a fan in your right hand proceed to make the fire. First a stream of
blue smoke will be seen curling from your lips, and after a moment or
two a bright spark will appear in the mass of cotton in the mouth. This
spark is quickly followed by others until at last a clear bright flame
bursts forth.
Many of the audience may not believe that it is a genuine flame, but a
paper may be lighted from it and passed around the room, which will soon
convince the most skeptical that it certainly is _bonâ fide_ fire.
To perform this trick, procure from a chemist a piece of _amadon_ or
German tinder. This is an inexpensive material, brown in color, and soft
and silky to the touch. Tear off a small piece—perhaps as large as a
dime—and roll it in a small bit of cotton wool, having already _lighted_
one end of the tinder. Place this with other cotton in your hand, and
you are ready to produce all the fire your audience may demand.
First place the cotton which conceals the lighted tinder in your
mouth—it will not burn you—and then some of the loose cotton you have in
your hand; and remember to draw the breath in through the nostrils, but
_breathe it out through_ the mouth. This will fan the tinder and in a
moment light the cotton in front of it, so that the smoke will begin to
pass out with the breath; then the sparks will appear, and finally the
flame, as described above. While placing fresh cotton in the mouth, you
may take advantage of the fact that your hand is before your mouth to
let some of the burnt cotton fall out. By exercising a little tact your
audience may be mystified for a long time, and, in fact, will probably
be unable to guess the secret at all, unless you yourself divulge it to
them.
―――――◀▶―――――
A HOME-MADE COMPASS.
Break a knitting-needle in two pieces, and magnetize one of the pieces
by passing it two or three times over one of the poles of a strong
magnet. Insert this piece through a small cork. Fix an ordinary needle
in the end of the cork with the end projecting.
[Illustration]
Break the other piece of the knitting-needle into two equal parts; and
having wound one end of each with thread pass the other end into the
cork, as seen in the illustration.
Next procure a small brass thimble, deeply indented, and balance the
cork upon it by dropping melted sealing-wax upon the thread-covered
ends, first on one side and then on the other, until the equilibrium is
established.
A small round box is next needed, and having fitted the top with a disk,
like that seen in Fig. 2, cut the central hole large enough for the easy
movement of the cork.
[Illustration]
Now place the thimble on the bottom of the box, holding it in place with
a few drops of glue. (Le Page’s liquid glue is best for this, as for all
occasions in which glue may be required in constructing the objects
described in this book.) Balance the cork upon it, with the needle-point
resting in one of the indentations on top of the thimble, the magnetic
needle having been temporarily taken out. Now adjust the cardboard disk
in place.
Lastly, insert the magnetized needle, and your compass is completed.
This compass can be made very useful upon the various excursions into
the woods which boys are always fond of taking, and, as a simple
mechanical toy, much amusement may be derived from it.
By presenting the south pole of the magnet to the north pole of the
compass, and jerking it quickly away, the momentum of the needle will
carry it around several times before the impulse is exhausted.
The same experiment may be tried with the magnetized blade of a
jackknife.
The magnetic needle does not point to the north pole of the earth, but
to a point called the magnetic pole. This variation, or declination, is,
from the Atlantic region of this continent, a few degrees westward of
the direct north.
The arrow indicates about the average variation; and if the compass be
so placed that the needle will rest directly over it, the line N. S.
will more nearly indicate the true north and south.
The card should be held in place not by glue, but by a few very short
pins (filed off and re-sharpened). Then if the needle is shaken from its
perch, the card can be removed to permit its re-adjustment.
―――――◀▶―――――
HOW TO MAKE A CIRCLE.
Many of the operations described in this book require the making of
circles of various sizes.
Those readers who own a pair of dividers, especially if they are
furnished with a pencil-holder, will find this an easy matter. Those who
are not as fortunate may be glad to learn the following ready way of
describing circles accurately to any size desired.
One of the common substitutes for dividers is a loop of string or thread
passed around the pencil-point, and a pin inserted in the center of the
proposed circle. This is a tiresome and vexatious method, as it is
difficult to tie the loop at just the right length when a circle of a
specified size is to be made, the stretching of the thread adding to the
perplexity. The loop is also very ready to slip up and down on the
pencil or pin, making it altogether a matter of unusual good fortune to
obtain a satisfactory result.
The better way is to take a strip of stout paper or thin card, about
half an inch wide and a little more than half the length of the circle’s
diameter. A strip cut from a postal card will serve the purpose
admirably.
Near one end of this make a hole large enough for the insertion of the
pencil-point. Toward the other end make a pinhole, the distance of which
from the first hole must be half the diameter of the circle required.
Stick a pin through this hole into the center of your proposed circle;
place the pencil-point in the other, and you can achieve your result
with accuracy and ease.
―――――◀▶―――――
THE MAGNETIC CIRCUS.
[Illustration]
This mechanical toy is comparatively simple in its construction, and
will serve as the foundation for one of the many Saturday shows, which
are so dearly prized by most of the bright, active boys in our land.
A good-sized soap-box serves as a table on which the toy is to rest. The
back is removed, and a hole cut in the top admits the passage of the
crank. It is perhaps unnecessary to add that the exposed surface of this
box should be papered, or covered with a cloth curtain, in such a manner
as to give it a decorative effect.
The attraction of a magnet or iron is the principle on which the
“circus” is made to work.
Procure or make from thin wood a box about a foot square, and five or
five and a half inches deep. Cut a hole through the central point of the
bottom, to allow of the passage of the crank.
[Illustration]
Now from a board cut a round disk which shall revolve easily inside the
box, and pass through its center an axle which shall be long enough to
form a support for the ring-master on the top or stage, and extend down
through the top of the soap-box, where it ends in a crank by which the
whole machinery is worked. On the top of this disk, and a short distance
from the edge, fasten a common horseshoe magnet, which should be about
four inches long, and can be bought at almost any toy store for ten
cents. This must be fastened in an upright position by means of staples,
as seen in the illustration.
After the magnet is arranged so that it will revolve easily, fit the top
of the box with a stiff pasteboard cover, which shall just clear the
magnet; and mark upon this a circle which is to represent the ring of
the circus.
[Illustration]
Out of stiff pasteboard cut the ring-master, and with a small nail or
strong pin fix him in place. Now from four thicknesses of pasteboard cut
out a horse and rider, something like that represented in Fig. 3, and
insert between the layers which form each forefoot, a nail, the head of
which extends slightly below the pasteboard. File these nail-heads so
that they shall be smooth and rounded. Glue the two layers together to
form the legs of the animal, and spread them slightly apart, as seen in
Fig. 4 (which gives an end view of the object), having already glued all
four layers to form the body of horse and rider.
[Illustration]
Various horses of different colors, forms, positions, and with or
without riders, may be made in a similar manner; and elephants or other
animals may be substituted for the horses, and made to move around the
track, as if subject to the master’s whip. After the glue is dry, the
outside edges should be rounded and the roughnesses removed by the use
of a rasp and sand-paper.
The ring-master should be so fastened, facing the horse, as to turn with
each revolution of the axle.
The back of the box is fitted with a pasteboard or cloth screen, painted
to represent stage scenery, and supported on either side by uprights,
from the top of which float banners. For further decorations the twigs
of evergreen trees are added, those of the larch or spruce, or perhaps
best of all the small branches of the juniper or cedar tree, are best
for the purpose. When these tiny stage trees become brown and faded,
they can be easily exchanged for fresh ones, or may be painted with
green paint, if a new supply is not readily obtainable.
The front of the box may be papered with fancy wall-paper, or otherwise
decorated to suit the fancy of the maker; and the one who supplies the
motive power, or, in other words, turns the crank, should be kept out of
sight of the audience if possible. As the horses are not connected with
any visible motive power, the cause of their revolution will be
enveloped in a mystery which will add vastly to the entertainment of the
little folks.
―――――◀▶―――――
TO PRODUCE RAISED FIGURES ON AN EGG.
Melt some tallow, and with it paint on the shell of an egg, making
letters, numbers, profiles, or any outline which your fancy may suggest,
or the fineness of the brush may permit. Then immerse the egg in strong
vinegar. After the lapse of a few hours, whatever is covered with the
lines of tallow will project slightly, the vinegar, which is mainly
acetic acid, having dissolved away the unprotected surface. By painting
with a fine brush an intricate scroll or vine pattern, carrying it all
around the egg, the result is very pretty, giving somewhat the effect of
carved ivory.
―――――◀▶―――――
AN ARITHMETICAL CURIOSITY.
Write the nine digits in their order, and multiply them by 9; the result
will be composed of units, excepting the next to the last, thus:
123456789
9
----------
1111111101
Multiply by 18, instead of 9, and the product will consist of 2’s. By
27, and it will be 3’s. In this manner all the digits may be obtained by
multiplying by the multiples of 9; as 36, 45, 54, etc.
―――――◀▶―――――
ONE WAY TO FIND THE NUMBER OF DAYS IN THE MONTH.
Count the knuckles of the hands, with the spaces between them; all the
months with thirty-one days will fall on the knuckles, and those with
less than thirty-one in the spaces. Thus, beginning with the forefinger
of the left hand, July will come on the knuckle of the little finger;
then beginning with August on the forefinger of the right hand, December
will be reached at the knuckle of the third finger.
―――――◀▶―――――
SOME ELECTRICAL EXPERIMENTS.
Considerable amusement may be derived from the electrical phenomena
manifested by a sheet of stout brown paper, when friction is applied to
it. Having warmed such a sheet, and rubbed it with the dry palm of the
hand, or some woolen fabric, giving six or eight smooth, steady strokes,
with considerable pressure, and all in one direction, away from the
body, then place a bunch of keys in the center of the paper, and lift it
by the ends; a spark of electricity may now be taken from the keys.
If ordinary unglazed paper be immersed in a mixture of equal parts of
sulphuric and nitric acids, then well washed with plenty of water and
dried, it becomes extremely electric. If placed on a wooden table, or,
better still, on a waxed cloth, and rubbed with the hand, it attracts
feathers, pith-balls, fragments of paper, or other small light objects.
When suddenly stripped from the waxed cloth in a darkened room, the
entire surface will have a luminous phosphorescent appearance. A spark
can be taken from it by holding the finger about half an inch from the
surface. If placed against the wall it will adhere to it and keep its
place for several minutes.
This paper retains its electrical properties a long time. When weakened,
it is sufficient to slightly heat it to restore all its energy.
―――――◀▶―――――
THE ELECTROPHORUS.
[Illustration]
This instrument, whose name, derived from the Greek, means _bearer of
electricity_, consists of two parts; first, a cake or disk of resin, or
of shellac and wax, these substances being melted and poured into a tin
mold; second, a disk of brass, or sometimes of thin, well-dried wood,
covered on each side with thin sheet-brass or even thick tin-foil. This
should be fitted with a glass handle, to insulate it; a stout, round
bottle of moderate size will answer. The cake of resin is rubbed
vigorously; a surface of fur is the best to use for this, such as a
cat-skin or fox-tail. The disk is then taken by the handle and rested on
the cake, and its upper surface touched a moment with the finger; then,
on withdrawing the disk from the resin, a bright electric spark can be
obtained from it. By resting it once more on the resin, again touching
and withdrawing it, another spark may be elicited, and so on for eight
or ten successive trials.
The scientific explanation of this phenomenon is, that negative
electricity is excited in the cake by friction. When the disk is
applied, the electricity does not pass into it from the cake, but is
_induced_ in the disk by the law of electrical polarity; the lower
surface being covered with positive electricity, while the negative is
repelled to the upper side, from which it is drawn by the finger. Then,
when the disk is lifted, the spark of positive electricity may be drawn.
If the construction of the instrument just described appears too
formidable a task to my young readers, perhaps they may yet be inclined
to experiment with
A SIMPLE ELECTROPHORUS.
[Illustration]
Take a lacquered iron “tea-tray;” cut a sheet of stout brown paper so as
to fit the flat part of the tray, and fix two strips of paper at each
end by means of sealing-wax. These strips serve as handles by which to
lift the paper, and the sealing-wax, being a non-conductor, prevents the
electricity from passing off. The tray is also insulated by placing it
upon two tumblers.
The sheet of paper is now heated quite hot, placed on a wooden table,
and rubbed with a hard and very dry clothes-brush. Then it is lifted and
placed on the tray.
The paper is negatively electrified; it induces a similar state in the
lower side of the tray, which should be touched a moment with the
finger; then lift the paper from the tray. An electric spark can now be
taken from the latter.
The strips by which the paper is lifted can be brought together, and
held by the thumb and finger of one hand, leaving the other free to take
the spark. The paper may now be replaced. By touching the lower surface
of the tray, and lifting the paper as before, another spark may be
obtained, and so on for several times, if the air be dry.
THE EBONITE ELECTROPHORUS.
This piece of apparatus, also called Pfeiffer’s electrophorus, is
composed of a thin sheet of ebonite, measuring about six by eight
inches. A small sheet of brass, about five by three inches, is fixed on
one side. With this, electricity may be evoked with unusual readiness.
It is placed flat on a wooden table, and rubbed successively on both
sides with the open hand; if lifted in the left hand, and the right hand
is presented to the brass, a spark will be received.
―――――◀▶―――――
A LEYDEN JAR.
[Illustration]
This may be made as follows: Fill a plain glass tumbler two-thirds full
of shot; insert the bowl of a spoon in the shot, leaving the handle
projecting. Hold the tumbler in the hand, and bring the handle of the
spoon near to the electrophorus—previously prepared for action—so as to
receive its spark. On repeating this a few times, the electric fluid
will be accumulated in the “jar,” and the many small sparks may be
obtained as one large one, by approaching the finger to the spoon, still
holding the tumbler in the other hand.
This idea may be varied by using a large wide-mouthed bottle or small
jar, instead of the tumbler, and covering the outside nearly up to the
top with tin-foil. If that rare treasure, a bullet-mold, is to be had, a
ball may be formed on the end of a stout wire, and used instead of the
spoon, the end with the ball being the projecting one, thus making an
article corresponding more nearly to the regular professional pattern.
―――――◀▶―――――
THE PITH DANCER.
[Illustration]
This fastidious little skipper never dances except to piano music. It is
fashioned from pith, cork, or other light material. Generally it has a
human head and body; but when we consider its dancing extremities, we
must regard it as a quadruped, or even a tripod, as the case may be; for
it stands on three or four stout hog’s bristles. These may be borrowed
from the floor-brush, and should be even at the lower ends, that the
dancer may stand erect. It should be painted in a gay and conspicuous
manner, to compensate for its diminutive size, and a mantle of colored
tissue-paper may add to its consequence. When the image is complete,
stand it on the sounding-board of the piano, which should be operated
with vigor. The dancer will respond to the lively notes with edifying
briskness and vivacity.
―――――◀▶―――――
THE OBEDIENT BOTTLE.
[Illustration]
Fashion a shape like a small bottle, out of pith, paper pulp, or some
other light substance. Cut a bullet in two, and fasten the base of the
bottle to the flat portion of one of the halves. A straight piece of
large wire, the length of the bottle, should be provided, and a hole
made down through the center of the bottle, into which it will slide
readily, and remain with the end out of sight. This hole may be made
with greater ease before attaching the bullet. This object can be made
to yield apparent obedience to the commands of its maker. If he orders
it to remain upright, he will place it on the table without inserting
the wire, when nothing but constant pressure will induce it to lie
prostrate. Then, taking it into his hands, and skillfully introducing
the wire while the attention of the observers is directed elsewhere, he
next orders it to lie flat; and, as the weight of the wire overbalances
it, it will tumble over as often as it is set up.
The bullet should be covered with thin paper as smoothly as possible,
and the whole affair painted, to better conceal the _modus operandi_.
―――――◀▶―――――
THE IMMOVABLE CARD.
If a card, such as an ordinary visiting card, is turned down about a
quarter of an inch at each end, at right angles to the rest of the card,
and then placed on a table so as to rest on the turned edges, you may
safely challenge most persons to blow it so as to make it turn over on
the other side. It would naturally seem easier to overturn a card so
prepared, than one whose shape remained unchanged; but whoever tries it
will find that the facts are otherwise.
The card can be overthrown, however, by blowing on the table, toward the
card, as the stream of air is then reflected against its under side.
―――――◀▶―――――
A TRIPLE BRIDGE.
[Illustration]
This may be constructed by means of three table-knives, in the manner
illustrated in the figure. Three goblets or tumblers will serve as the
piers; these are to be arranged in a triangle, a little farther from
each other than the length of the knives. Lay two of the knives on the
table, with the blades crossing each other. Then pass the blade of the
third knife over the uppermost blade of the other two, and under the
undermost; then take them up and place them with the ends of the handles
on the rims of the glasses. The bridge now sustains itself, and if a
moderate weight be placed upon it, it will be all the firmer.
―――――◀▶―――――
AN ILLUSTRATION OF “INERTIA.”
Inertia is defined as the tendency of a body to persevere in its state
either of rest or motion. It is generally used in the sense of
persisting in a state of rest. Among the many illustrations of this
property of matter, is one which figured in the text-books of thirty or
forty years ago, and which the boys of that time adapted to their
amusement by constructing the apparatus here illustrated.
It consists of three parts: the board which forms the base, a post about
six inches high, and a strip of stout whalebone, or dry, elastic wood.
The board should be as much as seven-eighths of an inch in thickness,
and the elastic strip or spring should be firmly inserted in an inclined
slit cut through the board. The places of the spring and post should be
so adjusted to each other, that when the latter is secured solidly by a
good-sized screw passing up through the board, the former will press
with its upper end against the top of the post (as shown by the dotted
line) with some degree of force.
[Illustration]
The top of the post should be hollowed slightly, to retain the ball; and
the appearance of the whole will be improved by a coat of shellac or
paint.
Now place a card on the top of the post; and if it is sufficiently
level, a marble or bullet may be induced to remain on it, directly over
the column; if not, a large bean, a spool, or a coin, will prove more
tractable. Draw back the spring with the thumb and finger, as in the
illustration; let it go _suddenly_, and it will snap the card away,
leaving the superimposed object resting quietly on the top of the
column.
The same principle is sometimes illustrated by balancing a card on the
finger, placing a coin on the card, and snapping away the card with the
other hand, the coin remaining on the finger.
Another way is to pile up a small tower with “checkers” or “draughts.”
By a quick blow with a ruler, one checker may be knocked from between
the others, without overturning the tower.
―――――◀▶―――――
OTHER CHRISTMAS HOLIDAY AMUSEMENTS.
Perhaps one evening of this ever delightful season might not be more
entertainingly spent than in witnessing an exhibition of some feats in
_Magic_, if any lad of the company could become sufficiently expert in
the art to render them with a fair amount of skill.
There are many of these mysterious tricks performed by the professional
“Thaumaturgist” or “Prestidigitateur,” but as most of them require a
complicated or expensive apparatus, I shall only call your attention to
such as are comparatively simple, and require but few “aids” or
materials for their fulfillment.
HOW TO PALM A COIN.
As it is necessary for any boy or girl who intends to become an expert
sleight-of-hand performer to be a successful _palmer_, this is naturally
the first lesson to be learned. Indeed, very few of the tricks performed
by an expert prestidigitateur would be effective without its use.
To explain this art is difficult, although it is an easy matter to show
how the thing is done. By the aid of an illustration may be seen,
however, the final position of the coin, or how it is held while it is
palmed.
If possible, balance a half-dollar on the tip of the second finger of
the right hand; but if not at first easily accomplished let the coin
rest on the tips of the second and third fingers, steadying it, in this
position, by touching it lightly with the thumb. Close the hand quickly
and the coin will rest in the palm. Then, by throwing the thumb forward,
the ball of the thumb will hold the silver piece on one side, and that
part of the palm which lies between the second and third fingers holds
it securely on the other.
[Illustration]
Practice this well, and be sure you can depend upon yourself to
accomplish it perfectly with the left as well as the right hand, before
you try any of the following tricks in the presence of a critical
audience.
HOW TO PASS A COIN.
Borrow of your audience two half-dollars and lay them on your table.
Next shake your sleeves and let your friends see that you have no coins
hidden about you. When they are convinced that such is the case, pick up
one half-dollar with the thumb and second finger of your _right hand_.
Palm this in your right hand while you _pretend_ to pass it to your
left, of course making a motion with the _left hand_ as if it received
and still held the coin.