enough to allow the passage of a stout piece of twine or fish-line, as
seen in the illustration. The largest strips give the lowest notes. The
first note of the scale may be a strip of any convenient size, and the
succeeding strips are tuned by carefully cutting away from the under
side until the desired tone is produced. They are strung upon cords, in
the manner shown in Fig. 2, a knot being made on each side to keep the
strip in place; and finally, across the upper part of a box, in order to
give sufficient resonance of sound. In putting these strips together, it
is necessary to have the holes through which they are strung at a slight
angle, or in the direction of the slant which the strings take when
fastened to the frame.
[Illustration: Figs. 2, 3]
The arrangement seen in Fig. 3 is perhaps best adapted to the usual form
of a box, and affords a greater range of notes. It would be well to
letter the upper part of the bars with the name of the note they are
intended to produce, and the wood should be thoroughly seasoned from
which these bars are made.
It is well to have the lowest note not the first of the scale but a
fifth below, and the highest three or four notes above the octave. This
will give sufficient compass for any air you may care to play.
A good ear for music is of the greatest importance to insure success in
constructing an instrument of this description, and it would simply be a
waste of time and patience for any boy not so blessed, to venture upon
the undertaking.
Little wooden mallets are sometimes used to play upon this xylophone,
but the little drumsticks belonging to the common toy drum are better
for the purpose.
[Illustration]
Among the tribes of southern Africa an instrument of this class holds
the chief place in their festivals, and is played upon with considerable
skill by many of their native musicians. This piano, called by them
“marimba,” consists of two bars of wood placed side by side; in the most
southern portions quite straight, but farther north, bent round so as to
resemble half the tire of a carriage-wheel; across these are placed
about fifteen wooden keys, each of which is two or three inches broad,
and fifteen or eighteen inches long, and their thickness, as in the case
of the xylophone, is regulated according to the deepness of the note
required. Each of the keys has a calabash beneath it; from the upper
part of each a portion is cut off to enable them to embrace the bars,
and form hollow sounding-boards to the keys, which also are of different
sizes, according to the note required; and little drumsticks, like those
spoken of above, elicit the music. Rapidity of execution seems much
admired among them, and the music is pleasant to the ear.
In Angola, the Portuguese use the marimba in their dances.
―――――◀▶―――――
THE ÆOLIAN HARP.
This simple little musical instrument derives its name from Æolus, god
of the winds, who is said to have lived at Stromboli, then called
Strongyle, while he reigned over the Æolian islands, just north of
Sicily. His island was entirely surrounded by a wall of brass, and by
perfectly smooth precipitous rocks. Here he dwelt in continual joy and
festivity with his wife and children; the latter, six sons and as many
daughters, are said to be a poetic type of the twelve months of the
year. And here he kept the winds, tied up in bags, in perfect
subjection, only letting them out when called upon to do so by Neptune,
god of the sea. As the winds served Æolus on his little isle, so we
force them to serve us in our far-away western homes, by operating upon
our instrument and making music to soothe and calm us when we are too
tired or indolent to make it for ourselves. The simplest form this
instrument can have is a single string of strong waxed silk, stretched
between two bits of wood, inserted under the lower window-sash,
sufficient space being allowed between the window-sill and the sash for
the vibration of the string.
[Illustration]
The other and more satisfactory harp is made like that in the engraving,
and is not so difficult an undertaking, that any boy who can handle
carpenter’s tools need fear to try it. Take two long strips of thin,
soft pine wood, four and five inches wide respectively, and a little
shorter than the sash is wide, to allow for the length of the pegs at
one end; then from common seven-eighths of an inch board make two other
pieces in shape like _b_, six inches wide, six high, on the narrower,
and seven on the back or longer side. With a small gimlet make in both
ends a row of eight or nine holes, at equal distances from each other,
and half an inch from the edge of the slanting top, for the strings to
pass through; then with a larger gimlet bore in one end only, the second
row of holes, _h i_, to hold the pegs upon which the ends of the strings
are to be wound. Nail the parts together as in the cut, making the lower
edges of the pieces meet at the bottom; then from the outside of _d e_
draw through as many pieces of violin string (the smallest or E string)
as you have holes in your wood. Hold these by knots on the outside, and
having brought them across the box pass them through the corresponding
holes in the other end, and twist them around the pegs below, in the
same manner that the strings are fastened in the violin itself. Unlike
the violin, however, these should not be drawn too tight, simply
stretched evenly across, and must all be tuned in unison. That is,
having drawn one as tight as you think best, draw the others, one at a
time, till they give forth the same musical note when snapped with the
finger. Now put another thin piece of board across the top which shall
just cover it like the lid of a desk. This was purposely left out in the
illustration, that the arrangement of the strings might be more fully
seen, but is necessary in the complete instrument. If catgut cannot be
readily obtained, strong pieces of sadlers’ silk, well waxed, may be
used in its place, although the tones resulting are not as musical, or
the strains as soft and lulling in character, as those produced by the
former.
After the instrument is properly tuned, place it upon the ledge of an
open window, and let the sash down upon it, when, if there is any breeze
stirring, it will pour forth strains of sweet, drowsy music, beautifully
described by the poet Thomson, as supplying the most suitable harmonies
for the _Castle of Indolence_.
―――――◀▶―――――
THE BOSTON CLAPPER.
Take a piece of soft wood, five or six inches long, and whittle out of
one end a hollow box, open at the top and outer end, like that
represented in the illustration. Cut a groove around the inside, near
the top, for the cover to slide in. Make this cover of a very thin piece
of tough wood, and one-third as long as the opening, pushing it, when
completed, well up against the inner end of the box; see _b_, in the
figure, for size and position of cover.
The handle, _f_, is simply for convenience in holding the instrument.
Pass a piece of strong string or fish-line twice around the box at the
point _d_, and after drawing it as tightly as possible, tie it firmly on
the under side.
[Illustration]
Out of hard, tough wood make a thin, slender tongue, _c_, and place this
between the two strings at _e_. Now twist this tongue over and over,
each time drawing out the longer end, to allow of the other sliding by
the edge of the cover. At each revolution of _c_ the string is twisted
tighter around the box, and if the end of _c_ is touched, the other end
strikes with more force upon the cover _b_.
When sufficiently tight, grasp the handle with your left hand, and
having the point well over the cover, commence with the third finger of
your right hand and strike down on the end _c_ with the fingers in their
order, giving quick and repeated blows, like the successive taps of a
drum. The music produced, if not strictly melodious, is quite enchanting
to the average American school-boy.
―――――◀▶―――――
PAPIER-MACHÉ.
I have now come to one of the most fascinating and at the same time
useful employments a boy can have; one which not only affords amusement
for the time being, but, if properly executed, furnishes home with much
which is useful or ornamental, at scarcely any expense beyond the mere
time and labor consumed in the work.
How many of my readers know how to make things of papier-maché? None who
are old enough to read these directions are too young to make really
useful objects or pretty playthings of this inexpensive medium; indeed,
many of the children of India, Persia, and many other Asiatic countries
support themselves, and in some instances whole families, by making
ornaments of papier-maché.
In Germany this art is carried to a great extent, and a large proportion
of the German toys so common in our stores, as well as the jointed
bodies of the expensive French and German dolls, are made of this
material.
Papier-maché means “softened paper,” and is simply any old soft paper
converted into pulp by water; the poorer the paper the better. Cheap
newspapers, such as tear with a mere touch, thin handbills and posters,
are all particularly suited for this purpose.
For a first trial it would be well to take some simple object, and a cup
would perhaps make as good a beginning as any. First have some good
flour-paste made, by pouring into boiling water enough flour, which has
previously been moistened with cold water, to make a substance rather
thicker than boiled starch; this should be stirred only enough to unite
the flour with the water, and to prevent burning. Add to this one or two
old newspapers and a dish of water, a broad brush for the paste, and any
prettily shaped tea-cup conveniently at hand, and you have all the
materials required. A bag filled with sand or stuffed hard with cotton
is a great help in molding, although not indispensable to the operation.
Take the cup, which should be well smeared over with sweet-oil or lard,
and cutting out a piece of paper sufficiently large, wet it, and press
it down on the cup, using the fingers, or the sand bag, if you have it,
for the purpose; then with the brush spread the paste over the paper,
and lay on this another piece; press this down as before and continue
the process until twenty or thirty paper coverings have been used. After
the first two or three layers, it is not necessary to use pieces which
entirely cover the surface; any sized scraps will do if they are so
placed that the same thickness is preserved throughout. The outer
surface should be as smooth and even as possible. When this is
completed, let it dry for a day or two in any moderately warm place, as
it is not well to dry it too quickly. When it seems sufficiently hard,
remove the mold, and you will have a pasteboard cup with an uneven edge
which must be trimmed with a sharp knife and smoothed with sand-paper.
It might be well to trim off the top before removing the mold, as you
would be more certain of getting it even by so doing. After this the cup
can be painted in any manner desired.
A plaque can readily be molded upon the inside of a plate or saucer, and
a pretty work-basket can be made upon a shallow bowl. Toy boats are made
in the same manner as the cup, upon wooden molds cut out for the
purpose.
CARD RECEIVERS.—These are generally flat dishes or shallow cups, made to
hold visiting-cards, or the varied collections from Christmas, Easter,
and New-year’s. They may be molded on plates, saucers, or small bowls,
or receiving their concave shape from a plaque or saucer, they can be
cut into any fantastic form your fancy may dictate. A large, well-shaped
grape-leaf, or the catalpa, would furnish pretty designs to those who
have no confidence in their own skill in that direction.
UMBRELLA HOLDERS.—Take any cylinder with a smooth surface, about two
feet in length, and six to ten inches in diameter, for the mold; make
upon it a coating of papier-maché about half an inch in thickness. It is
made much stronger by rolling it during the pasting. The bottom may be
of the same material, or a wooden disk made to perfectly fit into the
cylinder. The whole surface should be thoroughly sand-papered and given
two or three good coats of paint. A simple band of gold paint around top
and bottom forms a pretty finish, but a large bunch of peonies or
poppies, freely painted upon one side, greatly improves its appearance.
By reducing a quantity of paper and paste into a pulp, and allowing that
to become a little dried—still moist, but not liquid—a number of objects
can be molded, such as animals, boats, marbles, etc., by simply forming
them with the hands and allowing them to dry.
Paper pulp is sometimes mixed with common blue clay and glue, instead of
flour-paste, used as a _binding_ material.
A beautiful vase can easily be made of papier-maché by forming a
frame-work of pasteboard, and joining it together with a few stitches or
with narrow strips of strong paper pasted across the edges. Make this
frame-work as near the form and size of your vase as it is possible for
you to get; then with your thin paper line it inside and out, until it
seems as thick as you desire. Trim and sand-paper off the upper edge,
and cover with one or two extra layers to insure a rounded edge common
in earthenware vases. Stand it on a smooth, even table or board to make
it flat on the bottom, and let it have plenty of time to dry. Next make
from the paper pulp and fine clay preparation spoken of above a rose,
poppy, or other flower, with its leaves and buds, resembling as nearly
as possible those on the bisque vases so fashionable just now. This may
seem at first a very difficult undertaking, but by molding one petal at
a time, and placing each in position with glue as it is finished, the
work is comparatively simple. Do not undertake a difficult flower at
first. If in summer, you may take any from the garden, and after
enlarging every part in the same proportions, make it your model. When
the flowers, stems, and leaves are all in place, let them become
thoroughly dry, then after painting the body of your vase with shades of
blue, red, or olive, so applied that they give a clouded effect to the
whole, color your flowers as nearly as you can like the natural ones of
the same species, and the stems and leaves the proper shades of brown or
green. Let this paint thoroughly dry, and then varnish with the white
shellac dissolved in alcohol spoken of elsewhere in this book, if a very
light surface is to be covered, or with the dark shellac or common
varnish if the surface is intended to be dark. The floral decorations
are not absolutely necessary, and a very pretty vase is made by simply
painting the smooth surface with any graceful or pretty design, and
varnishing it subsequently to give it the desired polish.
―――――◀▶―――――
THE JAPANESE PAPER BIRD.
[Illustration]
In the skillful management of paper, the Japanese are acknowledged to
take the lead, as their balloons and kites, lanterns and fire-screens,
now so commonly seen in this country, will testify.
Many of the grotesque and hideous monsters, which nevertheless are
artistic in form and decorative in effect, are made of paper pulp, with
the necessary materials added to give it the proper degree of hardness;
and in articles made of folded or crinkled paper they have no equals,
while in some instances they apparently infuse life itself into their
airy creations. By simply folding a square piece of paper in the manner
here described, they produce a bird-like figure, which will move its
wings in quite a natural and amusing manner.
[Illustration: 1]
[Illustration: 2]
[Illustration: 3]
[Illustration: 4]
[Illustration: 5]
[Illustration: 6]
[Illustration: 7]
[Illustration: 8]
[Illustration: 9]
[Illustration: 10]
A leaf of paper—letter-paper is good for the purpose—is cut into an
exact square; fold this cornerwise, and then through the middle each
way, as indicated in Fig. 1. This done, turn over each corner in
succession, so that the edge of the square will be along one of the
cornerwise folds, as in Fig. 2, and fold sharply the portion from _a_ to
_b_. Do this eight times, twice with each corner, first turning it one
way and then the other, till it has the folds shown in Fig. 3. Turn
inward two of these portions, indicated by the shading, as in Fig. 4;
this will draw together the other two sides; fold it closely across the
middle, _a b_, as in Fig. 5; then repeat the same in the other
direction, folding on the line _c d_. This is done to mark the folds,
which may be made more completely by pressing them with the finger-nail.
Now it will be easy to bring the corners of the square up together,
making a figure like No. 5 or like No. 6, when looking down on the
meeting of the points at _a_. Then bring the points 1 and 2 together,
also 3 and 4, and your figure will be like No. 7. Take the two outside
points at _a_ and turn them down, folding at the dotted line, and you
have Fig. 8. Now turn down the other two points, 3 and 4, one forward,
the other backward, making Fig. 9, with two broad points inside and two
narrow ones outside. Turn and fold these narrow points to the right and
left, and turn down the end of one point to form the head, and you have
the bird, Fig. 10. Take it by the head and tail, as shown in the final
view, and move them to and from each other. After a little careful
working, when the folds become flexible in the proper places, you will
make the bird flap its wings. It can be done after a few trials, if not
on the first, and is sure to afford amusement to all.
―――――◀▶―――――
THE TUMBLING EGG.
Fill a quill with quicksilver, seal it at both ends with good hard wax;
then have an egg boiled, take a tiny piece of shell off the small end,
and thrust in the quill with the quicksilver; lay it on the floor, and
it will not cease tumbling so long as any heat remains in it; or if you
put quicksilver into a small bladder, and then blow it up, upon warming
the bladder it will skip about as long as heat remains in it.
―――――◀▶―――――
THE THREE HALOS.
Take a saturated solution of alum, and, having spread a few drops of it
over a plate of glass, it will rapidly crystallize. When this plate is
held between the observer and the sun or a lamp-flame, with the eye very
close to the smooth side of the glass plate, there will be seen three
beautiful halos of light at different distances from the luminous body.
The smallest, which is the innermost circle, is the whitest, the second
is larger and more colored, with its blue rays extending outward, and
the third is very large and highly colored.
―――――◀▶―――――
PAPER BOATS.
[Illustration: Fig. 1]
[Illustration: Fig. 2]
[Illustration: Fig. 3]
[Illustration: Fig. 4]
[Illustration: Fig. 5]
[Illustration: Fig. 6]
[Illustration: Fig. 7]
[Illustration: Fig. 8]
[Illustration: Fig. 9]
Take a piece of paper measuring about four by three inches; fold it
across the middle, as shown by dotted line in Fig. 1; then turn down the
corners of the folded side (_a b_, Fig. 2). You now have Fig. 3; turn up
the edge _c d_ toward you, and fold it; turn up the other edge away from
you, and fold it against the other side, which gives you Fig. 4. Bend
over the points _c d_ in either direction, also the other two
corresponding points, so that the outline of the triangle is continuous.
You can cut off these little corners if you like; but the boat is
somewhat stronger, however, by letting them remain, and after a little
experience, you will find no difficulty in disposing of them. This
little hat-shaped form you now open (Fig. 5) and press together, with
the points _e f_ meeting each other, which gives you Fig. 6. Bend the
point _f_ up toward you till it meets the point _g_, folding on the
dotted line. Turn the point _e_ up likewise on the other side. Now you
have another hat, but smaller, and with a triple crown. Treat this as
before (Figs. 5 and 6). Your last shape will have two points meeting at
the bottom and three at the top. Pull the two outside points at the top
apart sideways (Fig. 7), and continue this till you have drawn it out to
a flat shape, as in Fig. 8. Press this closely together, then open it
slightly, and the boat is complete—like Fig. 9.
[NOTE.—To avoid taking up unnecessary space, the first two
figures are drawn smaller than their actual proportion to the
rest.]
―――――◀▶―――――
HOW TO TAKE IMPRESSIONS OF PLANTS.
Take fine paper and oil it well with lard or sweet oil; let it stand a
few moments to soak through, then remove the superfluous oil with a
piece of paper, and hang it in the air to dry. When the oil is well
dried in, take a lighted candle and move the paper slowly over it in a
horizontal direction so as to touch the flame, till it is perfectly
black. When you wish to take impressions of plants, lay your plant
carefully on the oiled paper, and a piece of clean paper over it, and
rub it with your finger equally in all parts for about half a minute;
then take up your plant, being careful not to disturb the order of the
leaves, and place it on the paper on which you wish to have the
impression; cover it with a piece of blotting-paper and rub it with your
finger for a short time, and you will have an impression equal to a fine
engraving. The same piece of black paper will serve to take off a great
number of impressions, so that when you have once gone through the
process of blacking it, you may make several impressions in a very short
time.
It is well for beginners to try with single leaves before attempting
whole plants. After you have gained some experience you will find little
difficulty in making a beautiful bouquet of leaves, which will be a very
acceptable Christmas or birthday gift for mother or an older sister or
friend.
―――――◀▶―――――
A NICE FRAME FOR THE ABOVE.
Procure a strip of board, half an inch thick and three inches wide; take
the dimensions of your drawing or impression picture, and subtracting
half an inch from both length and width, make the remainder the inner
dimensions of your frame. For instance, suppose your picture was twelve
inches wide and fourteen inches long, the inner dimensions of your frame
would be eleven and one-half by thirteen and one-half inches. The two
upright strips would be cut just thirteen and one-half inches long, but
the top and bottom would be eleven and one-half inches plus six inches,
the width of the two sides, which is seventeen and one-half inches. So
the two sides would be thirteen and one-half inches and the top and
bottom seventeen and one-half inches each. Great care must be taken to
cut the pieces so that their ends will be at exact right angles to their
sides. If you are not expert in such work, it would be well to get a
carpenter to cut the pieces for you. In selecting your stock for this
frame, procure a board with a rough, unplaned surface, if possible, as
the result is much better than with a perfectly smooth satin finish.
Next take a lath and cut from it two strips three inches longer than the
side-pieces, in this instance sixteen and one-half inches, and two other
strips one-half inch longer than the inner dimensions of top and bottom,
being twelve inches for the frame we are making. With good hot glue join
the parts of the frame, and tie it with a cord to keep its form till the
glue is dry; then lay the laths upon the back of the frame, one-fourth
of an inch from the inner edge, and with small brads nail them in place.
At this stage it is well to have your glass fitted, as it saves marring
the frame when finished. After it is fitted—any glazier will do that for
you—lay the glass carefully away till needed. Find some prettily shaped
larch twigs with their little cones attached, or if they are not to be
had, pine twigs will do, and with the hot glue and two or three slender
brads, place them in graceful bunches over the points of joining. With a
bottle of gold paint and a soft brush you can very soon change this
rough, unpretending affair into a very artistic frame, one of which, if
every step of the process of construction has been carefully taken, you
may justly be proud. The glass is next put in place, then the picture
carefully laid upon that, face downward, and a piece of cardboard—an old
paper-box cover will do—cut the exact size of the glass, laid upon both;
these are caught in place by brad-nails driven into the edges of the
laths, and extending over the edges of the cardboard. When the picture
is firmly fixed in its place, paste a piece of strong brown paper over
the whole back of the picture and frame, covering the laths as well.
This will exclude all dust and dampness and make the whole thing neater
in appearance. Last of all, put in two screw-eyes a little above the
middle line of the frame and attach a wire or cord for hanging it in its
place upon the wall.
[NOTE.—Before pasting on the brown paper, dampen it well to
avoid its wrinkling.]
―――――◀▶―――――
PAPIER-MACHÉ BOATS.