 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 it4 ,the slide valve rod is a piece of wood inch in diameter and #aa inches long4 ,whittle or plane one end flat and drill a inch hole through it4 ,this done1 set the slide valve in the steam chest2 slip the slide valve rod through the head and glue it to the slide valve4 ,now make four tubes or pipes of cardboard or tin an inch in diameter1 and have two of them #a inches long and the other two #c inches long2 when you have formed all of them cut a strip inch wide out of each one lengthwise2 the purpose of which is to show that they are hollow4 ,when you have the tubes done glue1 or otherwise fix1 one of the short ones into the intake port of the steam chest and the other short one into the middle1 or exhaust port in the bottom of the steam chest2 then glue1 or fix the two long tubes into the end holes1 or ports1 of the steam chest and the holes in the cylinders4 ,saw out a guide block for the piston rod to slide through1 #b inches wide1 #c inches high1 #c inches long on top and #e inches long on the bottom as shown at ,a and ,c1 and bore a inch hole through the middle of the top of it lengthwise so that the center of the hole will be exactly #b inches from the base line4 ,likewise saw out a guide block for the slide valve rod and make it #a inch wide1 #b inches long and #c inches high and drill a inch hole through the middle of the top of it lengthwise so that the center of the hole will be exactly #b inches from the back board to which it is fixed4 ,next cut out a rocker arm of a inch thick piece of wood and have it inch wide at one end1 inch wide at the other end and #g inches long2 drill a inch hole in each end and a #a hole #a inches from the large end2 pivot the small end to the end of the slide valve rod with a machine screw having a nut on the end of it4 ,cut out an eccentric rod inch thick1 inch wide and #h inches long1 and drill a inch hole at each end so that their centers will be exactly #h inches apart3 pivot one end of this rod to the second hole in the rocker arm with a machine screw as before4 ,saw out a pivot block #a inch square and drill a inch hole through the center of it and pivot the lower end of the rocker arm to it with a screw4 ,make a connecting rod1 to couple the piston rod to the crankshaft with1 inch thick1 an inch wide at one end1 inch wide at the other end and #i inches long2 whittle or plane down the small end so that it will fit easily into the slot in the end of the piston rod and drill a inch hole in each end so that their centers are precisely #h inches apart4 ,the crankshaft can be made of a piece of inch thick wire #ac inches long which must be bent to the exact shape shown at ,d2 before it is thus bent1 however1 slip the wire through the hole in the end of the eccentric rod and then bend the crank on it4 ,saw out a flywheel of inch thick wood1 #h inches in diameter1 drill a inch hole through its center and force it on over the wire forming the crankshaft2 then slip the end of the connecting rod on the other end of the crankshaft wire and bend it to form a crank4 ,the front end of the crankshaft must be supported by a pillow block just as it is in a real engine1 but the rear end is held in place by a board screwed to the back of the base4 ,this block is an inch thick1 #a inch wide at the top1 #b inches wide at the bottom and #c inches high2 drill a inch hole in the top of it exactly #b inches from the base line and slip this over the end of the crankshaft next to the connecting rod4 ,the last thing to be done is to make a base to mount the parts of the engine on2 this is a sort of a shelf and it is built up of a board inch thick1 #f inches wide and #ca inches long for the base4 ,saw a slot in it inch wide and #i inches long in one corner1 #b inches from one end and an inch from the side2 this is for the fly-wheel to set in4 ,illustration3 ,,fig4 #abe;,f4 ,,the ,,steam ,,engine ,,ready ,,to ,,demonstrate ,screw a back to it an inch thick1 #aj inches wide and #c inches long2 this must be perfectly rigid and if necessary you can brace it with angle blocks4 ,finally glue four legs #a inch square and #b inches long on the corners of the base-board4 ,to put the engine together1 or assemble it as it is called1 screw the cylinder to the base-board1 then glue or screw the piston rod guide block to the base2 the slide valve rod guide block to the back board1 and the pivot block for the rocker arm to the base-board4 ,drill a inch hole in the back board #b inches up from the base-board exactly #af inches from the front cylinder head2 put one end of the crankshaft in the hole and slip the other end of it into the pillow block2 see that all is in a line and that the flywheel clears the sides of the slot in the base-board4 ,then it is all done and will look like ,f4 ,how the ,engine ,works4--,now if you will turn the flywheel around with your hand1 or better1 belt a small electric motor to it1 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 cylinder1 the other port is connected to the exhaust pipe1 when the used steam passes into the open air4 ,when you know all about it you are then ready to give your last evening divertisement and for the time being to say ,good-by4 ,,the ,,end ,,index ,acid etching on glass1 #bbb ,aeolian harp1 #bfg ,alcohol lamp1 #eb1 #fj1 #bji ,how to make an1 #eb ,alloys3 ,brass1 #fg ,pewter1 #ff1 #fh1 #ic ,solders1 #ff1 #gb ,type metal1 #ff1 #fh ,useful1 #fg ,aluminum1 #fg ,arkansas carving tool slip1 #df ,art of working glass1 #bjb ,auger bits1 carpenter's #f1 #ac ,automobile truck1 to make an1 #bbh ,badges1 how to make1 #aib-aif ,barnum1 ,p4 ,t41 #bie ,bellows for blow pipe1 #bag ,bench1 how to make a carpenter's1 #bj4 ,bent iron work1 ,venetian4 ,see ,venetian bent iron work ,bismuth1 #ie ,blow pipe for glass blowing1 #bad ,blue prints1 how to make1 #aca ,bluing steel1 #gd ,brass1 #gd ,bohemian glass1 #bjc ,bolts and rivets1 #gb ,bookbinding1 #agi-aha 8,book of ,electricity10 #bij 8,book of ,wireless10 #bie ,brace and bits1 carpenter's1 #f1 #i ,brass1 #fg ,how to blue1 #gd ,to color1 #gd ,to dull1 #gd ,to frost1 #ge ,stencils1 #aih-bjj ,bromide photo paper1 #adb ,bunsen burner1 #fj1 #bji ,burning brand1 how to make a1 #aif ,cabinet making1 #a-bc ,calipers1 spring1 #eg1 #fb ,cameras1 #ace-adj ,camouflage photographs1 #aed ,candle shade1 pierced brass1 #ia ,candlestick1 how to make a repouss1 #hg ,carbon dioxide gas1 how to make1 #bhg ,carbon impressions1 #abc ,carborundum oil stone1 #fc ,cards for printing1 #age ,caricature photographs1 #aee ,carpenter's tools3 ,brace and auger 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#cja ,enlarging apparatus1 photo1 #adj ,entertainments1 #bgd ,cartoons1 #bgf ,chemistry1 #bhj ,travelogue1 #bhg ,electricity1 #bij ,wireless telegraphy1 #bic ,palmistry1 #bie ,steam engine1 #cjj ,etching glass1 #bai1 #bbb ,etching tool1 how to make an1 #eb ,etching your name on tools1 #ad ,excelsior printing presses1 #aeh ,experiments in chemistry1 #bhj ,in electricity1 #bij ,fahrenheit thermometer scale1 #fe ,fiddle1 an ,egyptian1 #bfi ,files3 for scroll sawyers1 #bh ,for machinists1 #eg1 #fb ,figure carving1 #ea ,finger and hand prints1 #abe ,fixing bath1 how to make a1 #acd ,flint glass1 #bjc ,fluxes1 for soldering1 #ga ,fret sawing1 ,see ,scroll sawing ,fumed oak1 #ee ,gimlets1 carpenter's1 #f1 #aa ,glass3 ,art of working1 #bjb-bbf ,how made1 #bjb ,how to cut1 #bjc ,to drill holes in1 #bjf ,blow pipe for1 #bad1 #bae ,bellows for1 #bag ,how to etch1 #bai1 #bbb ,to make ground1 #bbb ,to cement1 #bbd ,to frost1 #bbd ,substitutes for1 #bbe ,to silver1 #bbf ,glass bulb1 how to blow a1 #bae ,glass cutters1 #bjc1 #bjd1 #bjh ,glass disks1 how to cut1 #bjh ,glass edges1 to finish off1 #bjf ,glass nozzle1 how to make1 #bab ,glass tubing1 how to cut1 #bjg ,to bend1 #bji ,to round the ends of1 #baa ,to seal1 #baa ,to pierce1 #bac ,to join1 #bac ,glasses1 musical1 #bec ,glue1 how to make and use1 #aa ,glue pot1 how to make a1 #aa ,gold1 printing in1 #age ,goodyear ,rubber ,co41 #ahc ,goose1 to make a life-like1 #bda ,gouges1 carpenter's1 #d ,graflex camera1 #adj ,gravers1 #ii ,ground glass1 to make1 #bbb ,gutenburg1 ,johanne1 #aeg ,hack saw1 #eg1 #fj ,hammers1 carpenter's1 #b1 #h ,scroll sawyers1 #bi ,machinist's1 #eg1 #fj ,hand1 parts of the human1 #bih ,hand and finger prints1 #abe ,hand inlaid printing presses1 #aeg ,hand made paper1 #agf ,hand saws1 carpenter's1 #b ,hand screws1 carpenter's1 #f1 #aj ,hand scroll saw table1 #bg ,hardware for scroll sawyers1 #cg ,harp1 the tubular1 #beh ,hectograph1 ,see ,copygraph ,hershel1 ,sir ,john1 #aec ,horse1 how to make a stick1 #bcg ,hieroglyphics1 #bjb ,hydrogen chloride gas1 how to make1 #bhc ,imposing stone1 #abj ,ink3 ,india1 #aac ,printing1 #agc ,for rubber stamp1 #ahi ,for copygraph1 #aia ,for stencils1 #bjj ,ink rollers1 #agc ,ink pads for rubber stamps1 #ahh 8,inventing for ,boys10 #aai ,iron3 ,wrought1 #fd ,steel1 #fd ,how to color a dead black1 #ha ,iron work1 ,venetian bent1 ,see ,venetian bent iron work ,isometric perspective drawings1 #aaf ,ellipses1 #aah ,isometric ruled paper1 #aaf ,jeweler's saw frame1 #eg ,saws1 #fj ,jig sawing1 ,see ,scroll sawing ,job printing1 #agb ,joining1 ,see ,carpentry ,joints1 edge and corner1 wood1 #ag ,metal1 #gj ,justifying1 #afi ,kodaks1 #aci ,lacquer1 how to make and use1 #ge ,lantern slides1 #aci1 #aej1 #aea ,lathe for wood turners1 #cg ,lead1 #fe1 #ic ,lead glass1 #bjc ,lead pencils for drawing1 #aac ,lenses1 photo1 #adj ,lignum vitae mallets1 #df ,magic fountain1 #bha ,magic lantern1 how to make and operate1 #adh-aej ,magic photographs1 #aec ,magic of 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#bfe-bfg ,aeolian harp1 #bfg-bfi ,egyptian fiddle1 #bfi-bgc ,mystic glass of milk1 #bhj ,nail set1 carpenter's1 #f1 #aj ,nails and screws1 how to drive1 #aa ,nitrogen lamps1 #ada ,oil can1 carpenter's1 #g ,oil stone1 carpenter's1 #g ,machinist's1 #fc ,palmistry for fun1 #bie-big ,panel carving1 #ej ,pantagraph1 to make and use a1 #aba ,paper3 ,blue print1 #acb ,photographic1 #acc1 #adb ,for job printing1 #age ,paper making1 #agf-agi ,paper stencils1 #aih ,patter1 #bgg ,pattern making1 #ie ,perspective1 see ,drawing ,pewter1 #ff ,how to make1 #id ,to work1 #ie ,to cast1 #ie ,solder for1 #ie ,patterns for1 #ie ,to make a mold for1 #ig ,pewter ware1 finishing1 #ih ,photo frame1 a repouss1 #hh ,photography3 ,blue prints1 #aca ,contact printing1 #acb ,silver prints1 #acc ,papers1 #acc ,fixing bath1 #acc ,toning solution1 #acd ,dark room1 #acf ,developer1 #acg ,dry plates1 #acg ,cameras1 #ach-adj ,lenses1 #adj ,enlargements1 #adj-add ,radium1 #aea ,skiagraphs1 #aea ,trick1 #aec ,camouflage1 #aed ,caricature1 #aee ,pierced metal work1 #ij-ic ,planes1 carpenter's1 #d1 #i1 #ab ,plaster of ,paris1 #ahd ,plate holder1 a ,venetian iron1 #ha ,pliers for scroll sawyers1 #bh ,policeman's puzzle1 to make a1 #bbg ,polishing metal work1 #hi ,german silver1 #aie ,pony and cart1 to make a1 #bci ,post card store1 #bhi ,press1 ,see ,printing press ,printing3 ,kinds of presses1 #aeg ,outfit needed1 #afa ,composing stick1 #afb1 #afi ,composing stand1 #afg ,imposing stone1 #afi ,chase for press1 #afi ,making ready1 #agb ,ink1 #agc ,ink rollers1 #agd ,in colors1 #agd ,in gold1 #age ,stock supply1 #age ,see also ,type ,printing presses3 ,kinds1 #aeg1 #aeh ,sizes and prices1 #afj ,how worked1 #afj ,prints1 photo1 #acc ,protractors for drawing1 #aac ,pulp for paper1 #agf ,push pipe1 musical1 #bfj ,pyrography1 #ea-ec ,radioactive substances1 #aeb ,radiographs1 #aeb ,radium photographs1 #aea ,rag engine1 #agg ,reflecting drawing board1 #abc ,reflectoscope1 #ade-adg ,repouss work1 #hd-hh ,rivets and bolts1 #gb ,robinson ,crusoe1 #a ,rosin for fiddle bows1 #bgc ,rubber stamps3 ,how to make and use1 #ahc-ahh ,ink pads1 #ahh ,inks1 #ahi ,rule1 carpenter's1 #f1 #aj ,ruling pens for drawing1 #aab ,russel ,jennings' auger bits1 #f ,rust on tools1 removing1 #ad ,sand blast process1 #bai ,saw3 ,carpenter's1 #b1 #h1 #ab ,disston1 #b ,hack1 #eg ,jeweler's1 #eg1 #fj ,sconce1 a ,venetian iron1 #hb ,screw cutting taps and dies1 #eg1 #fb ,screw drivers3 ,carpenter's1 #f ,machinist's1 #fj1 #fc ,screws1 how to drive1 #aa ,scroll sawing1 #bd-cg ,designs for1 #bi1 #cj ,woods to use1 #cf ,scroll saws3 ,hand1 #be ,foot-power1 #cj-ce ,cricket1 #cj ,lester1 #cb ,fleetwood1 #cc ,scroll sawyer's tools1 #bg-bi ,designs1 #cj ,hardware1 #cg ,seams in metal work1 #gj ,self-inking printing presses1 #aeh ,sharpening tools1 #fc ,shellac varnish1 #if1 #aig ,shears1 tinner's1 #eg1 #fj ,sheet metal work1 ,see ,metal work1 #gj ,silhouettes1 #abf ,silvering glass1 #bbf ,silver prints1 photo1 #acc ,sketching1 see ,drawing ,skiagraphs1 #aea ,snibs for wood carvers1 #df ,soap bubbles1 vicious1 #bhd ,soire1 a1 #bgd ,solder1 #fj1 #ff1 #gb ,soldering metals1 #ga ,spark coil1 #bib ,spirit photographs1 #aec ,spinning coins1 ,virgil's theory of1 #bed ,spiral1 how to draw a1 #abj ,staining wood1 #ed1 #ee ,stanley planes1 #d ,steam engine1 #cjj-caj ,steel1 #fd ,how to blue1 #gd ,letters and figures1 #aic ,glass cutters1 #bjc ,steel rule1 machinist's1 #eg1 #fa ,steel square1 machinist's1 #eg1 #fa ,stencils1 #aih-bja ,stencil inks1 how to make1 #bjj1 #bja ,stereoscope1 #bhi ,stereographs1 #bhi ,stereopticon1 #aea ,stradivari1 ,antonio1 #bgj ,swing1 to make a1 #bce ,taps and dies1 screw cutting1 #eg1 #fb ,thermometer scale1 ,fahrenheit1 #fe ,theory of spinning coins1 #bed ,thumb tacks1 #aac ,tin1 #fe ,tin-foil1 #fe ,turner's snips1 #eg1 #fj1 #fc ,toaster1 a ,venetian iron1 #gh ,tomato cans1 musical1 #bee ,toning photo prints1 #acc1 #acd ,tool chest1 how to make a1 #bb ,tools3 ,carpenter's1 see ,carpenter's tools ,woodworking1 #b ,wood turning1 #dj ,metal working1 #eg-fc ,venetian bent iron work1 #gf ,repouss work1 #hd ,engraving1 #ii ,drawing1 #aab ,toys1 how to make3 ,policeman's puzzle1 #bbg ,automobile truck1 #bbh ,wheelbarrow1 #bca ,coaster1 #bca ,swing1 #bce ,stick horse1 #bcg ,pony and cart1 #bci ,goose1 #bda ,dancing ,sambo1 #bdc ,wireless pup1 #bde ,tracings1 how to make1 #abd ,transfer pictures1 #abh ,travelogue1 giving a1 #bhg ,triangle for drawing1 #aac ,trick photography1 #aec ,try square1 carpenter's1 #f ,t square for drawing1 #aac ,t tube1 how to make1 #bac ,tubaphone1 the peculiar1 #bfd ,turning lathe1 scroll saw1 #cc ,turning wood1 #bd1 #cg1 #da-dc ,turning tools for wood1 #dj ,type3 ,styles of1 #afc-aff ,cases1 #afg ,how to set1 #afi ,how to distribute1 #agc ,how to clean1 #agc ,see also ,printing ,type form1 how to lock up1 #aga ,type-metal1 #ff ,uncanny wheel1 #bhf ,venetian bent iron work1 #gf-hd ,toaster1 #gh ,egg boiler1 #gi ,plate holder1 #ha ,vulcanizing rubber1 #ahf1 #ahg ,vise1 carpenter's1 #ba ,wood carver's1 #df ,machinist's1 #fj ,washita oil-stone for carpenters1 #g ,for carvers1 #df ,washita slip stone1 #ac ,watch holder1 how to carve a1 #dh ,wheelbarrow1 to make a nifty1 #bcc ,wireless pup1 to make a1 #bde ,wireless set1 to make a1 #bic ,wireless telegraphy1 demonstrating1 #bic ,wood3 ,how to turn1 #da ,coloring and staining1 #ed1 #ee ,wood burning1 #bd ,see also ,pyrography ,wood carver's tools1 #dd-df ,wood carving1 #bd1 #dd-ea ,wood filler1 how to make1 #aa ,wood turning1 #bd1 #cg ,lathe for1 #cg-dj ,tools1 #dj1 #da ,woods3 ,for carpentry1 #ae ,for scroll sawing1 #cf ,for carving1 #dg ,woodworking joints1 #ag ,woodworking tools1 ,see ,carpenter's tools ,work bench1 how to make a1 #bj ,working drawings3 ,for carpentry1 #ah ,how to make plan1 #aae ,isometric perspective1 #aaf ,see also ,drawings ,xylophone1 curious1 #bfc ,zinc1 #fe ,transcriber's ,notes ,depending on the hard- and software used and their settings not all elements may display as intended4 ,unusual1 archaic and inconsistent spelling and hyphenation have been retained4 ,the inconsistent numbering of illustrations has not been standardised4 ,the 7minor7 differences in wording between the ,table of ,contents1 ,list of ,illustrations and ,index compared to the text have not been standardised1 except as mentioned under ,changes below ,page #bj1 444 the last part of ,chapter ,,iii3 ,chapter ,,iii deals with other subjects2 possibly the reference should be to ,chapter ,v4 ,page #bf1 ,footnote #aj3 ,the section ,designs for ,scroll ,sawing may be found on page #cj1 the footnote anchor as printed in the source document should probably have been printed after item 7f74 ,page #ec1 ,fig4 #bf;,c3 ,benzine and alcohol are as printed in the source document4 ,page #aeg and ,index1 ,johanne ,gutenburg3 as printed in the source document4 ,page #afc1 item ,f3 ,a#af is possibly an error for #af;,a4 ,page #afd1 item ,h3 the number of ,as was illegible in the source document2 item ,j3 #aa;a #bj;a is possibly an error for #aa;,a #bj;a4 ,page #ahj1 ,du ,pont ,febrikoid ,co43 probably an error for ,du ,pont ,fabrikoid ,co4 ,page #bjg and #bjh1 footnotes #ih and #ih;a3 the source document has two anchors for this footnote4 ,for this text the second instance has been renamed #ih;a1 the footnote has been repeated4 ,page #bfj1 ,the harp is shown complete at ,c3 ,figure #aji;c does not show the complete instrument1 and there does not appear to be another figure that does4 ,page #bgf1 ,fig4 #aaf3 ,presumably the dimensions provided are in feet rather than inches4 ,changes made ,illustrations1 tables and footnotes have been moved out of text paragraphs4 ,the footnotes in the source document were not numbered consistently1 they have been renumbered for this text4 ,several obvious minor errors in typography and punctuation have been corrected silently4 ,some of the wider elements have been split to fit the available width4 ,page #c1 illustration3 items ,b and ,c interchanged4 ,page #ad3 ,removing ,dust from ,tools changed to ,removing ,rust from ,tools4 ,page #df3 444 as you will see in ,fig4 #ba 444 changed to 444 as you will see in ,fig4 #bb 4444 ,page #eg3 444 a ball pein hammer which weights 444 changed to 444 a ball pein hammer which weighs 4444 ,page #hd3 repousage changed to repoussage4 ,page #afd1 item ,l3 reference letter ,l inserted cf4 other references4 ,page #agi1 ,fig4 #ga3 item ,b1 ,,ppasteboard changed to ,,pasteboard2 item ,c1 ,,nnch chamged to ,,inch 7probably the number is missing74 ,page #aic3 444 on a sheet of meal2 444 changed to 444 on a sheet of metal2 4444 ,page #baa3 section heading ,how to blow glass inserted cf4 ,table of ,contents4 ,page #bbb3 fluorspar and flour-spar changed to fluor-spar as elsewhere4 ,page #bdj1 illustration3 ,fig4 #aji changed to ,fig4 #ajb2 caption3 c4 the pony and cart when done changed to c1 d4 the pony and cart when done4 ,page #bdf1 ,fig4 #aje;,c3 reference letter ,d changed to ,b4 ,page #bgg3 444 the grand final 444 changed to 444 the grand finale 4444 ,page #bha3 444 already to use 444 changed to 444 all ready to use 4444 ,page #bhi3 ,busch and ,lomb ,optical ,company changed to ,bausch and ,lomb ,optical ,company4 ,index3 some words have been corrected to reflect the spelling used in the main text4