manner; the delicate maiden-hair fern, so common in several parts of our
country; the fine, feathery leaves of many of our wild flowers, some of
the finer flowers themselves, and many of the beautiful mosses and
sea-weeds after they are pressed, make exquisite little photographs,
worthy of a place in any collection.
A dozen or more of these prints carefully taken, pressed, and trimmed,
would make a pretty Christmas present to a dear friend. The cover could
be of plain paper, with the name of the person for whom it was intended
neatly written upon the top, an appropriate sentiment on the middle, and
the donor’s name with the date upon the lower part of the page.
The stencils, for the making of which full directions are given in
another part of this book, make very line subjects for photographs. If
intended for this purpose, however, they should be of a slender,
delicate pattern, small in size, and cut with extreme care. A snow-flake
caught upon a black surface, and examined in a cold room, will furnish
many suggestions for stencils designed for copy.
―――――◀▶―――――
THE TOY PANORAMA.
The modern stereopticon has almost entirely superseded the old-fashioned
panorama, so popular a quarter of a century ago.
[Illustration]
Your parents will probably remember with what delight those itinerant
exhibitions were greeted by the young people of those days; how the very
handbills, those wonderful precursors of so many entertaining
spectacles, were studied and commented upon, and when the happy day
came, how we all rejoiced to see the manager enter the school-house
door, and after a few words with the teacher, address the school, and
offer to us children an afternoon exhibition, for the trifling sum of
ten cents apiece, if enough could be induced to attend.
The panoramas the writer remembers most vividly occurred during the war
of the Rebellion, and as the subjects of the paintings were of a very
patriotic character, we had little difficulty in urging our parents to
permit us to go; and the afternoon session of the school was gladly
sacrificed for so good a cause.
The battle of the _Monitor_ and _Merrimac_, was a favorite subject, and,
as the vessels moved to and fro, and sent forth from their tiny
port-holes volleys of real fire and smoke, while a big drum, out of
sight, gave forth the answering boom, the scene was very impressive, and
struck a kind of fascinating terror to our childish hearts.
After the many accounts and fine illustrations which subsequent readings
have given, at the simple mention of that famous battle, my mind
instantly wanders back to the darkened hall, filled with boys and girls,
all intently gazing at the sham battle in progress before them; while
far back in the rear end of the hall stood the two brass field-pieces,
captured from Burgoyne at the battle of Saratoga, nearly a hundred years
before, grim and awful, and silently waiting for the time when they
should be called to take their place in the mighty conflict then so
fiercely raging in our land.[1]
-----
Footnote 1:
This building was erected for an armory, but served the purpose of
town-hall as well.
-----
But finally the war ceased; and after all, the only part the old cannon
played was to thunder forth resoundings of joy, which shook our old town
to its very foundations, when peace was again restored.
Although children’s hearts will never again be gladdened by these great,
clumsy shows, there is no reason why the little toy panorama should also
be banished from among us. The mere delight of making it is sufficient
reason for its existence, and when it is once finished it will continue
to be a source of enjoyment to each little member of the household in
turn.
[Illustration: Fig. 1]
The simplest form this can have is represented in Fig. 1, the foundation
being a small soap-box, the rollers, sections of a broomstick, with
small wooden pins glued into each end, which extend through holes made
in the box for that purpose. The pictures, taken from any illustrated
paper, are all cut the same width, about an inch narrower than the
length of the rollers, and pasted together at their ends, the only limit
to the length of this strip being the capacity of the box.
[Illustration: Figs. 2, 3]
When the paste is dry, attach an end to each roller. It is necessary
that the upper peg of each roller be also fitted with a strong crank, as
an even motion is requisite for the proper display of the pictures; and
this crank can be made in two ways: first, like Fig. 2, where a piece of
wood is nicely fitted and glued on the pin, or like Fig. 3, which is the
better arrangement, where a stiff wire is bent into the shape _a_, and
then passed through two holes pierced through the crank-pin as shown at
_b_; this arrangement securing the needful firmness, the projecting ends
of the wire are then bent, the upper one upward, the lower downward, so
completing the crank.
After the mechanical part of the panorama is finished so that it runs
smoothly, two strips of stiff pasteboard can be fastened over the front,
corresponding to the dotted lines _a_ and _b_ in Fig. 1, which will hide
the rollers and give a neater appearance to the whole. If liked, a
second piece of the pasteboard can be cut, in length corresponding to
the width of the box, and wide enough to cover the cranks, and extend
down to the top of the pictures.
When exhibiting the pictures, place the box on a table with its front
well lighted, turned toward the audience, and turn the pictures slowly,
by an even motion of the cranks, pausing slightly at each scene, at the
same time giving, if possible, a brief description of the thing
illustrated, as this will add considerably to the enjoyment of the
little folks. I forgot to add, in its proper place, that for a final
finish the whole thing should be covered with any pretty paper at hand.
Nice wall-paper or even common brown wrapping-paper gives it a neat
appearance.
―――――◀▶―――――
A MORE ELABORATE PANORAMA.
Having thoroughly mastered the construction of the simpler form of the
panorama, a more elaborate one can be made by simply devoting to it
considerably more time and attention; but as this is greatly superior to
the other in every respect, it is well worth the extra trouble.
This will necessarily require a much larger box than the one previously
described. For convenience in description, suppose we have a soap-box
two feet long, twelve inches high, and eighteen inches wide. We shall
first take away both top and bottom, then standing it upon its side, we
have the frame-work of our structure, which is still two feet long, but
now eighteen inches high, and twelve inches deep, that is from front to
back; next, we cut from the discarded top a false bottom, or shelf, like
Fig. 2, which, if your box is of seven-eighths inch material, will
measure twenty-two and a quarter, by eight inches. Mark the point _a_,
four inches from one side of the board, and equidistant from the ends;
through this draw the line _b c_, five inches long on each side of _a_,
or ten inches in all; mark at three and one-half inches from the ends of
the board the points _d_ and _e_, and draw the lines _b d_ and _c e_;
then cut out the piece thus marked off.
[Illustration: Fig. 2]
The holes at the bottom for the rollers are four and one-half inches
from the back _f g_, in order to insure that the line of pictures when
in motion shall not fall back from the line _b c_, and are equidistant
from the ends of the board and the oblique lines _b d_ and _c e_, to
secure as much room as possible for the roll. Make corresponding holes
in the top of the box, taking particular care that they are exactly
above those in the shelf, when that is in position. The rollers are made
from sections of broomstick, with holes bored in the ends, and the
wooden pins glued firmly in place. Remember that the upper set of pins
are to be much longer than the lower to allow for the insertion of the
crank. These rollers are about eleven and one-half inches long, and when
the glue has thoroughly dried, should be put in place and kept there by
inserting the shelf, and fastening it in place by nails driven through
the sides as at _i i_, in Fig. 3.
[Illustration: Fig. 3]
Fig. 3 represents what is called a horizontal section; that is, the work
is supposed to be cut across from front to back, a little way above the
shelf just mentioned, and the observer is supposed to be looking
downward at it. Fig. 4 represents the work in an upright position, and
the observer sees the front of it.
[Illustration: Fig. 4]
From the top of the shelf to the lower outside edge of the box should be
just five and one-half inches. Next come the two uprights, _a b_, _c d_,
Fig. 3, and _A A_, Fig. 4. They may be made from the bottom of the box,
which was taken out, it will be remembered, and let their width
correspond to _a b_ and _c d_, Fig. 3. Round off the edges at _a_ and
_c_, and smooth it with sand-paper, as it would soon tear the pictures
if left in a rough state; place these two boards in position, and secure
them by nails at the top and bottom. Now cut two oblong pieces from
stiff cardboard, as long as these wooden uprights, and wide enough to
cover the spaces left at _e b_ and _d f_, and tack these in position;
they are shown by dotted lines in Fig. 4.
[Illustration: Fig. 5]
From a thin board cut two other strips to cover the spaces _g h_, but
leave the placing of these till the work is nearly finished. A board two
feet long and about three inches high is also necessary for the lower
edge of the front, and should be put on after the other parts are in
position, to hide the flame of the foot-lights (consisting of a row of
short candles) from the spectator. The two pieces like Fig. 5 are made
of pasteboard and are designed to furnish the upper and lower portions
of the frame for the pictures. Their position is indicated by dotted
lines in Fig. 4. As it is somewhat difficult to arrive at the exact
proportions of these irregular pieces, without the actual box before
one, it will be easier to leave this to the maker, as it is simply
necessary to take a stiff piece of paper and place it in the position
desired; then crease the lines so that they shall meet the proper points
on the uprights; the lower piece comes up to the top of the shelf, and
the upper piece comes down just below the top of the picture. After
fitting this paper, it is an easy matter to trace the form on the
pasteboard, taking care that all the lines are perfectly straight. The
curtain should be next adjusted, and a piece of dark blue or green
cambric is best suited for this purpose.
Cut (do not tear) from your cloth a piece of the required size, making
sure that the sides are at right angles to each other, and prepare
another roller from your broomstick twenty-one and one-half inches long.
This roller is seen between _e_ and _f_ in Fig. 3. Paste or glue one of
the ends of the cloth, which corresponds to the length of the roller,
smoothly around it; now letting this roll just touch the floor, draw the
other end up evenly, and tack it along the under-side of the top of the
box, on a line three inches from the edge. In order that the curtain may
roll up smoothly, it is best to mark straight lines with a pencil and
ruler, on both roller and box, and adjust its edges carefully to these
lines.
Just in front of this line, and at two inches from either end, tack to
the box the ends of two pieces of fish-line, and, carrying the strings
down the front of the curtain, bring them under the roller, up on the
other side, and through two small holes bored for the purpose in the top
of the box, about three and one-half inches from the ends; next bring
the two strings together, and pass them through a screw-eye placed at
the middle and back edge of the top to receive them. At one side of the
back, in any convenient place, drive a small nail to wind the strings
upon when the curtain is up. By simply undoing this, the curtain can at
any moment be made to fall. It is also well to tie the two strings
together, and fasten a button to them just back of the point where they
pass through the screw-eye, when the curtain is down, and they are
evenly drawn, as this prevents an extra play of the cord, and obviates
entirely the danger of their slipping. Before the curtain is nailed on,
it is best to paper the whole beveled surface picture frame with some
neat plain paper; very dark red or green “velvet” house-paper being
preferable to all others.
After the curtain is in a good working condition, fasten on the two
uprights, _g_ and _h_, indicated in Fig. 3, and the long piece across
the front which you have already prepared; make a fancy design for the
top out of stiff cardboard, taking especial care that it is wide enough
to cover the cranks on the top, while at the same time it extends low
enough to cover the upper edges of the curtain and the rough unfinished
wood in front.
Cover the outside and edges of the box with fancy wall-paper, letting it
extend well over on the inside, wherever there is the slightest danger
of that surface being exposed to view; and lastly, fasten the long strip
of pictures on the rollers, and nothing is wanting but posters and
tickets, to insure a first-class show, of the best approved,
old-fashioned style.
―――――◀▶―――――
REPOUSSÉ WORK FOR BOYS.
The term Repoussé is applied to any sheet-metal in which a pattern is
hammered out or left in relief, by means of a hammer and common nail, or
a regular tool made for the purpose. It does not simply refer to
brass-work, but applies equally to work of like character either on
silver or gold.
[Illustration]
If you have friends who have made the voyage of the Nile, you have
probably seen the beautiful silver bracelets bought by them of the
Nubian workmen as souvenirs of their Eastern travels. These bracelets
are made, I was told, by the natives of the interior, with simply a nail
and a stone, but the effect is very artistic and pretty. So, if ignorant
Nubians can make these beautiful things with such primitive tools,
certainly an intelligent American lad can do equally good work, with a
little instruction and better materials.
REPOUSSÉ, OR HAMMERED BRASS.
This work is chiefly produced by means of a punch and hammer. An
ordinary tack-hammer can be used, but that generally in use by most
workers is of rather peculiar shape, like that in Fig. 1.
[Illustration: Fig. 1]
The round end will be found very useful in working from the inside of
the pattern, which will be explained hereafter. The punches are of
various forms; but a set of common board nails of different sizes, and
varying shaped ends, make good tools for beginners. A very nice piece of
work can be done with a common French nail whose end has been ground
flat.
It is desirable that a beginner should practice upon the thinnest
sheet-brass until he becomes perfectly acquainted with the use of his
tools. Brass can be obtained for about twenty-five cents a pound, and
one-quarter of a pound of No. 25 will be amply sufficient for this
practice.
A tool which is of great assistance in all brass work is a dull chisel
or screw-driver, with a serrated edge, so that a dotted line is left
when it is pressed upon the metal; however, if this is not readily
procurable, a common screw-driver will answer the same purpose in most
instances. In this practice, the first thing to be done is to draw a
line of some design upon the brass with a soft lead-pencil or with
impression-paper, taking extreme care that this line is precisely like
that in the copy, as all irregularities should be corrected in the
drawing, and none left for the punch. It is, indeed, very difficult to
make the proper corrections after the work is commenced. Then having
traced your line as perfectly as you can do it, lay the brass upon a
piece of soft wood, and with the end of the screw-driver pressed evenly
upon the line, give the head a light blow with the hammer; then move the
blade along the penciled line, so that its edge shall just touch the end
of the last indentation, and give it another slight tap with the hammer.
If you strike with too much force your line will be unequally deep in
some places, and your work will not present as good an appearance when
finished. This process should be repeated along the entire design, and a
perfect unbroken line should be the result. Until this is accomplished
it is best to attempt nothing further. After you have succeeded in
making one unbroken even line, mark two parallel lines upon the metal,
and do them in the same manner. When these present a satisfactory
appearance, trace some very simple design upon the same thin sheet, and
after nailing the sheet at each corner to the block, commence with the
chisel and mark lightly around the figure. It is often necessary to do
this tracing over two or three times during the process of working, as
too deep denting at first warps, or, as the regular brass-worker would
say, “buckles” your pattern. Now commence at the outside edge of your
design, with your nail placed near the line, strike upon it with a light
blow, and continue this operation until your whole background is covered
with little dents, and presents a thickly mottled appearance. When this
is removed from the block, the pattern will seem to stand out from the
rest of the surface.
Care must be taken at first not to crack or break holes in the brass,
but after a little practice, and a thicker quality of brass is used, you
will learn to avoid this danger.
PLAQUE IN HAMMERED BRASS.
When quite confident in the use of your tools, you can proceed to make a
card-receiver decorated with an antique head, as in the figure; or by
enlarging the design, and making the background circular, a plaque will
be the result, which will be useful for holding fruit, or, set in a
velvet frame, will make an ornament for your walls. A sheet of brass
nearly one-eighth of an inch in thickness, and at least seventeen inches
square will be required.
As in work of this character a deeper relief is desirable, you will find
it more agreeable to work over a bed of composition, which is more
yielding than wood, and can be made with but little trouble; this
composition can be obtained in small cakes at any store where jewelers’
tools are for sale; but you can easily make it yourself by thoroughly
mixing fine sand, well-sifted wood ashes, or even brick-dust, with equal
parts of pitch or resin; a tiny bit of tallow improves it considerably.
This pitch bed, as it is called, can be spread on a flat table or board,
and the sheet of brass, after the design has been carefully traced
thereon, fastened down upon it by means of four screws at the corners.
To draw the design for the plaque, with a strong pair of carpenter’s
dividers describe a circle whose diameter shall be sixteen and one-half
inches, and within this draw a second circle, with a diameter of fifteen
inches. The space between these two circles is to be left untouched, as
it will be turned over to inclose the wire which forms the edge, if for
a platter; or will extend under the edge of the velvet, if intended to
be framed. Be sure and put your screws outside the large circle, as
holes in the body of the plaque would ruin its effect. In this work
heavier blows with the hammer will be needed; and a large, well-shaped
nail used for the background. Work around the pattern until it stands
out in line relief.
The brass will become discolored and black during the process of
hammering; but, when done, it can be readily cleaned, at first with
oxalic acid and rotten-stone, then a final polishing with chamois-skin.
When well polished, take it to a tinsmith and he will make it up for you
as a platter, or trim and bend the edges for a plaque.
CARD-RECEIVER.
In making the card-receiver, take the design off on tracing-paper, and
then carefully trace it with a sharpened stick or end of a bone
crochet-hook, over the impression-leaf on the sheet of brass. In this
also the relief should be high, thus rendering it necessary that it
should be hammered on the composition-bed. Polish and finish this in the
same manner as the plaque.
FOXING.
Foxing, or sticking the metal to be embossed upon a block covered with
pitch, is a favorite method with many workers. The block can be of iron
or wood, and should measure eight or nine inches across; this rests upon
a deep ring of straw, which is readily made by an ingenious boy, as it
simply consists of the twisting several wisps of rye straw in the form
of a large cable, and then bending them into a small ring of even
thickness. Catch them in place with a large darning-needle filled with
wrapping-twine. Nice rings, made of leather, and designed expressly for
this purpose, can be obtained in the trade, but the home-made ones
answer as well for any work a novice would be competent or even desirous
of undertaking. The top of the block is covered with pitch, which should
be warmed, and then given the slightest possible coating of oil,
whenever a new object is to be placed upon it. Care must be taken that
too much oil is not used, as in that case it will be impossible to make
the surface of the brass adhere to the bed. In work of a nice nature,
where the lines are many and fine, and the background complicated, this
is by far the most satisfactory bed to use, and when the metal is
“annealed” it will be found invaluable.
ANNEALING.
When working in very heavy metal, it is often necessary to soften it
somewhat, especially if a deep relief is desired. This is accomplished
by placing the plate upon a bed of glowing coals, and allowing it to
remain there till it becomes soft, but not in the least melted, and then
removing it with pincers. Hammering upon the cold metal is inclined to
make it brittle, and at times slightly unmanageable, and this unpleasant
quality can be overcome by annealing; but so much care and patience are
required to accomplish this process successfully, that it is not very
popular with young workers. In many larger designs, a very high relief
is obtained by turning the brass after the plaque has been hammered upon
the right side as much as seems necessary, and with the round end of the
hammer sending strong, even blows into the figure, at whatever points
the highest work is desired. By annealing the metal, and working the
pattern from the inside after the background is finished, a very fine
bunch of well-rounded grapes is easily formed, and makes a very nice
subject for a fruit-dish or dining-room plaque. A dragon, and the emblem
of St. Mark, both make unusually fine designs for a mediæval plaque.
As you become more expert in this art you will constantly desire new
punches. Designs will suggest themselves to you, and it will be
impossible to obtain them ready-made, so it is well for a boy to learn
to make his own tools. A kind of square steel wire about one-eighth of
an inch thick is made for this purpose, and can be bought in any
quantity; this can be cut with a file, and the ends formed into the
desired shapes.
A SALVER IN REPOUSSÉ.
A very beautiful salver, which will not only be ornamental but
exceedingly useful, can be easily made by one accustomed to work upon
sheet-brass. A piece twenty by fifteen inches in size, and about
one-eighth of an inch thick, will be required for one of medium size.
Strike off with the dividers a quarter circle in each corner, to give it
a slightly oval effect, and draw a line around the salver parallel to
the intended edge, and one and three-fourths inches from it. The entire
central surface can be hammered in the honey-comb pattern, which is so
popular just now, and is done with a perfectly straight-edged punch, its
length determining the side of the hexagon, or if preferred the
pentagon, as both forms are equally attractive; or it may contain some
graceful design done in low relief. The more original the design the
more unique the salver, provided it is artistic and in harmony with the
object and use for which it is intended.
It would be well for all young workers in brass to examine carefully any
work of that nature which comes within their field of view, especially
any antique or foreign brasses, with a view toward perfecting their own
designs, or gaining ideas for others.
When the work on this salver is completed, take it to the tinman, and
tell him how you wish it made up, and he will do it for you for a very
small sum.
A SILVER BANGLE FOR A LADY’S BRACELET.