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 enjoy.
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 done.
It is a noble plan to give a _divertisement_, or _soirée_[116]
(pronounced _swa´re_) as the old time magicians used to call it, once
every month and you will find after you have given the first one that
all of your folks will look forward to the coming of the next one with
interest and with pleasure.
[116] This is a French word and it means an evening social gathering.
Moreover, you should let them know what the next divertisement is to
be a couple of weeks before it comes off and then let all hands join
in and talk about it whenever the spirit moves them. Naturally since
you know all about it and they don’t know anything about it, questions
will be in order and you are the one who will have to answer them;
and don’t try to make a secret of anything you have done or are going
to do unless it is magic or some allied subject of mystery. After the
divertisement is over it will furnish food for conversation for a long
time to come.
Now while I have used the words _entertainment_ and _divertisement_,
both of which mean about the same thing and that is amusement, and
while you should always strive to make your talks as light and
recreational as you can you do not need to stick to frothy subjects
altogether but instead you should alternate them with scientific
demonstrations. In this way you will not only please and develop good
fellowship in the family, but you will instruct the members of it at
the same time.
Finally, don’t make your divertisements too long. Better by all means
make each one only 15 or 20 minutes long and have everybody in high
good humor and saying that it was all too short, than to give them an
hour and have everybody gappy and bored half-to-death.
=Cartoons While You Wait.=--This is a good feature to start off your
season’s divertisements with. Make a substantial _easel_ on which to
set a large drawing board as shown in Fig. 116, or you can fasten the
paper to a wall with thumb tacks if you live in a home and not in a
residence.
Get a dozen sheets of good white print paper--you can buy a quire (24
sheets) 24 × 36 inches for 25 cents--and tack ¹⁄₂ a dozen sheets to
your drawing board or the wall. Also buy a stick of black _marking
crayon_,[117] which is better than chalk or charcoal for it makes a
heavy black line that will not smut, blur or rub off.
[117] You can buy a marking crayon at a hardware or stationery store.
[Illustration: FIG. 116. HOW AN EASEL IS MADE]
_Drawing the Cartoons._--Start in with your crayon in hand and explain
that what you propose to do is to show the principles upon which
free-hand drawing is based. Then make a simple line drawing of the
boxer reaching for the _maxillary_ of his invisible opponent as shown
in Fig. 42, over in the chapter called _Drawing Simply Explained_, and
then draw the horse galloping home on the three-quarter stretch.
Next draw around these simple line figures, which are really the
skeletons of the man and beast, the outlines as shown in Fig. 43. If
you are not expert in free hand drawing you can trace these figures
on the paper in faint lines with a lead-pencil before you begin your
performance, and then all you have to do is to mark over the lines with
the crayon.
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 Fig. 44 and mark on the proportions of the human body. Have your
next sheet ruled off into squares with the lines 2 inches apart; draw
in the face and at the same time explain that this makes it easy for
any one to get the features in proportion.
Now comes the grand _finale_[118] (pronounced _fi-na´-le_) and that is
your _cartoons_.[119] You should practice drawing these and also have
some _patter_[120] about each one so that when you do them for the
family audience your tongue will be as clever as your fingers. You can
begin by explaining how the expressions of one’s face--that is the way
the features look when the mind is at rest or is excited--can all be
represented by a few very simple lines.
[118] The last part of an exhibition and it is generally the climax
of it.
[119] A cartoon is usually a caricature of a person or thing done in
sketchy style. The word comes from the French _carton_, which means
pasteboard.
[120] Witty or amusing talk to help along the act.
Draw eight circles 5 or 6 inches in diameter in a double row on the
paper with your marking crayon as shown at A in Fig. 117. Now you say
first that _sleep_ can be represented by four straight horizontal lines
and you draw them as shown in the first circle. Next draw four vertical
lines in the second circle and before you can say _awake_ your little
audience will see it and laugh its approval.
[Illustration:
_FAST ASLEEP_
_WIDE AWAKE_
_SOME JOY_
_MORE SORROW_
_QUITE MODEST_
_MUCH DISDAIN_
_SOMEWHAT SURPRISED_
_A LITTLE ANGRY_
=_A_=
FIG. 117A. FIRST PRINCIPLES OF CARTOONING]
_Joy_ is represented by four little _arcs_, or curved lines with the
ends of each pointing up, which you draw in the third circle, while
_sorrow_ is, of course, shown by four curved lines the ends of which
point down as in the fourth circle, since the emotion of sorrow is the
opposite to that of joy.
Show how _modesty_ is depicted by drawing four little angles in
the fifth circle with the _vertex_, or point of each one at the
bottom, while _disdain_, which is the _reciprocal_ of modesty, can
be illustrated in the sixth circle by reversing the positions of the
angles and having their _vertices_ at the top.
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
expression. Finally in the eighth circle draw two slanting lines for
the eyes, a vertical line for the nose and an angle with the ends of
the lines pointed down and you will have a very good representation of
_anger_, (or maybe it’s a Chinaman.)
[Illustration:
_BY DE LIGHT OF DE SILVERY MOON_
_PAT AND HIS POIPE_
_HE HAS JUST HEARD A JOKE_
_=B=_
_=C=_
_=D=_
FIG. 117 B, C, D. THREE SIMPLE CARTOONS THAT YOU CAN DO]
* * * * *
Now without my telling you how to draw the cartoons shown at B C and
D in Fig. 117, 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 artist.
=Thirty Minutes of Chemistry.=--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
_patter_.
=The Mystic Glass of Milk.=--_The Effect._--You show a glass of
perfectly clean water and blow through it with a glass tube, clay pipe
or a straw when it becomes to all intents, though not to all purposes,
milk of the cow variety. See Fig. 118.
[Illustration:
_BEFORE BLOWING THROUGH STRAW_
_AFTER BLOWING THROUGH STRAW_
FIG. 118. THE ORACLE OF AMOR, OR ARE YOU IN LOVE?]
_The Cause._--To perform this chemical trick get 50 grams of good
_quicklime_ and powder it in a pint milk bottle. Let it stand for 24
hours and shake it every once in a while. Let it stand another 24
hours and then pour off the clear solution, which is called _lime
water_[121] and this is the common name of _mystic milk_.
[121] You can buy it in a drug store all ready to use.
_The Chemical Action._--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 _limestone_.
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 such.
_For the Fun of the Thing._--By pretending you can tell which boys and
which girls are in love hand around several glasses of ordinary water
and as many of clear lime water. You must see to it, of course, that
those whom you want to make believe are in love are given the lime
water; then have everybody blow and it is a sure sign that those who
change the water into milk are in love.
=The Magic Fountain.=--_The Effect._--You show an empty bottle, or
Florence flask, and then push a cork with two holes in it into the
mouth of the bottle. Next push a glass tube having a nozzle on one end
through one of the holes in the cork until the nozzle nearly touches
the bottom of the bottle.
Through the other hole in the cork push a _medicine dropper_, or
fountain pen filler. The end of the long tube projects down into a
bowl containing water which you have colored blue[122] either with
indigo or with _copper sulphate_ or you can make a beautiful violet by
dissolving in it a little _potassium permanganate_. The arrangement of
the apparatus is shown at A in Fig. 119.
[122] Any kind of colored water will do for this experiment.
[Illustration: FIG. 119A. 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 full.
_The Cause._--Instead of the bottle being empty as it looks to be, you
have previously filled it with _hydrogen chloride gas_ of which 500
volumes will dissolve in 1 volume of water.
The medicine dropper is filled with water and when you squeezed it a
few drops of water is forced into the bottle and dissolves a large
part of the gas that is in it. This leaves a _vacuum_ when, of course,
the atmospheric pressure on the colored water in the bowl forces it up
through the nozzle to fill the vacuum.
[Illustration: FIG. 119B. 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 it, all of which produces
a very mysterious and at the same time a mighty pretty effect.
_How to Make Hydrogen Chloride Gas._--To make this gas take another
bottle and fit a two hole stopper into it; in one hole put a funnel and
in the other an L tube as shown at B 119.
In the bottom of the bottle put ¹⁄₃ of a cup of common table salt;
put a straight tube down into the Florence flask you want to fill and
connect this tube and the L tube with a piece of rubber tube as is also
shown at B.
The apparatus set up, pour sulphuric acid down the funnel, a very
little at a time until the salt is all gone and then fit the cork with
the long nozzle tube and the medicine dropper in it, into the mouth of
the bottle filled with the hydrogen chloride gas.
=The Vicious Soap Bubbles.=--_The Effect._--Show a dish of soap-suds
and then blow bubbles with the apparatus described below.
When the bubbles take on a size of about 3 inches in diameter shake
them off and they will rise slowly and gracefully in the air. Before
they get out of reach touch them with a long lighted taper and they
will explode viciously with a sharp report like that made by a revolver.
_The Cause._--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 gas_.
When the flame is brought close enough to the bubble it fires the gases
in it, and they explode and _combine chemically_ to form _water_. The
apparatus necessary to do this experiment with is shown in Fig. 120.
It consists of (1) a hydrogen gas generator and (2) an oxygen gas
generator.
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 Fig. 119. Connected to the L tube
is a length of rubber tubing into the other end of which another L tube
is fitted.
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 Fig. 119. Connected
to the L tube is fixed another length of rubber tubing and in the free
end of this is fixed another and shorter L tube. Now place the two
short L tubes side by side and cement them together with sealing wax.
A long length of rubber tube is forced on over the ends of the double
tube and, finally, a clay pipe is fitted into the free end of the
rubber tube, all of which is shown in Fig. 120.
[Illustration: FIG. 120. THE VICIOUS SOAP BUBBLES]
Set the bottles or flasks as far apart as possible and in the hydrogen
bottle put a handful of _granulated zinc_. Dilute _hydrochloric
acid_[123] is poured down the funnel on the zinc when _hydrogen_ will
be set free, or _generated_ as it is called.
[123] If you want to buy dilute hydrochloric acid ask for _normal
hydrochloric_ acid.
Put a small handful of a mixture of 2 parts of _potassium chlorate_ and
1 part of _manganese dioxide_, finely powdered, in the oxygen bottle
and then set a Bunsen burner under it when it will give off _oxygen_.
When the two gases leave the short L tubes they mix in the long rubber
tube and by the time they reach the clay pipe you will have detonating
gas all right.
_Caution._--Do not bring a flame anywhere near the apparatus and as a
further precaution wrap a thick towel around the hydrogen flask.
The bubbles that are blown rise in the air because both the hydrogen
and the oxygen are lighter than the air.
=The Uncanny Wheel.=--_The Effect._--A pitcher is shown full of
emptiness and then a cardboard wheel, 4 inches in diameter, with
buckets, or cones 1 inch high and ³⁄₄ inch across glued to the rim and
which is mounted on a wire so that it can be revolved, is passed for
examination.
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 it. It is indeed uncanny. The idea is shown
at A in Fig. 121.
_The Cause._--But it is all canny enough when you know how it is done.
While the pitcher is apparently empty you have, forsooth, previously
filled it with a gas called _carbon dioxide_. This gas is 1¹⁄₂ times as
heavy as air.
The cardboard wheel does not move in the air because the latter pushes
on all parts of it equally. When, however, you pour the carbon dioxide
gas on it from the pitcher, since it (the gas) is heavier than the air
it fills the little buckets and makes them heavier just as surely as if
you poured water on them; and hence the wheel revolves.
[Illustration: FIG. 121. THE UNCANNY WHEEL]
_How to Make Carbon Dioxide Gas._--Take a perfectly dry bottle or flask
of the kind shown in the _fountain experiment_; fit it with a single
hole stopper and push a glass tube through it until it nearly touches
the bottom as pictured at B.
Set the bottle at a slant and put a mixture in it of equal amounts of
_powdered copper oxide_ (that is _cupric oxide_) and _wood charcoal_.
Heat this mixture over a Bunsen burner until it glows and for a few
minutes longer; the bottle will then be full of the carbon dioxide gas.
Pour it into a glass pitcher and put a sheet of glass over it to
keep the air away from it until you are ready to perform the uncanny
experiment.
=Giving a Travelogue.=--A travelogue is simply a talk on travel, or on
a country, illustrated with pictures of some kind.
To be able to give a travel talk does not mean necessarily that you
must have traveled or been in the country you are going to tell about
but if you have done neither, it does mean that you must read up on it.
To do this get several good books on whatever country you intend to
talk on, read them carefully, and then outline a route just as though
you had gone over it yourself, but this must of course conform to the
pictures you can get.
Now there are four methods you can follow to show a series of pictures
and you can make your choice according to the amount of money you want
to invest in it.
(1) The first and least expensive way is to cut a dozen or twenty
pictures out of magazines, arrange them according to your route and
build up your talk around them. As you describe each place pass the
pictures, which should be mounted on cardboard, in turn to each person
present.
(2) A better way is to get a set of stereographs of the trip or the
country you are to talk on and a _stereoscope_[124] and pass the
picture showing the view and the instrument to each person present.
[124] A stereoscope and the stereograms can be bought from Underwood
and Underwood, 417 Fifth Ave., New York, or Sears, Roebuck and Co.,
Chicago, Ill.
Each _stereograph_, as the picture is called, is formed of two pictures
of the same scene made from slightly different viewpoints and when the
observer looks through the lenses at them they blend into one image
when the scene stands out wonderfully clear and apparently in three
dimensions. The only drawback of the stereoscope as an aid to a travel
talk is that only one person can look at a picture at a time.
(3) A far better plan than either of the above schemes is to make a
_reflectoscope_[125] as described in the chapter called _Some Kinks in
Photography_. You can show any kind of a picture in a reflectoscope if
it is not larger than 3×5 inches but picture postcards are especially
good to use for a travelogue or a talk of any kind and they show up
nicely when thrown on a screen with a reflectoscope.
[125] You can buy one of the Bausch and Lomb Optical Company,
Rochester, New York, and you can get post-card views for it of the
Post-Card Store, 946 Broadway, New York.
(4) Finally either make, or better, if you can afford it, buy, a magic
lantern[126] that will take the regular full size lantern slides,
namely, 3¹⁄₄ × 4¹⁄₄ inches square. Sets of lantern slides[127] for
travelogues or talks on any subject can be rented cheaply and in these
days of cheap electricity you can throw a picture on the screen so big
and bright and real that your offering is bound to be a success.
[126] For magic lanterns and slides address the Charles Beseler Co.,
131 East 23rd Street, New York.
[127] Sets of lantern slides can be rented of the Charles Beseler
Co., 131 East 23rd Street, New York City.
=An Electrical Soirée.=--Experiments in electricity are always
interesting to all however young or old, for of all the powers that
have been harnessed by man it is the least tangible and yet the effects
produced by it are the most spectacular.
Now there are some very extraordinary effects that you can show with
_static electricity_[128] which do not require apparatus of any kind
as you will presently see, but if you will make or buy a ¹⁄₂ inch
_induction coil_[129] you can perform a series of classic experiments
that will create a profound and lasting impression on all who see them.
[128] Many experiments with static electricity will be found in
_The Book of Electricity_ by the present author and published by D.
Appleton and Co.
[129] Complete instructions for making an induction coil will also be
found in _The Book of Electricity_.
=Demonstrating Electricity Without Apparatus.=--Did you ever rub a cat
in a dark room in the winter and see the sparks fly? Well this is one
way to make electricity without apparatus though you need a cat[130] to
do it with.
[130] A cat is not apparatus but only a kitten _growed_ up.
_The Electrified Papers._--But you can make a lot of electricity
by simply rubbing a newspaper if you know how to rub it and it is
perfectly dry.[131]
[131] Winter is the best time to do experiments in static electricity.
[Illustration:
_=A=--ELECTRIFYING A STRIP OF NEWSPAPER_
_=B=--ELECTRIC ATTRACTION_
FIG. 122. THE ELECTRIFIED PAPER]
Tear off a strip of newspaper, lay it flat on a table and rub it with
your _finger nails_ as shown at A in Fig. 122. When you try to take
the paper from the table you will find that it sticks to it quite
tenaciously. This is because you have _positively_ electrified the
paper when you rubbed it and the surface of the table under it is
_negatively_ electrified by _induction_.[132] Now since positive and
negative electricity attract each other, the paper and the table are
pulled together.
[132] The theory of induction is simply explained in _The Book of
Electricity_ by the present author.
_How to Electrify a Person._[133]--This is an experiment that will make
your gathering giggle just as school girls giggle when they have their
tintypes taken--that is without any real reason except that the idea
strikes their mental funny bones.
[133] Since the paper is _positively_ electrified the person must be
_negatively_ electrified.
To perform this experiment electrify a strip of newspaper as above
and then hold it close to some one’s face; instantly there will be a
_mutual attraction_ between them and the paper will be drawn to and
stick to his or her cheek. Put an electrified paper on the cheek of
each person present as shown at B and tell them they belong to the same
club. This will get a laugh but it will not lessen their interest in
the experiment in the least.
_How Like Repels Like._--Electrify two strips of newspaper this time
and hold them together by the ends. Instantly the free ends of the
papers will fly apart for like _signs_ of electricity repel each other.
That is, since both strips of paper are _positively electrified_ and
hence are of like signs, they repel each other. If they were negatively
electrified they would repel each other just the same. In either case
it shows that there is a force acting across the space between the two
strips of paper.
=Making Experiments With Apparatus.=--With a dry battery of two
or three cells, an electric bell, a common steel magnet and an
electromagnet, all of which you can easily make or buy[134] for a
dollar or so, you can provide entertainment enough for ¹⁄₂ an hour’s
demonstration, and food for thought to last a year.
[134] The L. E. Knott Apparatus Co., Boston, Mass., and The Manhattan
Electric Co., Park Row, New York, sell all these things.
_The Induction, or Spark Coil._--An induction coil is an apparatus for
changing a _direct low pressure_, but _large quantity_ current from
a battery into an _alternating high pressure_ but _small quantity_
current, which is called _high tension_, or _high potential_,
electricity.
With an induction coil you can make any number of wonderful experiments
such as miniature streaks of lightning, lighting up Geissler tubes,
which produce brilliant and beautiful colors showing the electric
discharge in gases, etc., etc. By fixing these tubes to a small
electric motor[135] so that they can be revolved while the high tension
current is passing through them, the effects are further heightened.
[135] A small electric motor can be bought for $1.00 of any dealer in
electrical supplies or of the Manhattan Electrical Supply Co., Park
Row, New York.
_Demonstrating Wireless Telegraphy._--All you have to do to make your
induction coil into a _wireless transmitter_, that is, the sending
apparatus, is to put a couple of brass balls on the points of the
_spark-gap_, 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 Fig. 123.
To make a receiver that will tap out the signals you send on your
transmitter, you will need (a) a _coherer_, (b) a _relay_, (c) an
_electric bell_ and (d) a _dry cell_. You can make the coherer but the
other three pieces of the apparatus you had better buy.
[Illustration: FIG. 123. A SIMPLE WIRELESS DEMONSTRATION SET]
For the coherer cut off a piece of brass rod ¹⁄₈ inch in diameter and
1¹⁄₄ inches long, file the ends off even and slip them through the
holes in the binding post. Put a pinch of nickel and silver _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 them.
Screw the rods into a couple of binding posts set 2 inches apart on a
block as shown at B and your coherer is done.
Connect up the coherer, relay, tapper and dry cell on a board as shown
in the wiring diagram at C; fasten a wire to one of the rods of the
coherer and to a nail near the ceiling; fix a wire to the other coherer
rod and to a small sheet of brass or copper which rests on the floor.
[Illustration: FIG. 123B. CROSS SECTION OF THE COHERER SHOWING ITS
CONSTRUCTION]
Now when you press the key or button of the sender, which is on one
side of the room, the bell of the receiver, which is on the opposite
side of the room, will ring out a signal. The fact that there are no
wires connecting the sender with the receiver will create much wonder.
The theory of wireless telegraphy is rather deep but you will find it
simply explained in my _Book of Wireless_ published by D. Appleton and
Co., New York City.
=Reading Palms for Fun.=--Many years ago when P. T. Barnum was
exhibiting a sacred white elephant, which was nothing more nor less
than a small Indian elephant covered with whitewash, and the good folks
were breaking their necks to pay their hard-earned coin to see it, the
great showman remarked that “the American people love to be humbugged.”
And they do. 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 it.
[Illustration: FIG. 124A. 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 ignorance. The first is _palm_, pronounced _pom_; the second is
_palmist_, pronounced _pol´-mist_, and the third is _palmistry_, which
is pronounced _pol´-mis-try_; now be sure to say them right.
[Illustration: FIG. 124B. 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 it; but there are some things you can tell
from the hand you are reading and these are if its owner is or is not
in good health and whether the brain that goes with it is mechanically
inclined or is of an artistic temperament.
Further you can gather--not from the hand but from the face, stature,
carriage, and mannerisms of the boy or girl or the man or woman
whose hand you are supposed to be reading--a good deal about his or
her temper and temperament and also about her or his foibles and
peculiarities. In fact the palmistry of the palmists is simply a study
in deduction, very much _a la_ Sherlock Holmes, of the person as a
whole, and it is by no means limited to an investigation of the hand
alone.
_How to Read Palms._--There are two things which you should learn
before you begin to read palms and these are (1) the names of the
different _parts_ of the hand, and (2) the _lines_ and _mounts_ of the
hand.
The names given and the corresponding parts of the human hand are shown
at A in Fig. 124; these are the scientific names and you will add very
greatly to your stock of knowledge to get them down by heart.
The names, of the _lines_ and the _mounts_ of the hand are given and
shown at B and these are the terms that are used by palmists. You will
observe that the eminences are called _mounts_ and these are named
after the planets of the solar system, for the ancients supposed that
they were inter-related. To _get by_ as a palmist it goes without
saying that you must have these all down _pat_.
To find out what kind of health the subject is in, grip the
_hypothenar eminence_, which is the side of the hand opposite the
_pollux_, or thumb, between your thumb and fingers and squeeze it a
little; if it is perfectly firm and the palm has a good healthy color
you are quite sure that its owner is in good health, but if the flesh
is soft and is not elastic and if the palm is pale and bloodless you
will be quite right in saying that the subject’s health is not good,
nay worse, it is even bad, and you will not offend your subject by so
saying.
The length of the life line is supposed to determine how long the
subject who owns it will live but even if you find one broken off short
never tell the person that he or she will live only a short time.
Indeed to be a successful palmist tell every one whose hand you read
that she or he will live to be anywhere from 80 to 108, and you’ll be
on the safe side.
The line of the heart, according to palmistry, indicates the affections
and passions of a person. Always tell a fellow that he is a great
lover and that he is constant, but you can say to a girl that she is
_capricious_, which means about the same thing as being fickle, and
both the man and the maid will be highly pleased. 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
_séance_[136] then and there and hold a _wake_ to prove you’re right.
[136] A sitting given by a medium or a palmist is called a _séance_
(pronounced _say´ance_).
_Apollo_, as the line of fortune is called, is a good one to talk at
length on; you can tell every subject that he or she has had _bad
luck_, but that fortune will follow; that he or she will marry a pretty
girl, or a handsome man as the case may be, live in New York if already
living in the country and the other way about--for everybody wants
to live anywhere except the place he is in--and don’t forget to say
“you’ll live happily ever after.”
Since folks will foolishly believe in palmistry don’t try to convince
them to the contrary, but while there is nothing in it, when you play
palmist tell them only the nice, pleasant things and you will then be
doing them a real service.
Just two more pointers on the ignoble art of palmistry and these are
(1) read the palms of each one present right out loud before the
whole gathering, and (2) be mighty careful that the single girls and
married ladies do not _switch_ rings and so lead you into the trap of
thinking that the former are enjoying a state of connubial felicity
(whatever state[137] that may be) and that the latter are living in a
territory[138] of single blessedness.
[137] Probably Utah.
[138] Most likely Arizona.
=A Talk on the Steam Engine.=--For your final evening entertainment
give a thumb-nail lecture on steam and the steam-engine.
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 works.
If you will do exactly as I tell you, you can talk on and demonstrate
the principles of a steam engine so that, whatever the age of your
listeners, they will know, when you are through, exactly how and why a
steam engine runs and develops power.
_Making the Model Engine._--The engine I shall tell you how to build is
not a model that runs by steam,[139] but one made almost entirely of
wood and the purpose of it is not actually to produce power but to show
exactly how it works.
[139] How to build model steam engines and all other kinds is
explained in my new book _Engine Building for Boys_, published by
Small, Maynard and Co., Boston, Mass.
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 clear.
Make the cylinder first and the easiest way to do it is to saw out two
disks of wood for the _cylinder heads_ of ³⁄₄ inch thick stuff, 4¹⁄₂
inches in diameter and bore a ⁹⁄₁₆ inch hole through the center of one
of them for the piston to slide through, as shown at A, C and F in Fig.
125. Turn, or whittle out a piece of wood for the _stuffing box_,[140]
1 inch in diameter and ¹⁄₂ inch long, and bore a ⁹⁄₁₆ inch hole through
the center of it and glue it to the center of the cylinder head so that
the holes are exactly in a line as shown at A and F.
[140] A stuffing box on a real steam engine is to keep the steam in
the cylinder and steam chest from leaking past the piston rod and the
slide valve rod.
[Illustration: FIG. 125A. WORKING DRAWINGS FOR THE DEMONSTRATION STEAM
ENGINE. CROSS SECTION SIDE VIEW OF THE ENGINE]
Next saw out two rings of ¹⁄₄ inch thick wood, make the outside 4¹⁄₂
inches in diameter and the inside 3 inches in diameter, see C, and glue
one of the rings to each end of the cylinder heads. Now cut out of a
sheet of thin cardboard, or better of tin, a piece 5³⁄₄ inches wide
and 6 inches long; cut two holes ¹⁄₂ an inch in diameter and have the
center of each hole ¹⁄₂ an inch from one of the long edges and ⁷⁄₈ inch
from each of the short edges as shown at D.
The next thing on the list is the _piston_ and the _piston rod_. For
the piston, saw out a disk of wood 3 inches in diameter and bore a ¹⁄₂
inch hole through it in the center. The piston rod is simply a piece of
wood ¹⁄₂ an inch in diameter and 12 inches long; cut a slot in one end
¹⁄₈ inch wide and ¹⁄₂ an inch deep and bore a ¹⁄₁₆ inch hole through it
as shown at C. Put the piston inside of the cylinder, slip the piston
rod through the hole in the cylinder head, smear some glue on the end
of it and fit it into the hole in the piston.
The steam chest is next in order; for it use ³⁄₁₆ inch thick wood and
saw out four pieces 2 inches square; two of these pieces are for the
heads of the steam chest, as shown at A and B, and in the center of one
of them drill a ³⁄₈ inch hole for the slide valve rod to go through.
Turn, or whittle out, a piece of wood for the stuffing box ¹⁄₂ an inch
in diameter and ¹⁄₂ inch long, bore a ³⁄₈ inch hole through the center
of it and glue it to the center of the steam chest head that has the
hole in it as shown at A, C and F.
Saw two holes 1¹⁄₂ inches square out of the other two 2 inch square
blocks and glue these to the steam chest heads. Now make a trough
of ¹⁄₄ inch thick wood, or of cardboard or tin, 1¹⁄₂ inches square,
outside measurement, and 2³⁄₄ inches long; this is for the sides of the
steam chest; as shown at A and F.
[Illustration: FIG. 125B. END VIEW OF THE ENGINE. D. THE CRANK SHAFT.
E. THE ROCKER ARM]
Bore a ¹⁄₂ inch hole in the center of the top of the trough; this hole
is for the _intake port_, that is the opening through which the steam
flows from the boiler into the steam chest. Bore three ¹⁄₂ inch holes
in a line in the middle of the bottom of the trough as is also shown at
A and F. The two holes nearest the ends are the ports to let the steam
into and out of the opposite ends of the cylinder, and the central
hole, or port, is the exhaust port C.
[Illustration: FIG. 125C. TOP VIEW OF THE ENGINE]
Next make the _slide-valve_; use ¹⁄₈ inch thick wood and make it ³⁄₄
inch high, 1 inch wide, and 1¹⁄₂ inch long on top and 2 inches long on
the bottom; the bottom, as you will observe at A and E, is cut out so
that it will cover one of the cylinder ports and the exhaust port at
the same time and you need put only one side on it.
The slide valve rod is a piece of wood ¹⁄₄ inch in diameter and 11¹⁄₂
inches long. Whittle or plane one end flat and drill a ¹⁄₈ inch hole
through it. This done, set the slide valve in the steam chest; slip the
slide valve rod through the head and glue it to the slide valve.
Now make four tubes or pipes of cardboard or tin ¹⁄₂ an inch in
diameter, and have two of them 1¹⁄₄ inches long and the other two 3
inches long; when you have formed all of them cut a strip ¹⁄₂ inch wide
out of each one lengthwise; the purpose of which is to show that they
are hollow.
When you have the tubes done glue, or otherwise fix, one of the short
ones into the intake port of the steam chest and the other short one
into the middle, or exhaust port in the bottom of the steam chest; then
glue, or fix the two long tubes into the end holes, or ports, of the
steam chest and the holes in the cylinders.
Saw out a _guide block_ for the piston rod to slide through, 2 inches
wide, 3 inches high, 3 inches long on top and 5 inches long on the
bottom as shown at A and C, and bore a ³⁄₈ inch hole through the middle
of the top of it lengthwise so that the center of the hole will be
exactly 2¹⁄₄ inches from the base line.
Likewise saw out a guide block for the slide valve rod and make it 1
inch wide, 2 inches long and 3¹⁄₄ inches high and drill a ³⁄₈ inch hole
through the middle of the top of it lengthwise so that the center of
the hole will be exactly 2¹⁄₄ inches from the back board to which it is
fixed.
Next cut out a _rocker arm_ of a ¹⁄₄ inch thick piece of wood and
have it ³⁄₈ inch wide at one end, ³⁄₄ inch wide at the other end and
7 inches long; drill a ¹⁄₈ inch hole in each end and a 1¹⁄₈ hole 1¹⁄₂
inches from the large end; pivot the small end to the end of the slide
valve rod with a machine screw having a nut on the end of it.
Cut out an _eccentric rod_ ¹⁄₄ inch thick, ³⁄₈ inch wide and 8¹⁄₂
inches long, and drill a ¹⁄₈ inch hole at each end so that their
centers will be exactly 8 inches apart: pivot one end of this rod to
the second hole in the rocker arm with a machine screw as before. Saw
out a pivot block 1 inch square and drill a ¹⁄₈ inch hole through the
center of it and pivot the lower end of the rocker arm to it with a
screw.
Make a connecting rod, to couple the piston rod to the crankshaft with,
³⁄₈ inch thick, ¹⁄₂ an inch wide at one end, ³⁄₄ inch wide at the other
end and 9 inches long; whittle or plane down the small end so that it
will fit easily into the slot in the end of the piston rod and drill
a ¹⁄₈ inch hole in each end so that their centers are precisely 8¹⁄₂
inches apart.
The crankshaft can be made of a piece of ¹⁄₈ inch thick wire 13 inches
long which must be bent to the exact shape shown at D; before it is
thus bent, however, slip the wire through the hole in the end of the
eccentric rod and then bend the crank on it.
Saw out a flywheel of ¹⁄₂ inch thick wood, 8 inches in diameter, drill
a ¹⁄₈ inch hole through its center and force it on over the wire
forming the crankshaft; then slip the end of the connecting rod on the
other end of the crankshaft wire and bend it to form a crank.
The front end of the crankshaft must be supported by a _pillow block_
just as it is in a real engine, but the rear end is held in place by
a board screwed to the back of the base. This block is ¹⁄₂ an inch
thick, 1 inch wide at the top, 2 inches wide at the bottom and 3 inches
high; drill a ¹⁄₈ inch hole in the top of it exactly 2¹⁄₄ inches from
the base line and slip this over the end of the crankshaft next to the
connecting rod.
The last thing to be done is to make a base to mount the parts of the
engine on; this is a sort of a shelf and it is built up of a board ³⁄₄
inch thick, 6 inches wide and 31 inches long for the base. Saw a slot
in it ³⁄₄ inch wide and 9 inches long in one corner, 2 inches from one
end and ¹⁄₂ an inch from the side; this is for the fly-wheel to set in.
[Illustration: FIG. 125F. THE STEAM ENGINE READY TO DEMONSTRATE]
Screw a back to it ¹⁄₂ an inch thick, 10 inches wide and 3 inches long;
this must be perfectly rigid and if necessary you can brace it with
angle blocks. Finally glue four legs 1 inch square and 2¹⁄₂ inches long
on the corners of the base-board.
To put the engine together, or assemble it as it is called, screw the
cylinder to the base-board, then glue or screw the piston rod guide
block to the base; the slide valve rod guide block to the back board,
and the pivot block for the rocker arm to the base-board.
Drill a ¹⁄₈ inch hole in the back board 2¹⁄₄ inches up from the
base-board exactly 16¹⁄₂ inches from the front cylinder head; put one
end of the crankshaft in the hole and slip the other end of it into the
pillow block; see that all is in a line and that the flywheel clears
the sides of the slot in the base-board. Then it is all done and will
look like F.
=How the Engine Works.=--Now if you will turn the flywheel around with
your hand, or better, belt a small electric motor to it, you will see
exactly how the slide valve opens first one port in the cylinder and
then the other and that when the port is open which gives a clear path
for the steam to flow from the steam chest to the cylinder, the other
port is connected to the exhaust pipe, when the used steam passes into
the open air.
When you know all about it you are then ready to give your last evening
divertisement and for the time being to say _Good-by_.
THE END
INDEX
Acid etching on glass, 222
Aeolian harp, 267
Alcohol lamp, 52, 60, 209
How to make an, 52
Alloys:
Brass, 67
Pewter, 66, 68, 93
Solders, 66, 72
Type metal, 66, 68
Useful, 67
Aluminum, 67
Arkansas carving tool slip, 46
Art of working glass, 202
Auger bits, carpenter’s 6, 13
Automobile truck, to make an, 228
Badges, how to make, 192-196
Barnum, P. T., 295
Bellows for blow pipe, 217
Bench, how to make a carpenter’s, 20.
Bent iron work, Venetian. _See_ Venetian bent iron work
Bismuth, 95
Blow pipe for glass blowing, 214
Blue prints, how to make, 131
Bluing steel, 74
Brass, 74
Bohemian glass, 203
Bolts and rivets, 72
Bookbinding, 179-181
“Book of Electricity,” 290
“Book of Wireless,” 295
Brace and bits, carpenter’s, 6, 9
Brass, 67
How to blue, 74
To color, 74
To dull, 74
To frost, 75
Stencils, 198-200
Bromide photo paper, 142
Bunsen burner, 60, 209
Burning brand, how to make a, 196
Cabinet making, 1-23
Calipers, spring, 57, 62
Cameras, 135-140
Camouflage photographs, 154
Candle shade, pierced brass, 91
Candlestick, how to make a repoussé, 87
Carbon dioxide gas, how to make, 287
Carbon impressions, 123
Carborundum oil stone, 63
Cards for printing, 175
Caricature photographs, 155
Carpenter’s tools:
Brace and auger bits, 6, 9
Chisels, 4, 9
Gimlets, 6, 11
Gouges, 4, 9
Hammer, 2, 8
How to sharpen, 12, 13
How to use, 8-12
Liquid glue, 7, 11
Mallet, 2
Miter box, 4
Nail set, 6, 10
Oil can, 7
Planes, 4, 9
Rule, 6, 10
Saws, 2, 8
Screw drivers, 6
Screws, 6, 10, 11
To etch your name on, 14
To remove rust from, 14
Try-square, 6
Washita oil-stone, 7
Carpenter’s work bench, how to make a, 20
Tool chest, 22
Carpentry work, 1-23
Woods for, 15-17
Cartoons, 275-278
Carver’s washita oil stone, 46
Carving tool slip, 46
Carving wood, 24, 44-51
Casting pewter, 93, 97
Cathedral chimes, 268
Cellulose, 176
Cement for glass, 224
Center punch, machinist’s, 57, 61
Chase, putting type in use, 170
Chemistry, 280
Chest, how to make a tool, 22
Chimes, Cathedral, 265
Chip carving, 47
Chisels, 4, 9
Circle, how to draw a, 119
Clamps, carpenter’s, 6;
wood carver’s, 46
Cleaning metals, 89
Coaster, to make a, 231
Coins, musical, 253
Coherer, to make a, 294
Colored glass, 203
Coloring metals, 73, 74, 81;
wood, 54
Colors, printing in, 174;
stencil, 201
Companion wood turning lathe, 37
Compasses for drawing, 112
Composing stand, 167;
stick, 162-169
Contact printing, photo, 132
Copper, 66
Copygraph, how to make and use, 189-191
Cricket scroll saw, 30
Cutting pliers, 57, 60
Dancing Sambo, to make a, 243
Dark room, 136
Dead black for iron, a, 81
Decalcomania, 128
Decorative stencils, 199-201
Design, how to burn in a, 53
Design on wood, how to trace a, 29
Designs for scroll sawing, 30
For Venetian bent iron work, 96
Developer for dry plates, 137
for bromide paper, 143
Diamond glass cutters, 203
Die sinking, 192, 193
Dies, screw cutting taps and, 57, 62
Dividers:
Spring, 57, 61
For drawing, 112
Disston saws, 2
Drawing:
Free-hand, 103
Life models, 104
Still life, 104, 107
Human figure, 105-108
Perspective, 108
How to find vanishing point, 109-111
How to shade, 111
Isometric perspective ellipse, 118
Circle, 119
Spiral, 120
Plain ellipse, 121
With a pantagraph, 121
Cartoons, 275
Drawings:
For carpentry work, 19
For metal work, 68
Working, 111
Isometric perspective, 116
Tracings of, 124
Drawing board, 113
Reflecting, 123
Drawing paper, 113
Drawing tools, 112, 113
Drill attachment for scroll saw, 33
Drill stock, 57, 60
Twist, 28
Drills, Morse twist, 57, 61
Dry plates, 136, 137
For lantern slides, 151
Easel, how to make an, 276
Ebony stain for wood, 55
Egg boiler, Venetian iron, 79
Egyptian rebec, 269
Electrical evening, an, 290
Electrical experiments, 292
Electricity:
Demonstrating without apparatus, 290
Static, 291
Induction or spark coil, 292
Electrified papers, 290
Electrify a person, how to, 292
Ellipse, how to draw an, 118, 121
Engraver’s wax, 101
Engraving on metal, 99
Engraving tools, 99
Engine building for boys, 301
Enlarging apparatus, photo, 140
Entertainments, 274
Cartoons, 276
Chemistry, 280
Travelogue, 287
Electricity, 290
Wireless telegraphy, 293
Palmistry, 295
Steam engine, 300
Etching glass, 219, 222
Etching tool, how to make an, 52
Etching your name on tools, 14
Excelsior printing presses, 158
Experiments in chemistry, 280
In electricity, 290
Fahrenheit thermometer scale, 65
Fiddle, an Egyptian, 269
Files: for scroll sawyers, 28
For machinists, 57, 62
Figure carving, 51
Finger and hand prints, 125
Fixing bath, how to make a, 134
Flint glass, 203
Fluxes, for soldering, 71
Fret sawing, _See_ Scroll sawing
Fumed oak, 55
Gimlets, carpenter’s, 6, 11
Glass:
Art of working, 202-226
How made, 202
How to cut, 203
To drill holes in, 206
Blow pipe for, 214, 215
Bellows for, 217
How to etch, 219, 222
To make ground, 222
To cement, 224
To frost, 224
Substitutes for, 225
To silver, 226
Glass bulb, how to blow a, 215
Glass cutters, 203, 204, 208
Glass disks, how to cut, 208
Glass edges, to finish off, 206
Glass nozzle, how to make, 212
Glass tubing, how to cut, 207
To bend, 209
To round the ends of, 211
To seal, 211
To pierce, 213
To join, 213
Glasses, musical, 253
Glue, how to make and use, 11
Glue pot, how to make a, 11
Gold, printing in, 175
Goodyear Rubber Co., 183
Goose, to make a life-like, 241
Gouges, carpenter’s, 4
Graflex camera, 140
Gravers, 99
Ground glass, to make, 222
Gutenburg, Johanne, 157
Hack saw, 57, 60
Hammers, carpenter’s, 2, 8
Scroll sawyers, 29
Machinist’s, 57, 60
Hand, parts of the human, 298
Hand and finger prints, 125
Hand inlaid printing presses, 157
Hand made paper, 176
Hand saws, carpenter’s, 2
Hand screws, carpenter’s, 6, 10
Hand scroll saw table, 27
Hardware for scroll sawyers, 37
Harp, the tubular, 258
Hectograph, _See_ Copygraph
Hershel, Sir John, 153
Horse, how to make a stick, 237
Hieroglyphics, 202
Hydrogen chloride gas, how to make, 283
Imposing stone, 120
Ink:
India, 113
Printing, 173
For rubber stamp, 189
For copygraph, 191
For stencils, 200
Ink rollers, 173
Ink pads for rubber stamps, 188
“Inventing for Boys,” 119
Iron:
Wrought, 64
Steel, 64
How to color a dead black, 81
Iron work, Venetian bent, _See_ Venetian bent iron work
Isometric perspective drawings, 116
Ellipses, 118
Isometric ruled paper, 116
Jeweler’s saw frame, 57
Saws, 60
Jig sawing, _See_ Scroll sawing
Job printing, 172
Joining, _See_ Carpentry
Joints, edge and corner, wood, 17
Metal, 70
Justifying, 169
Kodaks, 139
Lacquer, how to make and use, 75
Lantern slides, 139, 150, 151
Lathe for wood turners, 37
Lead, 65, 93
Lead glass, 203
Lead pencils for drawing, 113
Lenses, photo, 140
Lignum vitae mallets, 46
Magic fountain, 281
Magic lantern, how to make and operate, 148-150
Magic photographs, 153
Magic of science, 209
Mallet, carpenter’s, 2
Machinist’s tools, _See_ Metal working tools
Markers for wood carvers, 46
Marking gauge, carpenter’s, 6, 10
Metal, engraving, 99
Metals:
Their uses, 64
How to solder, 71
Iron, 64
Tin, 64
Lead, 65
Zinc, 65
Copper, 66
Type-metal, 66, 68
Brass, 67
Aluminum, 67
Pewter, 68, 94
Bismuth, 95
Metal work:
Tools for, 57-63
Drawing plans for, 68
Sheet, 69
Seams and joints, 70
Bolts and rivets for, 72
Solders for, 72
Bending, 73
Coloring, 73-83
Cleaning and polishing, 89
Pierced, 90
Miter box, 4
Molds:
For casting pewter, 97
For paper making, 177
For rubber stamps, 185
“Money Making for Boys,” 157
Moresco stencil color, 201
Morse twist drills, 57, 61
Mounting rubber stamps, 188
Musical instruments, home-made:
Coins, 253, 254
Tomato cans, 254-256
Glasses, 256, 257
Tubular harp, 258-260
Push pipe, 260-262
Xylophone, 263, 264
Tubaphone, 264, 265
Cathedral chimes, 265-267
Aeolian harp, 267-269
Egyptian fiddle, 269-273
Mystic glass of milk, 280
Nail set, carpenter’s, 6, 10
Nails and screws, how to drive, 11
Nitrogen lamps, 141
Oil can, carpenter’s, 7
Oil stone, carpenter’s, 7
Machinist’s, 63
Palmistry for fun, 295-297
Panel carving, 50
Pantagraph, to make and use a, 121
Paper:
Blue print, 132
Photographic, 133, 142
For job printing, 175
Paper making, 176-179
Paper stencils, 198
Patter, 277
Pattern making, 95
Perspective, _see_ Drawing
Pewter, 66
How to make, 94
To work, 95
To cast, 95
Solder for, 95
Patterns for, 95
To make a mold for, 97
Pewter ware, finishing, 98
Photo frame, a repoussé, 88
Photography:
Blue prints, 131
Contact printing, 132
Silver prints, 133
Papers, 133
Fixing bath, 133
Toning solution, 134
Dark room, 136
Developer, 137
Dry plates, 137
Cameras, 138-140
Lenses, 140
Enlargements, 140-144
Radium, 151
Skiagraphs, 151
Trick, 153
Camouflage, 154
Caricature, 155
Pierced metal work, 90-93
Planes, carpenter’s, 4, 9, 12
Plaster of Paris, 184
Plate holder, a Venetian iron, 81
Pliers for scroll sawyers, 28
Policeman’s puzzle, to make a, 227
Polishing metal work, 89
German silver, 195
Pony and cart, to make a, 239
Post card store, 289
Press, _See_ Printing press
Printing:
Kinds of presses, 157
Outfit needed, 161
Composing stick, 162, 169
Composing stand, 167
Imposing stone, 169
Chase for press, 169
Making ready, 172
Ink, 173
Ink rollers, 174
In colors, 174
In gold, 175
Stock supply, 175
_See also_ Type
Printing presses:
Kinds, 157, 158
Sizes and prices, 160
How worked, 160
Prints, photo, 133
Protractors for drawing, 113
Pulp for paper, 176
Push pipe, musical, 260
Pyrography, 51-53
Radioactive substances, 152
Radiographs, 152
Radium photographs, 151
Rag engine, 177
Reflecting drawing board, 123
Reflectoscope, 145-147
Repoussé work, 84-88
Rivets and bolts, 72
Robinson Crusoe, 1
Rosin for fiddle bows, 273
Rubber stamps:
How to make and use, 183-188
Ink pads, 188
Inks, 189
Rule, carpenter’s, 6, 10
Ruling pens for drawing, 112
Russel Jennings’ auger bits, 6
Rust on tools, removing, 14
Sand blast process, 219
Saw:
Carpenter’s, 2, 8, 12
Disston, 2
Hack, 57
Jeweler’s, 57, 60
Sconce, a Venetian iron, 82
Screw cutting taps and dies, 57, 62
Screw drivers:
Carpenter’s, 6
Machinist’s, 60, 63
Screws, how to drive, 11
Scroll sawing, 24-37
Designs for, 29, 30
Woods to use, 36
Scroll saws:
Hand, 25
Foot-power, 30-35
Cricket, 30
Lester, 32
Fleetwood, 33
Scroll sawyer’s tools, 27-29
Designs, 30
Hardware, 37
Seams in metal work, 70
Self-inking printing presses, 158
Sharpening tools, 63
Shellac varnish, 96, 197
Shears, tinner’s, 57, 60
Sheet metal work, _See_ Metal work, 70
Silhouettes, 126
Silvering glass, 226
Silver prints, photo, 133
Sketching, _see_ Drawing
Skiagraphs, 151
Snibs for wood carvers, 46
Soap bubbles, vicious, 284
Soirée, a, 274
Solder, 60, 66, 72
Soldering metals, 71
Spark coil, 292
Spirit photographs, 153
Spinning coins, Virgil’s theory of, 254
Spiral, how to draw a, 120
Staining wood, 54, 55
Stanley planes, 4
Steam engine, 300-310
Steel, 64
How to blue, 74
Letters and figures, 193
Glass cutters, 203
Steel rule, machinist’s, 57, 61
Steel square, machinist’s, 57, 61
Stencils, 198-201
Stencil inks, how to make, 200, 201
Stereoscope, 289
Stereographs, 289
Stereopticon, 151
Stradivari, Antonio, 270
Swing, to make a, 235
Taps and dies, screw cutting, 57, 62
Thermometer scale, Fahrenheit, 65
Theory of spinning coins, 254
Thumb tacks, 113
Tin, 65
Tin-foil, 65
Turner’s snips, 57, 60, 63
Toaster, a Venetian iron, 78
Tomato cans, musical, 255
Toning photo prints, 133, 134
Tool chest, how to make a, 22
Tools:
Carpenter’s, _see_ Carpenter’s tools
Woodworking, 2
Wood turning, 40
Metal working, 57-63
Venetian bent iron work, 76
Repoussé work, 84
Engraving, 99
Drawing, 112
Toys, how to make:
Policeman’s puzzle, 227
Automobile truck, 228
Wheelbarrow, 231
Coaster, 231
Swing, 235
Stick horse, 237
Pony and cart, 239
Goose, 241
Dancing Sambo, 243
Wireless pup, 245
Tracings, how to make, 124
Transfer pictures, 128
Travelogue, giving a, 287
Triangle for drawing, 113
Trick photography, 153
Try square, carpenter’s, 6
T square for drawing, 113
T tube, how to make, 213
Tubaphone, the peculiar, 264
Turning lathe, scroll saw, 33
Turning wood, 24, 37, 41-43
Turning tools for wood, 40
Type:
Styles of, 163-166
Cases, 167
How to set, 169
How to distribute, 173
How to clean, 173
_See also_ Printing
Type form, how to lock up, 171
Type-metal, 66
Uncanny wheel, 286
Venetian bent iron work, 76-84
Toaster, 78
Egg boiler, 79
Plate holder, 81
Vulcanizing rubber, 186, 187
Vise, carpenter’s, 21
Wood carver’s, 46
Machinist’s, 60
Washita oil-stone for carpenters, 7
For carvers, 46
Washita slip stone, 13
Watch holder, how to carve a, 48
Wheelbarrow, to make a nifty, 233
Wireless pup, to make a, 245
Wireless set, to make a, 293
Wireless telegraphy, demonstrating, 293
Wood:
How to turn, 41
Coloring and staining, 54, 55
Wood burning, 24
_See also_ Pyrography
Wood carver’s tools, 44-46
Wood carving, 24, 44-51
Wood filler, how to make, 11
Wood turning, 24, 37
Lathe for, 37-40
Tools, 40, 41
Woods:
For carpentry, 15
For scroll sawing, 36
For carving, 47
Woodworking joints, 17
Woodworking tools, _See_ Carpenter’s tools
Work bench, how to make a, 20
Working drawings:
For carpentry, 18
How to make plan, 115
Isometric perspective, 116
_See also_ Drawings
Xylophone, curious, 263
Zinc, 65
Transcriber’s Notes
Depending on the hard- and software used and their settings not all
elements may display as intended.
Unusual, archaic and inconsistent spelling and hyphenation have been
retained. The inconsistent numbering of illustrations has not been
standardised. The (minor) differences in wording between the Table of
Contents, List of Illustrations and Index compared to the text have
not been standardised, except as mentioned under Changes below
Page 20, ... the last part of Chapter III: Chapter III deals with
other subjects; possibly the reference should be to Chapter V.
Page 26, Footnote [10]: The section Designs for Scroll Sawing
may be found on page 30, the footnote anchor as printed in the
source document should probably have been printed after item (f).
Page 53, Fig. 26C: Benzine and alcohol are as printed in the source
document.
Page 157 and Index, Johanne Gutenburg: as printed in the source
document.
Page 163, item F: A16 is possibly an error for 16A.
Page 164, item H: the number of As was illegible in the source
document; item J: 11a 20a is possibly an error for 11A 20a.
Page 180, Du Pont Febrikoid Co.: probably an error for Du Pont
Fabrikoid Co.
Page 207 and 208, footnotes [98] and [98a]: the source document has
two anchors for this footnote. For this text the second instance has
been renamed 98a, the footnote has been repeated.
Page 260, The harp is shown complete at C: Figure 109c does not show
the complete instrument, and there does not appear to be another
figure that does.
Page 276, Fig. 116: Presumably the dimensions provided are in feet
rather than inches.
Changes made
Illustrations, tables and footnotes have been moved out of text
paragraphs. The footnotes in the source document were not numbered
consistently, they have been renumbered for this text.
Several obvious minor errors in typography and punctuation have been
corrected silently.
Some of the wider elements have been split to fit the available width.
Page 3, illustration: items B and C interchanged.
Page 14: Removing Dust from Tools changed to Removing Rust from Tools.
Page 46: ... as you will see in Fig. 21 ... changed to ... as you
will see in Fig. 22 ....
Page 57: ... a ball pein hammer which weights ... changed to ... a
ball pein hammer which weighs ....
Page 84: repousage changed to repoussage.
Page 164, item L: reference letter L inserted cf. other references.
Page 179, Fig. 71: item B, PPASTEBOARD changed to PASTEBOARD; item C,
NNCH chamged to INCH (probably the number is missing).
Page 193: ... on a sheet of meal; ... changed to ... on a sheet of
metal; ....
Page 211: section heading =How to blow glass= inserted cf. Table
of Contents.
Page 222: fluorspar and flour-spar changed to fluor-spar as elsewhere.
Page 240, illustration: Fig. 109 changed to Fig. 102; caption: c. the
pony and cart when done changed to c, d. the pony and cart when done.
Page 246, Fig. 105C: reference letter D changed to B.
Page 277: ... the grand finalé ... changed to ... the grand finale
....
Page 281: ... already to use ... changed to ... all ready to use ....
Page 289: Busch and Lomb Optical Company changed to Bausch and Lomb
Optical Company.
Index: some words have been corrected to reflect the spelling used in
the main text.