** Cheap Nails are Expensive [244]

The life of iron shingle nails is about 6 years. An iron nail cannot be used again in putting on a new roof. Solid zinc nails last forever and can be used as often as necessary. As zinc is much lighter than iron, the cost of zinc nails is only about 2-1/2 times that of iron nails.



** Cutting Lantern Slide Masks [245]

It has long been a puzzle to me why round cornered masks are almost invariably used for lantern slides, when most works of art are included within rectangular spaces, says a correspondent of Photo Era. Certainly the present commercial masks are in very poor taste. The worker who wishes to make the most of every slide will do well to cut his own masks, not only because of the fact just mentioned, but also because he can suit the size of the opening to the requirements of each slide. Slides can be works of art just as much as prints; so that masking a slide becomes just as important as trimming a print, and equally worthy of individual treatment. It is folly to give each slide a mask opening of uniform size and shape.

When many slides are to be masked, it becomes tedious work to treat each one separately, unless some special device is used. The accompanying drawing shows a way to mark masks which is simple, practical and costs nothing. The drawing is exactly lantern slide size.

Lay the slide over such a guide and note the size of the opening best suited to the picture. This will be determined by the intersection of the ruled lines, which are numbered for convenience in working. If the size wanted is No. 4 for width and No. 2 for height, place the guide over a piece of black mask paper and prick through the proper intersections with the point of a pin. This outlines the desired



opening, which may then be cut out easily with a knife and straight edge.

The black paper from plate boxes and film rolls is excellent for making masks. It should be cut up in pieces 3-1/4 by 4 in. and kept ready for use at any time.



** Relieving the Weight of a Talking Machine Reproducer [245]

Too loud reproduction from a record, the scratching noise sometimes heard and the forcing of the needle into a soft record, because the extension arm and reproducer are too heavy, can be remedied in the following manner: Attach a small ring to the under side of the horn and use a rubber band to lift the extending arm slightly. —Contributed by W. A. Jaquythe, Richmond, Cal.



** How to Make a Thermometer Back in Etched Copper [246]

Etching copper is not a very difficult process. Secure a sheet of No. 16 gauge copper of the width and length



wanted for the back of the thermometer. In the design shown the extreme width is 3-1/2 in. and the extreme length 7 in.

Draw a design. The one shown is merely suggestive. The worker may change the outline or proportions as desired. The decoration, too, may be changed. The essential thing is to keep a space upon which to place the thermometer. This design is in what is known as two-part symmetry. A line is drawn down the paper and one-half of the outline and decoration worked out. This done, the paper is folded along the center line, a piece of carbon paper is inserted between the folds and the design transferred on the inner surfaces by tracing with a pencil over the half of the outline previously drawn. Trace the design and outline upon the metal, using the carbon paper.

Cut out the outline with metal shears and file the edges smooth.

With a small brush and ordinary asphaltum or black varnish, paint the design, the margin and the entire back of the metal. When this coat has dried put on a second and then a third. The asphaltum is to keep the acid into which the metal is to be immersed later from eating any part of the metal but the background. Two coats or more are needed to withstand the action of the acid.

The acid bath is composed of nitric acid and water, about half and half, or, possibly, a little less acid than water, the mixture being made by pouring the acid into the water, not the water into the acid, which is dangerous. Keep this solution off the hands and clothes, and do not inhale the fumes.

Put the asphalt-coated metal in the bath and allow it to remain for four or five hours, depending upon the thickness of the metal and the strength of the acid. With a stick, or a pair of old tongs, take the metal out of the acid occasionally and examine it to see how deep the acid has eaten it—1/32 in. is about right for the No. 16 gauge.

When etched to the desired depth, remove the piece and with an old knife' scrape off the asphaltum. Finish the cleaning by scrubbing with turpentine and a brush having stiff bristles.

If the metal is first covered with turpentine and then heated over a flame, all the colors of the rainbow will appear on its surface. These colors fade away in the course of a long time, but they can be easily revived. Another way to get these colors is to heat the metal and then plunge it into the acid bath quickly.

A green finish is obtained by painting the background with an acid stain composed as follows: 1 part ammonia muriate; 3 parts ammonia carbonate; 24 parts water. If one coat does not give the depth of color desired, repeat as many times as is necessary, allowing each coat time to dry before applying the next.

To "fix" this color so that it will not rub off, and to keep the metal from tarnishing, apply a coat of banana oil or lacquer.

Thermometers of suitable size can be bought in either brass or nickel. They have holes through their top and bottom ends through which metal paper fasteners can be inserted, and these in turn put through holes punched in the copper back.



** To Make an Electric Piano [247]

Make or buy a table, about 3 ft. long and 1 ft. or more wide, and about 2-1/2 ft. high. Nail a board, A, Fig. 1, about 8 in. wide and of the same length as the table, to the table, as shown in the illustration. Paint the table any color desired.

Purchase a dozen or so battery electric bells (they are cheaper if bought by the dozen) and screw them to the board, as in Fig. 2. Arrange the bells in the scale shown at B, Fig. 2. Bore two holes near the posts of each bell for the wires to pass through.

Buttons for the bells may be purchased, but it is cheaper to make them in the following way: Take a piece of



wood and cut it round, about 2-1/2 in. in diameter and 1/4 in. thick, Fig. 3, and bore two holes, C and D, through it. Then get two posts, about 1 in. long, (battery posts will do) and put them through the holes as in Fig. 4. Cut out a piece of tin, 3/8 in. wide, punch a hole through it and put in under post E, so that when it is pressed down, it will touch post F. It may be either nailed or screwed down.

Make two holes in the table for each button and its wires, as at H, Fig. 2. Nail or screw the buttons to the table, as shown in Fig. 5, with the wires underneath. The connections are simple: I, Fig. 5, is a wire running from one end of the table to the other end, attached to a post at each end; J is another wire attached in the same way; L is the carbon wire running from the batteries to I; M is the zinc wire running from the batteries to wire J; 0 indicates the batteries; P is a wire running from J to one post of a button; Q is another wire running from the other post of the button to one of the posts of the bell; R is a wire running from I to one post of the bell. When the button S is pressed, the bell will ring. Each button should be connected with its bell in the same way. —Contributed by Vincent de Ybarrondo.



** Imitation Arms and Armor - PART III [248]

Maces and battle-axes patterned after and made in imitation of the ancient weapons which were used from the



fourteenth to the sixteenth century produce fine ornaments for the hall or den, says the English Mechanic. The imitation articles are made of wood, the steel parts represented by tinfoil stuck on with glue and the ornaments carved out with a carving tool.

An English mace used about the middle of the fifteenth century is shown in Fig. 1. The entire length of this weapon is about 24 in.; the handle is round with a four-sided sharp spike extending out from the points of six triangular shaped wings. Cut the handle and spike from one piece of wood and glue the wings on at equal distances apart around the base of the spike. The two bands or wings can be made by gluing two pieces of rope around the handle and fastening it with tacks. These rings can be carved out, but they are somewhat difficult to make. After the glue is dry, remove all the surplus that has been pressed out from the joints with the point of a sharp knife blade and then sandpaper the surface of the wood to make it smooth. Secure some tinfoil to cover the parts in imitation of steel. A thin coat of glue is quickly applied to the surface of the wood and the tinfoil laid on evenly so there will be no wrinkles and without making any more seams than is necessary. The entire weapon, handle and all, is to appear as steel.

An engraved iron mace of the fifteenth century is shown in Fig. 2. This weapon is about 22 in. long, mounted with an eight-sided or octagonal head. It will be easier to make this mace in three pieces, the octagonal head in one piece and the handle in two parts, so that the circular shield shown at the lower end of the handle can be easily placed between the parts. The circular piece or shield can be cut from a piece of wood about 1/4 in. thick. The circle is marked out with a compass. A hole is made through the center for the dowel of the two handle parts when they are put together. A wood peg about 2 in. long serves as the dowel. A hole is bored in the end of both handle pieces and these holes well coated with glue, the wood peg inserted in one of them, the shield put on in place and handle parts put together and left for the glue to set. The head is fastened on the end of the handle with a dowel in the same manner as putting the handle parts together.

The head must have a pattern sketched upon each side in pencil marks, such as ornamental scrolls, leaves, flowers, etc. These ornaments must be carved out to a depth of about 1/4 in. with a sharp carving tool. If such a tool is not at hand, or the amateur cannot use it well, an excellent substitute will be found in using a sharp-pointed and red-hot poker, or pieces of heavy wire heated to burn out the pattern to the desired depth. The handle also has a scroll to be engraved. When the whole is finished and cleaned



Up, it is covered with tinfoil in imitation of steel. The tinfoil should be applied carefully, as before mentioned, and firmly pressed into the engraved parts with the finger tips or thumb.

A French mace used in the sixteenth century is shown in Fig. 3. This weapon is about 22 in. long and has a wood handle covered with dark red cloth or velvet, the lower part to have a gold or red silk cord wound around it, as shown, the whole handle finished off with small brass-headed nails. The top has six ornamental carved wings which are cut out, fastened on the handle and covered with tinfoil, as described in Fig. 2.

Figure 4 shows a Morning Star which is about 26 in. long. The spiked ball and the four-sided and sharp-pointed spike are of steel. The ball may be made of clay or wood and covered with tinfoil. The spikes are cut out of wood, sharp-pointed and cone-shaped, the base having a brad to stick into the ball. The wood spikes are also covered with tinfoil. The handle is of steel imitation, covered in the middle with red cloth or velvet and studded with large-headed steel nails.

A war hammer of the fifteenth century is shown in Fig. 5. Its length is about 3 ft. The lower half of the handle is wood. covered with red velvet, with a golden or yellow cord wound spirally over the cloth. The upper half of the handle is steel, also, the hammer and spike. The entire handle should be made of one piece, then the hammer put on the base of the spike. The spike made with a peg in its lower end and well glued, can be firmly placed in position by the peg fitting in a hole made for its reception in the top of the handle. Finish up the steel parts with tinfoil.

The following described weapons can be constructed of the same materials and built up in the same way as described in the foregoing articles: A horseman's short-handled battle-axe, used at the end of the fifteenth century, is shown in Fig. 6. The handle is of wood and the axe in imitation steel. Figure 7 shows an English horseman's battle-axe used at the beginning of the reign of Queen Elizabeth. The handle and axe both are to be shown in steel. A German foot soldier's poleaxe used, at the end of the fourteenth century is shown in Fig. 8. The handle is made of dark wood and the axe covered with tinfoil. Figure 9 shows an English foot soldier's jedburgh axe of the sixteenth century. The handle is of wood, studded with large brass or steel nails. The axe is shown in steel. All of these axes are about the same length.



** Playing Baseball with a Pocket Knife [250]

An interesting game of baseball can be played by two persons with a common pocket knife on a rainy day or in



the winter time when the regular game cannot be played outdoors. The knife is opened and loosely stuck into a board, as in Fig. 1, and with a quick upward movement of the forefinger it is thrown into the air to fall and land in one of the positions shown. The plays are determined by the position of the knife after the fall.

A foul ball is indicated by Fig. 2, the knife resting on its back. The small blade sticking in the board which holds the handle in an upright position, as shown in Fig. 3, calls for a home run. Both blades sticking in the board (Fig. 4), a three-base hit. A two-base hit is made when the large blade sticks in the board, Fig. 5. A one-base hit is secured when the large blade and the end of the handle touch the board as in Fig. 6. The knife falling on its side (Fig. 7) calls for one out. Each person plays until three outs have been made, then the other plays, and so on for nine innings. —Contributed by Herbert Hahn, Chicago.



** How to Remove Paper Stuck to a Negative [250]

When making photographic prints from a negative, sometimes a drop of moisture will cause the print to stick to the gelatine film on the glass. Remove as much of the paper as can be readily torn off and soak the negative in a fresh hypo bath of 3 or 4 oz. hypo to 1 pt. of water for an hour or two. Then a little gentle rubbing with the finger-not the finger nail will remove anything adhering to the film. It may be found that the negative is not colored. If it is spotted at all, the negative must be washed for a few minutes and placed in a combined toning and fixing bath, which will remove the spots in a couple of hours. The negative must be well washed after going through the solutions to take away any trace of hypo.



** Old-Time Magic - A Sack Trick [251]

The magician appears accompanied by his assistant. He has a sack similar to a meal bag only on a large scale. The upper end of this bag is shown in Fig. 1, with the rope laced in the cloth. He then selects several people from the audience as a committee to examine the sack to see that there is absolutely no deception whatever in its makeup. When they are satisfied that the bag or sack is all right, the magician places his assistant inside and drawing the bag around him he allows the committee to tie him up with as many knots as they choose to make, as shown in Fig. 2.

The bag with its occupant is placed in a small cabinet which the committee surround to see that there is no outside help. The magician then takes his watch and shows the audience that in less than 30 seconds his assistant will emerge from the cabinet with the sack in his hand. This he does, the sack is again examined and found to be the same as when it was first seen.



The solution is when the assistant enters the bag he pulls in about 15 in. of the rope and holds it, as shown in Fig. 3, while the committee is tying him up. As soon as he is in the cabinet he merely lets out the slack thus making enough room for his body to pass through. When he is out of the bag he quickly unties the knots and then steps from his cabinet. —Contributed by J. F. Campbell, Somerville, Mass.



** The Invisible Light [251]

The magician places two common wax candles on a table, one of them burning brightly, the other without a light. Members of the audience are allowed to inspect both the table and the candles.

The magician walks over to the burning candle, shades the light for a few seconds, turns to the audience with his hands a few inches apart, showing that there is nothing between them, at the same time saying that he has a light between his hands, invisible to them (the audience), with which he is going to light the other candle. He then walks over to the other candle, and, in plain sight of the audience lights the candle apparently with nothing.

In reality the magician has a very fine wire in his hand which he is heating while he bends over the lighted candle, and the audience gaze on and see nothing. He turns to the other candle and touches a grain of phosphorus that has been previously concealed in the wick with the heated wire, thus causing it to light. —Contributed by C. Brown, New York City.



** Using the Sun's Light in a Magic Lantern [251]

The light furnished with a small magic lantern does very well for evening exhibitions, but the lantern can be used in the daytime with good results by directing sunlight through the lens instead of using the oil lamp. A window facing the sun is selected and the shade is drawn almost down, the remaining space being covered by a piece of heavy paper. A small hole is



cut in the paper and the lantern placed on a table in front of the hole, the lamp having been removed and the back opened. The lantern must be arranged so that the lens will be on a horizontal line with the hole in the paper. A mirror is then placed just outside of the window and at such an angle that the beam of light is thrown through the hole in the paper and the lens of the lantern.

The shades of the remaining windows are then drawn and the lantern is operated in the usual way. —Contributed by L. B. Evans, Lebanon, Ky.



** A Handy Drill Gauge [252]

The accompanying sketch shows a simple drill gauge which will be found very handy for amateurs. The gauge consists of a piece of hard wood, 3/4 in. thick, with a width and length that will be suitable for the size and number of drills you have on hand. Drill a hole through the wood with each drill you have and place a screw eye in one end to be used as a hanger. When you want to drill a hole for a pipe, bolt,



screw, etc., you take the gauge and find what size drill must be used in drilling the hole.-Contributed by Andrew G. Thome, Louisville, Ky.



** Stove Polish [252]

A good stove polish can be made by mixing together 1 lb. of plumbago, 4 oz. of turpentine, 4 oz. of water and 1 oz. of sugar. Mix well and apply with a cloth or brush.

A Home-Made Daniell Cell [252]

An effective Daniell galvanic cell may be constructed from material costing very little money. A common tin tomato can with a copper wire soldered to the top forms the jar and positive electrode. A piece of discarded stove zinc rolled into an open cylinder of about 1-1/2-in. diameter, 5 in. long, with a copper wire soldered at one end forms the negative electrode.

To make the porous cell, roll a piece of heavy brown wrapping paper, or blotting paper, into a tube of several thicknesses, about 5 in. long with an internal diameter of 2 in. Tie the paper firmly to prevent unrolling and close up one end with plaster of paris 1/2 in. thick. It is well to slightly choke the tube to better retain the plaster. The paper used must be unsized so that the solution scan mingle through the pores.

Two liquids are necessary for the cell. Make a strong solution in a glass or wooden vessel of blue vitriol in water. Dilute some oil of vitriol (sulphuric acid) with about 12 times its measure of water and keep in a bottle when not in use. In making up the solution, add the acid to the water with constant stirring. Do not add water to the acid.

The cell is charged by placing the zinc in the paper tube and both placed into the tin can. Connect the two wires and pour the dilute acid into the porous cell around the zinc, and then immediately turn the blue vitriol solution into the can outside the paper cup.

A current generates at once and metallic copper begins to deposit on the inside of the can. It is best to let the action continue for a half hour or so before putting the cell into use.



Several hours working will be required before the film of copper becomes sufficiently thick to protect the tin from corrosion when the cell stands idle. For this reason it will be necessary to pour out the blue vitriol solution into another receptacle immediately after through using, as otherwise the tin would be soon eaten full of holes. The porous cup should always be emptied after using to prevent the diffusion of the blue vitriol solution into the cup, and the paper tube must be well rinsed before putting away to dry.

This makes one of the most satisfactory battery cells on account of the constancy of its current, running for hours at a time without materially losing strength, and the low cost of maintenance makes it especially adapted for amateurs' use. Its current strength is about one volt, but can be made up into any required voltage in series. A battery of a dozen cells should cost not to exceed 50 cts. for the material, which will give a strong, steady current, amply sufficient for all ordinary experimental work.

A strong solution of common salt may be used in place of the oil of vitriol in the porous cup, but is not so good. —Contributed by C. H. Denniston, Pulteney. N. Y.



** A Home-Made Equatorial [253] By Harry Clark

The ordinary equatorial is designed and built for the latitude of the observatory where it is to be used. This is necessary since the hour axis must point to the north pole of the heavens whose elevation above the horizon is equal to the latitude of the observer's station. The final adjustment of an ordinary equatorial is very tedious so that when once set up it is not to be moved. This calls for a suitable house to protect the instrument. It has been the aim of the writer to build a very simple instrument for amateur work which would be adjustable to any latitude, so easily set up ready for work and so portable that it need not be left out of doors from one evening until the next.



The instrument is mounted on a tripod or piece of iron pipe carrying a short vertical rod of 3/8-in. steel. A rectangular wooden frame with suitable bearings rotates about this shaft. The frame has also two horizontal bearings carrying a short shaft to the end of which the frame carrying the hour axis is firmly clamped. By this arrangement of two perpendicular shafts the hour axis may be directed to any point in the heavens without care as to how the tripod or pipe is set up.

The frame for the hour axis is about 12 in. long with a bearing at each end. The shaft which it carries is 1/4-in. steel, carrying the hour circle at one end, and at the other the frame for the declination axis which is similar to the other, but somewhat lighter. The declination axis is also of 1/4-in. steel, carrying at one end the declination circle and the pointer at the other.

The entire frame of the instrument is made of cherry and it will save the builder much time if he will purchase cherry "furniture" which is used by printers and can be obtained from any printers' supply company. It is best quality wood free from imperfections in straight strips one yard long and of a uniform width of about 5/8 in. As to thickness, any multiple of 12-point (about 1/8 in.) may be obtained, thus saving much work in fitting up joints. Fifty cents will buy enough wood for an entire instrument. All corners are carefully mortised and braced with small brass angle-pieces. The frame is held together by small brass machine screws. After much experimentation with bearings, it was found best to make them in halves as metal bearings are usually made. The loose half is held in place by guides on all four sides and is tightened by two screws with milled nuts. A great deal of trouble was experienced in boring out the bearings until the following method was devised. One hole was bored as well as possible. The bearing was then loosened and a bit run through it to bore the other. Finally, a piece of shafting was roughened by rolling it on a file placed in both bearings and turned with a brace. The bearings were gradually tightened until perfectly ground.

The declination axis must be perpendicular to both the hour axis and the line of sight over the pointer. To insure this, a positive adjustment was provided. The end of the shaft is clamped in a short block of wood by means of a bearing like the ones described. One end of the block is hinged to the axis frame, while the other end is attached by two screws, one drawing them together, the other holding them apart. The axis is adjusted by turning these screws. Each shaft, save the one in the pipe, is provided with this adjustment.

The pointer is of two very thin strips placed at right angles and tapered slightly at each end. The clamp is attached as shown in the illustration. The eye piece is a black iron washer supported on a small strip of wood. The aperture should be 1/4 in., since the pupil of the eye dilates very much in darkness. The error due to large aperture is reduced by using a very long pointer which also makes it possible to focus the eye upon the front sight and the star simultaneously. The forward sight is a bright brass peg illuminated by a tiny electric lamp with a reflector to shield the eye. The pointer arranged in this way is a great improvement over the hollow tube sometimes used, since it allows an unobstructed view of the heavens while indicating the exact point in question.

The circles of the instrument are of aluminum, attached to the shafts by means of wooden clamps. They were nicely graduated by a home-made dividing engine of very simple construction, and the figures were engraved with a pantograph. The reading is indicated by a cut on a small aluminum plate attached to a pointer. The hour circle is divided into 24 parts and subdivided to every four minutes. The figures are arranged so that when the instrument is set up, the number of hours increases while the pointer travels oppositely to the stars. The declination circle is graduated from zero to 90 deg. in each direction from two points 180 deg. apart. It is, adjusted to read zero when the pointer and two axes are mutually perpendicular as shown in the picture.

To adjust the instrument it is set up on the iron pipe and the pointer directed to some distant object. All set screws, excepting those on the declination axis, are tightened. Then the pointer is carefully turned through 180 deg. and if it is not again directed to the same point, it is not perpendicular to the declination axis. When properly set it will describe a great circle. With the declination axis in an approximately horizontal position the place where the pointer cuts the horizon is noted. The declination axis is then turned through 180 deg., when the pointer should again cut at the same place. Proper adjustment will cause it to do so. It is desirable that the hour circle should read approximately zero when the declination axis is horizontal, but this is not necessary for a reason soon to be explained. All these adjustments, once carefully made, need not be changed.

In using the instrument the hour axis can be directed to the north pole by the following method. Point it approximately to the north star. The pole is 1 deg. and 15 min. from the star on a straight line from the star to "Mizar," the star at the bend of the handle in the Big Dipper. Turn the hour circle into a position where the pointer can describe a circle through "Mizar." Only a rough setting is necessary. Now turn the pointer so that a reading of 88 deg. 45 min. shows on the declination circle on that side of 90 which is toward "Mizar." When this is done, clamp both axes and turn the shafts in the base until the pointer is directed accurately to the north star. It is evident from a study of the picture that the position of the small pointer which indicates the reading on the hour circle is not independent of the way in which the tripod or pipe is set up. It would then be useless to adjust it carefully to zero when the pointer cuts the "zenith" as is done with a large equatorial. Instead, the adjustment is made by setting the clock or watch which is part of the outfit. The pointer is directed to Alpha, Cassiopiae, and the hour reading subtracted from 24 hours (the approximate right ascension of the star) gives the time which the clock should be set to indicate. All of these settings should require not more than five minutes.

To find a star in the heavens, look up its declination and right ascension in an atlas. Set the declination circle to its reading. Subtract the clock time from the right ascension (plus 24 if necessary) and set the hour circle to the result. The star will then be seen on the tip of the pointer.

To locate a known star on the map, turn the pointer to the star. Declination is read directly. Add the clock time to the hour reading to get right ascension. If the result is more than 24 hours, subtract 24.



** A Ground Glass Substitute [255]

Ordinary plain glass coated with the following mixture will make a good ground glass substitute: Dissolve 18 gr. of gum sandarac and 4 gr. of gum mastic in 3-1/2 dr.. of ether, then add 1 2-3 dr. benzole. If this will be too transparent, add a little more benzole, taking care not to add too much. Cover one side of a clear glass and after drying it will produce a perfect surface for use as a ground glass in cameras. —Contributed by Ray E. Strosnider, Plain City, Ohio.



** A Miniature War Dance [255]

A piece of paper, 3 or 4 in. long, is folded several times, as shown in the sketch, and the first fold marked out to represent one-half of an Indian. Cut out all the folds at one time on the dotted line and you will have as many men joined together as there were folds in the paper. Join the hands of the two end men with a little paste so as to form a circle of Indians holding hands.

The next thing to do is to punch holes in heavy cardboard that is large enough to cover a pot or stew pan, and



partially fill the vessel with water. Set this covered vessel over a heat and bring the water to a boiling point and then set the miniature Indians on the perforated cover. The dance will begin.

If the Indians are decked out with small feathers to represent the head gear and trailing plumes, a great effect will be produced. —Contributed by Maurice Baudier, New Orleans, La.



** Saving an Engine [255]

Turning the water on before starting the gas engine may prevent breaking a cylinder on a cold day.



** OLD-TIME MAGIC [256]

Removing 36 Cannon Balls from a Handbag

The magician produces a small handbag and informs the audience that he has it filled with 20-lb. cannon balls. He opens up the bag and takes out a ball which he passes to the audience



for examination. The ball is found to be the genuine article. He makes a few passes with the wand and produces another ball, and so on until 36 of them lie on the floor.

In reality the first ball, which is the one examined, is the real cannon ball, the others are spiral-spherical springs covered with black cloth (Fig. 1). These balls can be pressed together in flat disks and put in the bag, Fig. 2. without taking up any great amount of space. When the spring is released it will fill out the black cloth to represent a cannon ball that cannot be distinguished from the real article. —Contributed by J. F. Campbell, Somerville, Mass.



** A Rising Card Trick [256]

A rising card trick can be accomplished with very little skill by using the simple device illustrated. The only



things needed are four ordinary playing cards and a short rubber band. Pass one end of the rubber band through one card and the other end through the other card, as shown in the illustration, drawing the cards close together and fastening the ends by putting a pin through them. The remaining two cards are pasted to the first two so as to conceal the pins and ends of the rubber band.

Put the cards with the rubber band in a pack of cards; take any other card from the pack and show it to the audience in such a way that you do not see and know the card shown. Return the card to the pack, but be sure and place it between the cards tied together with the rubber band. Grasp the pack between your thumb and finger tightly at first, and by gradually loosening your hold the card previously shown to the audience will slowly rise out of the pack. —Contributed by Tomi O'Kawara, San Francisco, Cal.



** Sliding Box Cover Fastener [256]



While traveling through the country as a watchmaker I found it quite convenient to keep my small drills, taps, small brooches, etc., In boxes having a sliding cover. To keep the contents from spilling or getting mixed in my case I used a small fastener as shown in the accompanying illustration, The fastener is made of steel or brass and fastened by means of small screws or tacks on the outside of the box. A hole is drilled on the upper part to receive the pin that is driven into the sliding cover. This pin should not stick out beyond the thickness of the spring, which is bent up at the point so the pin will freely pass under it. The pin can be driven through the cover to prevent it from being pulled entirely out of the box. —Contributed by Herm Grabemann, Milwaukee, Wis.



** How to Chain a Dog [257]

A good way to chain a dog and give him plenty of ground for exercise is to stretch a clothesline or a galvanized



wire between the house and barn on which is placed a ring large enough to slide freely. The chain from the dog's collar is fastened to the ring. This method can also be used for tethering a cow or horse, the advantage being the use of a short tie rope eliminating the possibility of the animal becoming entangled.



** Water-Color Box [257]

There are many different trays in the market for the purpose of holding water colors, but they are either too expensive for the average person or too small to be convenient. I do a great deal of water-color work and always felt the need of a suitable color dish. At last I found something that filled my want and suited my pocketbook. I bought 22 individual salt dishes and made a box to hold them, as shown in the illustration. This box has done good service.

Some of the advantages are: Each color is in a separate dish which can be easily taken out and cleaned; the dishes are deep enough to prevent spilling the colors into the adjoining ones, and the box can be made as big or as small as individual needs require. The tray containing the color dishes and brushes rests on 1/4-in. round pieces 2-1/4 in. from the bottom of the box, thus giving ample store room for colors, prints, slides and extra brushes.



—Contributed by B. Beller, Hartford, Connecticut.



** Saving Ink Pens [257]

Ink usually corrodes pens in a short time. This can be prevented by placing pieces of steel pens or steel wire in the ink, which will absorb the acid and prevent it from corroding the pens.



** A Plant-Food Percolator [258]

Obtain two butter tubs and bore a large number of 1/4-in. holes in the bottom of one, then cover the perforated part with a piece of fine brass gauze (Fig. 1), tacking the gauze well at the corners. The other tub should be fitted with a faucet of some kind—a wood faucet, costing 5 cents, will answer the purpose. Put the first tub on top of the other with two narrow strips between them (Fig. 2). Fill the upper tub, about three-fourths full, with well packed horse manure, and pour water on it until it is well soaked. When the water has percolated through into the lower tub, it is ready to use on house and garden plants and is better than plain water, as it adds both fertilizer and moisture. —Contributed by C. O. Darke, West Lynn, Mass.



** Lathe Safety [258]

Always caliper the work in a lathe while it is standing still. Never use the ways of a lathe for an anvil or storage platform.



** Folding Quilting-Frames [258]

The frame in which the material is kept stretched when making a quilt is usually too large to be put out of the way conveniently when other duties must be attended to; and especially are the end pieces objectionable. This can be remedied by hinging the ends so they will fold underneath to the center. The end pieces are cut in two at one-fourth their distance from each end, a hinge screwed to the under side to hold them together, and a hook and eye fastened on the other side to hold the parts rigid when they are in use. When the ends are turned under, the frame is narrow enough to be easily carried from one room to another, or placed against a wall.



** A Drip Shield for the Arms [258]

When working with the hands in a pan of water, oil or other fluid, it is very disagreeable to have the liquid run down the arms, when they are raised from the pan, often to soil the sleeves of a clean garment. A drip shield which will stop the fluid and cause it to run back into the pan can be easily made from a piece of sheet rubber or, if this is not available, from a piece of the inner tube of a bicycle tire. Cut a washer with the hole large enough to fit snugly about the wrist, but not so tight as to stop the



circulation of the blood. A pair of these shields will always come in handy. —Contributed by L. M. Eifel, Chicago.



** How to Cane Chairs [259]

There are but few households that do not have at least one or two chairs without a seat or back. The same households may have some one who would enjoy recaning the chairs if he only knew how to do it, and also make considerable pin money by repairing chairs for the neighbors. If the following directions are carried out, new cane seats and backs can easily be put in chairs where they are broken or sagged to an uncomfortable position.

The first thing necessary is to remove the old cane. This can be done by turning the chair upside down and, with the aid of a sharp knife or chisel, cutting the cane between the holes. After this is done the old bottom can be pulled out. If plugs are found in any of the holes, they should be knocked out. If the beginner is in doubt about finding which holes along any curved sides should be used for the cane running nearly parallel to the edge, he may find it to his advantage to mark the holes on the under side of the frame before removing the old cane.

The worker should be provided with a small sample of the old cane. At any first-class hardware store a bundle of similar material may be secured.

The cane usually comes in lengths of about 15 ft. and each bundle contains



enough to reseat several chairs. In addition to the cane, the worker should provide himself with a piece of bacon rind, a square pointed wedge, as shown in Fig. 1, and 8 or 10 round wood plugs, which are used for temporarily holding the ends of the cane in the holes.



A bucket of water should be supplied in which to soak the cane just before weaving it. Several minutes before you are ready to begin work, take four or five strands of the cane, and, after having doubled them up singly into convenient lengths and tied each one into a single knot, put them into the water to soak. The cane is much more pliable and is less liable to crack in bending when worked while wet. As fast as the soaked cane is used, more of it should be put into the water.

Untie one of the strands which has been well soaked, put about 3 or 4 in. down through the hole at one end of what is to be the outside strand of one side and secure it in this hole by means of one of the small plugs mentioned. The plug should not be forced in too hard nor cut off, as it must be



removed again. The other end of the strand should be made pointed and passed down through the hole at the opposite side, and, after having been pulled tight, held there by inserting another plug. Pass the end up through the next hole, then across and down, and hold while the second plug is moved to the last hole through which the cane was drawn. In the same manner proceed across the chair bottom. Whenever the end of one strand is reached, it should be held by a plug, and a new one started in the next hole as in the beginning. No plugs should be permanently removed until another strand of cane is through the same hole to hold the first strand in place. After laying the strands across the seat in one direction, put in another layer at right angles and lying entirely above the first layer. Both of these layers when in place appear as shown in one of the illustrations.

After completing the second layer, stretch the third one, using the same holes as for the first layer. This will make three layers, the first being hidden by the third while the second layer is at right angles to and between the first and third. No weaving has been done up to this time, nothing but stretching and threading the cane through the holes. The cane will have the appearance shown in Fig. 3. The next thing to do is to start the cane across in the same direction as the second layer and begin the weaving. The top or third layer strands should be pushed toward the end from which the weaving starts, so that the strand being woven may be pushed down between the first and third layers and up again between pairs. The two first strands of the fourth layer are shown woven in Fig. 3. During the weaving, the strands should be lubricated with the rind of bacon to make them pass through with ease. Even with this lubrication, one can seldom weave more than half way across the seat with the pointed end before finding it advisable to pull the remainder of the strand through. After finishing this fourth layer of strands, it is quite probable that each strand will be about midway between its two neighbors instead of lying close to its mate as desired, and here is where the square and pointed wedge is used. The wedge is driven down between the proper strands to move them into place.

Start at one corner and weave diagonally, as shown in Fig. 4, making sure that the strand will slip in between the two which form the corner of the square in each case. One more weave across on the diagonal and the seat will be finished except for the binding, as shown in Fig. 5. The binding consists of one strand that covers the row of holes while it is held down with another strand, a loop over the first being made every second or third hole as desired. It will be of great assistance to keep another chair with a cane bottom at hand to examine while recaning the first chair. —Contributed by M. R. W.



** Repairing a Cracked Composition Developing Tray [260]

Fill the crack with some powdered rosin and heap it up on the outside. Heat a soldering-iron or any piece of metal enough to melt the rosin and let it flow through the break. When cool, trim off the surplus rosin. If handled with a little care, a tray repaired in this manner will last a long time. The chemicals will not affect the rosin. —Contributed by E. D. Patrick, Detroit, Michigan.



** How to Lay Out a Sundial [261]

The sundial is an instrument for measuring time by using the shadow of the sun. They were quite common in ancient times before clocks and watches were invented. At the present time they are used more as an ornamentation than as a means of measuring time, although they are quite accurate if properly constructed. There are several different designs of sundials, but the most common, and the one we shall describe in this article, is the horizontal dial. It consists of a flat circular table, placed firmly on a solid pedestal and having a triangular plate of metal, Fig. 1, called the gnomon, rising from its center and inclined toward the meridian line of the dial at an angle equal to the latitude of the place where the dial is to be used. The shadow of the edge of the triangular plate moves around the northern part of the dial from morning to afternoon, and thus supplies a rough measurement of the hour of the day.

The style or gnomon, as it always equals the latitude of the place, can be laid out as follows: Draw a line AB, Fig. 1, 5 in. long and at the one end erect a perpendicular BC, the height of which is taken from table No. 1. It may be necessary to interpolate for a given latitude, as for example, lat. 41 degrees-30'. From table No. 1 lat. 42 degrees is 4.5 in. and for lat. 40 degrees, the next smallest, it is 4.2 in. Their difference is .3 in. for 2 degrees, and for 1 degrees it would be .15 in. For 30' it would be 1/2 of 1 degrees or .075 in. All added to the lesser or 40 degrees, we have 4.2+.15+.075 in.= 4.42 in. as the height of the line BC for lat. 41 degrees-30'. If you have a table of natural functions, the height of the line BC, or the style, is the base (5 in. in this case) times the tangent of the degree of latitude. Draw the line AD, and the angle BAD is the correct angle for the style for the given



TABLE No. 1.

Height of stile in inches for a 5in. base, for various latitudes

Latitude Height Latitude Height 25 2.33 42 4.50 26 2.44 44 4.83 27 2.55 46 5.18 28 2.66 48 5.55 30 2.89 50 5.96 32 3.12 52 6.40 34 3.37 54 6.88 36 3.63 56 7.41 38 3.91 58 8.00 40 4.20 60 8.66

latitude. Its thickness, if of metal, may be conveniently from 1/8 to 1/4 in. ; or if of stone, an inch or two, or more, according to the size of the dial. Usually for neatness of appearance the back of the style is hollowed as shown. The upper edges which cast the shadows must be sharp and straight, and for this size dial (10 in. in diameter) they should be about 7-1/2 in. long.

To layout the hour circle, draw two parallel lines AB and CD, Fig. 2, which will represent the base in length and thickness. Draw two semi-circles, using the points A and C as centers, with a radius of 5 in. The points of intersection with the lines AB and CD will be the 12 o'clock marks. A line EF drawn through the points A and C, and perpendicular to the base or style, and intersecting the semicircles, gives the 6 o'clock points. The point marked X is to be used as the center of the dial. The intermediate hour and half-hour lines can be plotted by using table No. 2 for given latitudes, placing them to the right or left of the 12-o'clock points. For latitudes not given, interpolate in the same manner as for the height of the style. The

Table NO. 2. Chords in inches for a 10 in. circle Sundial.

Lat HOURS OF DAY 12-30 1 1-30 2 2-30 3 3-30 4 4-30 5 5-30 11-30 11 10-30 10 9-30 9 8-30 8 7-30 7 6-30 20 .28 .56 .87 1.19 1.57 1.99 2.49 3.11 3.87 4.82 5.93 30 .33 .66 1.02 1.40 1.82 2.30 2.85 3.49 4.26 5.14 6.10 35 .38 .76 1.16 1.59 2.06 2.57 3.16 3.81 4.55 5.37 6.23 40 .42 .85 1.30 1.77 2.27 2.82 3.42 4.07 4.79 5.55 6.32 45 .46 .94 1.42 1.93 2.46 3.03 3.64 4.29 4.97 5.68 6.39 50 .50 1.01 1.53 2.06 2.68 3.21 3.82 4.46 5.12 5.79 6.46 55 .54 1.08 1.63 2.19 2.77 3.37 3.98 4.60 5.24 5.87 6.49 60 .57 1.14 1.71 2.30 2.89 3.49 4.10 4.72 5.34 5.93 6.52

1/4-hour and the 5 and 10-minute divisions may be spaced with the' eye or they may be computed.

When placing the dial in position, care must be taken to get it perfectly level and have the style at right angles to the dial face, with its sloping side pointing to the North Pole. An ordinary compass, after allowing for the declination, will enable one to set the dial, or it may be set by placing it as near north and south as one may judge and comparing with a watch set at standard time. The dial time and the watch time should agree after the watch has been corrected for the equation of time from table No. 3, and for the difference between standard and local time, changing the position of the dial until an agreement is reached. Sun time and standard time agree only four times a year, April 16, June 15, Sept. 2 and Dec. 25, and on these dates the dial needs no correction. The corrections for the various days of the month can be taken from Table 3. The + means that the clock is faster, and the means that the dial is faster than the sun. Still another correction must be made which is constant for each given locality. Standard time is the correct time for longitude 750 New York, 900 Chicago, 1050 Denver and 1200 for San Francisco. Ascertain in degrees of longitude how far your dial is east or west of the nearest standard meridian and divide this by 15, reducing the answer to minutes and seconds, which will be the correction in minutes and seconds of time. If the dial is east of the meridian chosen, then the watch is slower; if west, it will be faster. This correction can be added to the values in table No. 3, making each value slower when it is east of the standard meridian and faster when it is west.

The style or gnomon with its base can be made in cement and set on a cement pedestal which has sufficient base placed in the ground to make it solid.

The design of the sundial is left to the ingenuity of the maker. —Contributed by J. E. Mitchell, Sioux City, Iowa.

Table No. 3

Corrections in minutes to change. Sun time to local mean time,- add those marked + subtract those Marked - from Sundial lime.

Day of month 1 10 20 30 January +3 +7 +11 +13 February +14 +14 +14 March +13 +11 +8 +5 April +4 +2 -1 -3 May -3 -4 -4 -3 June -3 +1 +1 +3 July +3 +5 +6 +6 August +6 +5 +3 +1 September +0 -3 -5 -10 October -10 -13 -15 -16 November -16 -16 -14 -11 December -11 -7 -3 +2



** Imitation Arms and Armor-Part IV [263]

The ancient arms of defense as shown in the accompanying illustrations make good ornaments for the den if they are cut from wood and finished in imitation of the real weapon. The designs shown represent original arms of the sixteenth and seventeenth centuries. As they are the genuine reproductions, each article can be labelled with the name, adding to each piece interest and value, says the English Mechanic, London.

Each weapon is cut from wood. The blades of the axes and the cutting edges of the swords are dressed down and finished with sandpaper and the steel parts represented by covering the wood with tinfoil. When putting on the tinfoil, brush a thin coat of glue on the part to be covered and quickly lay on the foil. If a cutting edge is to be covered the tinfoil on one side of the blade must overlap the edge which is pasted on the opposite side. The other side is then covered with the tinfoil of a size that will not quite cover to the cutting edge. After laying the foil and allowing time for the glue to dry, wipe the surface with light strokes up and down several times using a soft piece of cloth.



A French partisan of the sixteenth century is shown in Fig. 1. The weapon is 6-1/2 ft. long with a round handle having the same circumference for the entire length which is covered with crimson cloth or velvet and studded all over with round-headed



brass nails. The spear head is of steel about 15 in. long from the point where it is attached to the handle. The widest part of the blade from spear to spear is about 8 in. The length of the tassel or fringe is about 4 in.

Figure 2 shows a German military fork of the sixteenth century, the length of which is about 5 ft. with a handle of wood bound with heavy cord in a spiral form and the whole painted a dark color. The entire length of the fork from the handle to the points is about 10 in., and is coveted with tinfoil in imitation of steel.

A Swiss halberd of the sixteenth century is shown in Fig. 3. This combination of an axe and spear is about 7 ft. long from the point of the spear to the end of the handle, which is square. The spear and axe is of steel with a handle of plain dark wood. The holes in the axe can be bored or burned out with red-hot iron rods, the holes being about 1/4 in. in diameter.

Figure 4 shows an Austrian officers' spontoon, used about the seventeenth century. It is about 6 ft. long with a round wooden handle. The spear head from its point to where fixed on the handle is about 9 in. long. The edges are sharp. The cross bar which runs through the lower end of the spear can



be made in two pieces and glued into a hole on each side. The length of this bar is about 5 in. The small circular plate through which the bar is fixed can be cut from a piece of cardboard and glued on the wooden spear.

A gisarm or glaive, used by Italians in the sixteenth century, is shown in Fig. 5. The entire length is about 6-1/2 ft. The blade is engraved steel with a length of metal work from the point of the spear to where it joins the handle or staff of about 18 in. It has a round wooden handle painted black or dark brown. The engraved work must be carved in the wood and when putting the tinfoil on, press it well into the carved depressions.

Figure 6 shows a Saxon voulge of the sixteenth century, 6 ft. long, with a round wood handle and a steel axe or blade, sharp on the outer edge and held to the handle by two steel bands, which are a part of the axe. The bands can be made of cardboard and glued on to the wood axe. These bands can be made very strong by reinforcing the cardboard with a piece of canvas. A small curved spear point is carved from a piece of wood, covered with tinfoil and fastened on the end of the handle as shown. The band of metal on the side is cut from cardboard, covered with tinfoil and fastened on with round-headed brass or steel nails.

A very handsome weapon is the German halberd of the sixteenth century which is shown in Fig. 7. The entire length is about 6-1/2 ft., with a round wooden handle fitted at the lower end with a steel ornament. The length of the spear point to the lower end where it joins on to the handle is 14 in. The extreme width of the axe is 16 or 17 in. The outer and inner edges of the crescent-shaped part of the axe are sharp. This axe is cut out with a scroll or keyhole saw and covered with tinfoil.

An Italian ranseur of the sixteenth century is shown in Fig. 8. This weapon is about 6 ft. long with a round staff or handle. The entire length of the metal part from the point of the spear to where it joins the staff is 15 in. The spear is steel, sharp on the outer edges.

Figure 9 shows a tilting lance with vamplate used in tournaments in the sixteenth century. The wood pole is covered with cloth or painted a dark color. At the end is a four-pronged piece of steel. The vamplate can be made of cardboard covered with tinfoil to represent steel and studded with brass nails. The extreme length is 9 ft.

The tassels or fringe used in decorating the handles can be made from a few inches of worsted fringe, about 4 in. long and wound around the handle or staff twice and fastened with brass-headed nails.



** An Emergency Babbitt Ladle [264]

Take an old stove leg and rivet a handle on it and then break the piece off which fastens on the stove. The large and rounding part of the leg makes the bowl of the ladle. This ladle will be found convenient for melting babbitt or lead. —Contributed by R. H. Workman, Loudonville, Ohio.



** How to Make Japanese Portieres [265]

These very useful and ornamental draperies can be easily made at home by anyone possessing a little ingenuity. They can be made of various materials, the most durable being bamboo, although beads of glass or rolled paper will produce good results. Substances such as straw, while readily adaptable



and having a neat appearance, are less durable and will quickly show wear. The paper beads are easily made as shown in Figs. 1, 2 and 3. In Figs. 1 and 2 are shown how the paper is cut tapering, and as it appears after rolling and gluing down the ends. A straight paper bead is shown in Fig. B.

The first step is to select the kind of beads desired for stringing and then procure the hanging cord. Be sure to get a cord of such size that the beads will slip on readily and yet have the least possible lateral movement. This is important to secure neatness. One end of each cord is tied to a round piece of wood, or in holes punched in a leather strap. Iron or brass rings can be used if desired.

Cut all the cords the same length, making allowance for the number of knots necessary to produce the design selected. Some designs require only one knot at the bottom. It is best to make a rough sketch of the design on paper. This will greatly aid the maker in carrying on the work.

When the main part of the screen is finished, the cross cords, used for spacing and binding the whole together, are put in place. This is done with a needle made from a piece of small wire, as shown in Fig. 4. The cross cords are woven in as shown in Fig. 5. As many of these cross cords can be put in as desired, and if placed from 6 to 12 in. apart, a solid screen will be made instead of a portiere. The twisted cross cords should be of such material, and put through in such manner that they will not be readily seen. If paper beads are used they can be colored to suit and hardened by varnishing. The first design shown is for using bamboo. The cords are knotted to hold the bamboo pieces in place. The finished portiere will resemble drawn work in cloth. Many beautiful hangings can be easily fashioned.

The second design is to be constructed with a plain ground of either straw, bamboo or rolled paper. The cords are hung upon a round stick with rings of metal to make the sliding easy. The design is made by stringing beads of colored glass at the right places between the lengths of ground material. One bead is placed at the extreme end of each cord. The rows of twisted cord placed at the top keep the strings properly spaced. —Contributed by Geo. M. Harrer, Lockport, New York.



** Makeshift Camper's Lantern [266]

While out camping, our only lantern was accidentally smashed beyond repair, and it was necessary to devise something that would take its place.



We took an empty tomato can and cut out the tin, 3 in. wide, for a length extending from a point 2 in. below the top to within 1/4 in. of the bottom. Each side of the cut-out A was bent inward in the shape of a letter S, in which was placed a piece of glass. Four V-shaped notches were cut, as shown at B, near the top of the can and their points turned outward. A slit was cut in the bottom, shaped as shown at C, and the pointed ends thus formed were turned up to make a place for holding the base of a candle. A larger can was secured and the bottom perforated. This was turned over the top of the other can. A heavy wire was run through the perforations and a short piece of broom handle used to make a bail. —Contributed by Maurice Baudier, New Orleans, La.



** New Tires for Carpet-Sweeper Wheels [266]

The rubber tires on carpet-sweeper wheels often become so badly worn and streched that they fail to grip the carpet firmly enough to run the sweeper. To remedy this, procure some rubber tape a little wider than the rims of the old wheels, remove the old rubber tires and wind the tape on the rims to the proper thickness. Trim the edges with a sharp knife and rub on some chalk or soapstone powder to prevent the tape from sticking to the carpet. A sweeper treated in this manner will work as well as a new one. —Contributed by W. H. Shay, Newburgh, N. Y.



** Gauntlets on Gloves [266]

When the fingers or palms of gloves with gauntlets wear out, do not throw away the gloves, but cut off the gauntlets and procure a pair of gloves with short wrists to which the old gauntlets can be sewn after the wrist bands have been removed from the new gloves. The sewing may be done either by hand or on a machine, gathering in any fullness in the bellows of the cuff on the under side. A pair of gauntlets will outwear three or four pairs of gloves. —Contributed by Joseph H. Sanford, Pasadena, Cal.



** How to Make an Ornamental Brass Flag [266]

The outlines of the flag—which may be of any size to suit the metal at hand—and the name are first drawn on a sheet of thin paper and then transferred to the brass by tracing through a sheet of carbon paper. The brass should be somewhat larger than the design.

The brass is fastened to a block of soft wood with small nails driven through the edges. Indent the name and outline of the flag with a small chisel with the face ground flat, about 1/16 in. wide. This should be done gradually, sinking the lines deeper and deeper by going over them a number of times. After this is finished, the brass is loosened from the block, turned over but not fastened, and the whole outside of and between the letters is indented with the rounded end of a nail, giving the appearance of hammered brass.

The edges are now cut off and four holes drilled, two for the chain by which to hang the flag to the wall, and two along the side for attaching the staff. The staff is a small brass rod with a knob attached to the top end.

It would be well to polish the brass at first, if the finished work is to be



bright, as it cannot be done after the flag is completed. A coat of lacquer is applied to keep it from tarnishing. This is done by heating the brass and quickly applying a coat of shellac. —Contributed by Chas. Schaffner, Maywood, Ill.



** An Adjustable Punching-Bag Platform [267]

A punching-bag platform, suitable for the tall athlete as well as the small boy, is shown in the accompanying sketch. The platform is securely fastened to two strong wooden arms or braces, which in turn are nailed to a 2 by 12-in. plank as long as the diameter of the platform. This plank, as shown in the small drawing at the upper left-hand corner of the sketch, is placed in grooves or slots fastened against the side of a wall. The plank with the platform attached may be raised or lowered to the desired height and held there by a pin or bolt put through the bolt-hole of the plank and into a hole in the wall. —Contributed by W. A. Jaquythe, Richmond, Cal.



** Clasp for Holding Flexible Lamp Cords [267]

A very easily made drop-light adjuster is shown in the illustration. It consists of a piece of copper wire 7/8 in. in diameter, bent as shown. This clasp is capable of standing a strong pull and will hold the lamp and socket with a glass shade. —E. K. Marshall, Oak Park, Ill.



** Protect Camel Hair Brushes [267]

Camel hair brushes for painters' use should never be allowed to come in contact with water.



** Home-Made Electric Clock [268]

The clock illustrated herewith is driven by means of electromagnets acting directly on the pendulum bob. Unlike most clocks, the pendulum swings



forward and backward instead of laterally. The construction is very simple, and the result is not only novel but well worth while, because one does not have to bother about winding a clock, such as this one, says the Scientific American.

The clock is mounted on a wooden base measuring 3-3/4 by6-1/2 in., by 1-5/16 in. thick. Secured centrally on this base is a 1/8 by 3/4-in. bar, 6 in. long and at each side of this, 5/16 in. away, is an electromagnet, 3/4 in. in diameter and 1-7/16 in. high. Two uprights, 7-1/2 in. high and 1/4 in. in diameter, are secured in the base bar, and are connected at the top by a brass yoke piece on which the clock frame is supported. Just below the yoke piece a hole is drilled in each upright to receive the pivot pins of the crosspiece secured to the upper end of the pendulum rod. The pendulum bob at the lower end is adjusted to swing just clear of the electromagnets. Mounted at the right-hand side of the base are three tall binding-posts, the center one being 2-3/4 in. high, and the other two 2-5/8 in. high. Each is fitted with a piece of copper wire provided with a small brass spring tip. These springs lie in the plane of the pendulum, which serves to swing the central tip first against one and then against the other of the side tips, thereby closing the circuit of first one magnet and then the other. Each magnet attracts the pendulum until its circuit is broken by release of the center tip, and on the return swing of the pendulum the circuit of the other magnet is similarly closed. Thus the pendulum is kept in motion by the alternate magnetic impulses. The clock train is taken from a standard clock and the motion of the pendulum is imparted to the escape wheel by means of a pawl, bearing on the latter, which is lifted at each forward stroke of the pendulum by an arm projecting forward from the pivotal end of the pendulum rod.



** Method of Joining Boards [268]

The amateur wood-worker often has trouble in joining two boards together so that they will fit square and tight. The accompanying sketch shows a simple and effective method of doing this. Secure a board, A, about 12 in. wide that is perfectly flat. Fasten another board, B, about 6 in. wide, to the first one with screws or glue. Now place the board to be joined, C, on the board B, letting it extend over the inside edge about 1 in. and fastening it to the others with clamps at each end. Lay the plane on its side and plane the edge straight. Place the second board in the clamps in the same manner as the first, only have the opposite side up. If the cutting edge of the blade is not vertical, the boards planed in this manner will fit as shown in the upper sketch. In using this method, first-class joints can be made without much trouble. —Contributed by V. Metzech, Chicago.



** Toy Gun for Throwing Cardboard Squares [269]

The parts of the gun are attached to a thin piece of wood 1 in. wide and 5 in. long. It is best to use a piece of wood cut from the side or cover of a cigar box. A rectangular hole 3/16 in. wide and 1 in. long is cut in the wood longitudinally along its axis and 1-3/8 in. from one end, as shown at A, Fig. 1. A small notch is made with the point of a knife blade at B and notches are cut in the end of the wood as shown at C. Rubber bands are fastened in these notches as shown in Fig. 2. The trigger, whose dimensions are given in Fig. 3, is fastened in the hole A, Fig. 1, by driving a pin through the wood. The assembled parts are shown in Fig. 4.

Place the cardboard square in the nick B, attach the rubber bands and pull the trigger. The top rubber band will fly off and drive the cardboard



square 75 ft. or more. The cardboard should be about 1/2 in. square. These can be cut from any old pasteboard box. —Contributed by Elmer A. Vanderslice, Phoenixville, Pa.



** Photographic Developing Tray [269]

Plates developed in an ordinary tray must be removed from the bath occasionally for examination. The film when in a chemical-soaked condition is easily damaged. The tray illustrated herewith was made for the purpose of developing plates without having to take hold of them until the bath had completed its work, the examination being made through the plate and the bottom of the tray.

A pocket is provided for the liquid developer in one end of the tray when it



is turned up in a vertical position. A tray for developing 5 by 7-in. plates should be made 8 in. square inside. The side pieces with the grooves for the glass are shown in Fig. 1. Two of each of these pieces are made with mitered ends. The short groove shown in the top piece of the illustration is for inserting the plate covering on the pocket end of the tray.

Two blocks, one-half the length of the side pieces, are put in between the glass plates to hold the plate being developed from dropping down when the tray is tipped up in a vertical position. The glass bottom of the tray is 8-1/2 in. square, which allows 1/4 in. on all edges to set in the grooves of the side pieces. The wood pieces should be well soaked in hot paraffin, and the mitered corners well glued and nailed. —Contributed by J.A. Simonis, Fostoria, Ohio.



** Iron Putty [269]

A good filler used as a putty on iron castings may be made as follows: Take, by weight, 3 parts of stiff keg lead, 5 parts of black filler, 2 parts of whiting, 5 parts of pulverized silica and make into a paste with a mixture of one part each of coach japan, rubbing varnish and turpentine.



** Rubber Bands in Kite Balancing Strings [270]

Kite flyers will find it to their advantage to place rubber bands of



suitable size in the balancing strings to the kite, as shown in the illustration. This will prevent a "break-away" and also make the right pull, if only two bands are put in the lower strings. —Contributed by Thos. DeLoof, Grand Rapids, Michigan.



** An Aid in Sketching [270]

Sketching requires some little training, but with the apparatus here illustrated an inexperienced person can obtain excellent results. The apparatus is made of a box 8 in. deep, 8 in. wide and about 1 ft. long. A double convex lens, G, is fitted in a brass tube which should have a sliding fit in another shorter and larger tube fastened to the end of the box. A mirror, II, is set at an angle of 45 deg.



in the opposite end of the box. This reflects the rays of light passing through the lens to the surface K, which may be either of ground or plain glass. The lid or cover EF protects the glass and keeps the strong light out when sketching. The inside of the box and brass tube are painted a dull black.

In use, the device is set with the lens tube directed toward the scene to be painted or sketched and the lens focused so the reflected picture will be seen in sharp detail on the glass. Select your colors and put them on the respective colors depicted on the glass. If you wish to make a pencil drawing, all you have to do is to fill in the lines in the picture on the ground glass. If a plain glass is used, place tracing paper on its surface, and the picture can be drawn as described.



** How to Make Miniature Electric Lamp Sockets [270]

A socket for a miniature lamp can be made as shown in the sketch. A brass spring wire is wound around the base of the threads on the lamp and an eye turned on each end to receive a screw and a binding-post, as shown in Fig. 1. A piece of metal, preferably copper, is attached to a wood base as shown in Fig. 2 and the coil-spring socket fastened across it in the opposite direction. Bend the wire so that the spring presses the lamp against the metal. If the wire fits the lamp loosely, remove the lamp and press the sides of the coil closer together. The metal parts can



be attached to any smooth surface of wood without making a regular base. —Contributed by Abner B. Shaw, No. Dartmouth, Mass.



** Imitation Arms and Armor-Part V [271]

The preceding chapters gave descriptions of making arms in imitation of ancient weapons, and now the amateur armorer must have some helmets to add to his collection. There is no limit to the size of the helmet, and it may be made as a model or full sized. In constructing helmets, a mass of clay of any kind that is easily workable and fairly stiff, is necessary, says the English Mechanic, London. It must be kept moist and well kneaded. A large



Board or several planks, joined closely together, on which to place the clay, will be necessary. The size of this board will depend on the size of the work that is intended to be modeled upon it.

The way to make a helmet is described in the following method of producing a German morion, shown in Fig. 1. This helmet has fleur-de-lis in embossed work, and on each side is a badge of the civic regiment of the city of Munich. The side view of the helmet is shown in Fig. 1.

The clay, is put on the board and modeled into the shape shown in Fig. 2. This is done with the aid of a pair of compasses, a few clay-modeling tools, and the deft use of the fingers. The fleur-de-lis are slightly raised, as in bas-relief. To aid in getting the helmet in correct proportion on both sides, and over the crest on top, cut out the shape from a piece of wood, as shown in Fig. 3, with a keyhole saw. This wood being passed carefully and firmly over the clay will bring it into shape, and will also show where there may be any deficiencies in the modeling, which can then be easily remedied by adding more clay. The cut-out pattern shown in Fig. 4 is the side outline of the helmet.

Scraps of thin, brown, wrapping paper are put to soak in a basin of water to which has been added about a tablespoonful of size melted and well stirred, or some thin glue, and left over night to soak. The paper should be torn in irregular shapes about as large as the palm of the hand. After the clay model is finished, give it a thin coat of oil-sweet or olive oil will answer the purpose very well. All being ready, the clay model oiled, and the basin of soaked paper near to hand, take, up one piece of paper at a time and very carefully place it upon the model, pressing it well on the clay and into and around any crevices and patterns, and continue until the clay is completely covered.

This being done, give the paper a thin and even coating of glue, which must be quite hot and put on as quickly



as possible. Put on a second layer of paper as carefully as before, then another coating of glue, and so on, until there are from four to six coats of glue and paper. When dry, the paper coating should be quite stout and strong enough for the helmet to be used for ornamental purposes. Before taking it off the model, which should be no difficult matter, owing to the clay being oiled, trim off any ragged edges of paper with a sharp knife, and smooth and finish all over with some fine sandpaper. The paper is then given a thin coat of glue and sections of tinfoil stuck on to give it a finished appearance. When the helmet is off the model, make holes with a small awl at equal distances, through which to insert some fancy brass nails, bending the points over and flat against the inside of the helmet.

A vizor helmet is shown in Fig. 5. This helmet has a movable vizor in the front that can be lifted up, a crest on top, and around the neck a narrow gorget which rests upon the wearer's shoulders. The whole helmet with the exception of the vizor, should be modeled and made in one piece. The vizor can then be made and put in place with a brass-headed nail on each side. The oblong slits in front of the vizor must be carefully marked out with a pencil and cut through with a knife or chisel.

In Fig. 6 is shown an Italian casque of a foot soldier of the sixteenth century. This helmet may have the appearance of being richly engraved as shown in one-half of the drawing, or, a few lines running down, as seen in the other part of the sketch, will make it look neat. The band is decorated with brass studs.

An Italian cabasset of the sixteenth century is shown in Fig. 7. This helmet is elaborately decorated with fancy and round-headed nails, as shown: in the design.

In Fig. 8 is shown a large bassinet with a hinged vizor which comes very much forward, so as to allow the wearer to breathe freely. This helmet was worn about the sixteenth century, and was probably used for tilting and tournaments.

A burgonet skull-cap of the seventeenth century is shown in Fig. 9. The vizor is composed of a single bar of metal, square in shape, which slides up and down in an iron socket attached to the front of the helmet, and is held in any position by a thumbscrew as shown in the illustration.

A hole in the peak of the helmet allows it to hang in front of the wearer's face. This contrivance should be made of wood, the helmet to be modeled in three pieces, the skullcap, peak and lobster shell neck guard in one piece, and the ear guards in two pieces, one for each side. The center of the ear guards are perforated. All of the helmets are made in the same manner as described for Fig. 1. They are all covered with tinfoil.



** How to Repair Linoleum [273]

A deep crack or fissure right in front of the kitchen cabinet spoiled the appearance of the new linoleum. The damaged spot was removed with a sharp knife and from a left-over scrap a piece was cut of the same outline and size. The edges were varnished and then the patch was set in the open space. The linoleum was given a good coat of varnish making it more durable. When perfectly dry, the piecing could not be detected. —Contributed by Paul Keller, Indianapolis, Indiana.



** How to Make an Electric Stove [273]

The parts necessary for making an electric stove are: Two metal pie plates of the same size; 4 lb. of fire clay; two ordinary binding posts; about 1 lb. of mineral wool, or, if this cannot be obtained, thick sheet asbestos; one oblong piece of wood, 1 in. thick, 12 in. wide and 15 in. long; one small switch; one fuse block; about 80 ft. of No. 22 gauge resistance wire, German-silver wire is better, as it stands a higher temperature; two middle-sized stove bolts with nuts; one glass tube, about 1/4 in. in diameter and 9 in. long, which can be bought from a local druggist, and two large 3-in. screws.

If a neat appearance is desired, the wood can be thoroughly sandpapered on one side and the corners and edges rounded off on the upper side. Punch holes in one of the pie plates, as shown in Fig. 1. The two holes, E and F, are on the rim and should be exactly on a line with the hole D punched in the center. The holes B and C are about 3 in. apart and should be at equal distances from the center hole D. The rim of the second plate is drilled to make two holes, AA, Fig. 2, that will match the holes E and F in the first plate, Fig. 1. A round collar of galvanized iron, FF, Fig. 4, 3 in. high, is made with a diameter to receive the first plate snugly. Two small flaps are cut and turned out and holes punched in their centers, AA, to receive screws for holding it to the base. Two bolts are soldered in the holes E and F, Fig. 1, and used to hold the



rims of both plates together, when they are placed in opposite positions, as shown in Fig. 4. This will make an open space between the plates. The collar is then screwed to one end of the base, as shown in Fig. 2.

Two holes are bored through the base to correspond with the holes D and A in the bottom plate. The glass tube is cut to make two pieces, each 4-1/2 in. long. This can be done easily by filing a nick in the tube at the proper point and breaking it. These tubes are forced into the holes bored in the base, and, if the measurements are correct, should extend about 1/4 in. above the collar. The mineral wool, JJ, Fig. 4, is then packed down inside the collar, until it is within 1 in. of the top. This will allow the plate, Fig. 1, to rest on the wool and the ends of the glass tubes, GG, Fig. 4, to project through the holes D and A of the plate, Fig. 1. The rim of the plate should be level with the top edge of the collar. If asbestos is used, the sheets should be cut into disks having the same diameter as the inside of the collar, and holes cut to coincide with the holes D and A of the plate. The small scraps should be dampened and made into pulp to fill the space H, Fig. 4. The plate, Fig. 1, is held to the base by two screws which are run through the holes BC and take the position shown by DD, Fig. 4.

The two binding-posts are attached on the base at D, Fig. 2, also the switch B and the fuse block C, holes being bored in the base to make the wire connections. The reverse side of the base, with slits cut for the wires, is shown in Fig. 3. The points marked BB are the glass tubes; AA, the holes leading to the switch; and C, the fuse block. The wires run through the glass tubes GG, Fig. 4, are allowed to project about 1 in. for connections.

The best way to find the correct length of the resistance wire is to take a large clay or drain tile and wind the wire tightly around it, allowing a space between each turn. The tile is then set on its side with a block or brick under each end. It should not be set on end, as the turns of the wires, when heated, will slip and come in contact with each other, causing a short circuit. When the tile is in place, a short piece of fuse wire is fastened to each of its two ends. A 5-ampere fuse wire is about strong enough. A connection is made to these two wires from an electric-light socket. The wire will get hot but probably remain the same color. If this is the case, one of the feed wires is disconnected from the fuse wire and gradually moved farther down the coil until a point is found where the resistance wire glows a dull red. This point marks the proper length to cut it, as the wire should not be allowed to become any hotter. If the wire gets bright hot when the current is turned on, more wire should be added. The wire is then made into a long coil by winding it around a large wire nail. The coils should be open and about 1/8 in. apart.

Next, the fire clay is moistened and well mixed, using care not to get it too wet. It should have the proper consistency to mould well. The clay, II, Fig. 4, is then packed in the first plate to a height of about 1/4 in. above the rim. While the clay is damp, one end of the coil is connected with the wire in the central glass tube, and the coil laid in a spiral winding on the damp clay, KK, and pressed into it. When this is done, the other end is connected to the wire projecting from the outer glass tube. As these connections cannot be soldered, the ends of the wires should be twisted closely together, so that the circuit will not become broken. Make sure that the coils of wire do not touch each other or the top plate. The fuse wire (about 5 amperes) is put into the fuse block, and wires with a socket adapter connected to the two binding-posts. The top plate is put in place and screwed down. This completes the stove.

It should be set aside in a warm place for a few days to dry out the packing. If it is not thoroughly dry, steam will form when the current is applied. It should not be left heated in this condition. The top plate is used when cooking and removed when making toast. —Contributed by R. H. Cnonyn, St. Catherines, Can.



** How to Make Weights for Athletes [274]

Many times boys would like to make their own shots and weights for



athletic stunts, but do not know how to go about it to cast the metal. In making a lead sphere as shown in the illustration, it is not necessary to know the method of molding. The round lead weight for shot-putting or hammer throwing can be cast in a hollow cardboard or pressed-paper ball, sold in department and toy stores for 10 cents. Cut a 1/2-in. hole in the ball as shown in Fig. 1 and place it with the hole up in damp sand and press or tamp the sand lightly around the ball as shown in the section, Fig. 2. Cover over about 1 in. deep. A wood plug inserted in the hole will prevent any sand falling inside. When the sand is tamped in and the plug removed, it leaves a gate for the metal. Pour melted lead into the gate until it is full, then, when cool, shake it out from the sand and remove the charred paper. A file can be used to remove any rough places. The dry paper ball prevents any sputtering of the hot lead. —Contributed by W. A. Jaquythe, Richmond, Cal.



** Removing Pies from Pans [275]

Sometimes the juices from a hot pie make it stick to the pan so tightly that a knife blade must be run under to cut it loose. If a knife with a flexible blade is not used, the pie will be damaged.



If the pie pans are provided with the simple attachment shown in the accompanying sketch, the baked dough can be separated from the tin with one revolution of the cutter. The cutter is made from a piece of heavy tin, bent to the same outline as the inside of the pan and pivoted at its center.



** Stretcher for Drying Photograph Prints [275]

A quick and convenient way to dry prints is to place them on a cheesecloth stretcher. Such a stretcher can be made on a light wood frame, constructed of 3/4-in. square material in any size, but 12 by 24 in. is large enough. The end pieces B are fastened on top of the long side pieces A, and the cheesecloth C stretched and tacked over them, as shown.

The prints should be placed face up on the cloth, and the frame set near a window. If the stretcher is made in



this way, the air can enter from both top and bottom, and the prints will dry rapidly. Several of these frames can be stacked and a large number of prints thus dried at the same time. —Contributed by Andrew G. Thorne, Louisville, Ky.



** A Temporary Funnel [275]

The amateur photographer often has some solution which he desires to put into a bottle which his glass funnel will not fit, says the Photographic Times. The funnel made by rolling up a piece of paper usually allows half of the solution to run down the outside of the bottle, thereby causing the amateur to be dubbed a "musser," A better way is to take an ordinary envelope and cut it off as shown by the dotted lines. Then clip a little off the



point, open out, and you have a funnel that will not give any trouble. It is cheap and you can afford to throw it away when dirty, thereby saving time and washing.



** An Electric Engine [276]

The parts of this engine are supported on a base 3/4 in. thick, 4 in. wide and 7 in. long. The upright B, Fig. 1,



which is 1/2 in. thick and 3 in. high, is secured across the base about one-third of the distance from one end and fastened with a wood screw put through from the under side. The magnet core C is made of a carriage bolt, 2-1/2 in. long, which is fastened in a hole in the top part of the upright B so that the end C will protrude slightly. Before placing the bolt in the hole of the upright, slip on two cardboard washers, each 1 in. in diameter, one at the head end and the other against the upright B. Wrap a thin piece of paper around the bolt between the washers and wind the space full of No. 22 gauge magnet wire, allowing each end to project for connections.

The driving arm D, Figs. 1 and 3, is made of a piece of soft sheet iron, 1/2 in. wide and 3 in. long. A small block is fastened to the lower end of the metal and pivoted between two uprights, 1/2 in. high, which are fastened to the base. The uprights on each side of the block are better shown in Fig. 3.

Two supports, each 1/2 in. thick and 3 in. high, are fastened with screws about half way between the end of the base and the upright B, Fig. 1. The end view of these supports is shown in Fig. 2, at GG. A 1/8-in. hole is bored through the top part of each support so they will be in a line for the axle. The axle is made of a piece of steel 1/8 in. in diameter and about 4 in. long. An offset is bent in the center, as shown, for the crank. A small flywheel is attached to one end of the shaft. The connecting rod E, Fig. 1, is made of wood and fastened to the upper end of the driving arm D with a small screw or nail. The contact F is made of a strip of copper, 14 in. wide. This is to open and close the circuit when the engine is running. The connections are made as shown in Fig. 1.

Connect two dry cells to the binding-posts and turn the flywheel. The current passing through the magnet pulls the driving arm toward the bolt head, which gives the shaft a half turn. The turning of the shaft pulls the arm away from the copper piece F, causing a break in the current. As the shaft revolves, the arm is again brought back against the copper strip F, thus the current is broken and applied at each revolution of the shaft. —Contributed by S. W. Herron, Le Mars, Iowa.



** Child's Home-Made Swing Seat [276]

A very useful swing or seat for children can be made from a box or packing case. Procure a box of the right size and saw it out in the shape shown in the illustration. The apron or board in front slides on the two front ropes. The board can be raised to place the



child in the box and to remove him. The ropes are fastened to the box by tying knots in their ends and driving staples over them.



** Clay Flower Pots Used for Bird Houses [277]

A novel use of the common garden flower pot may be made by enlarging the small opening at the bottom with a pair of pliers, and carefully breaking the clay away until the opening is large enough to admit a small bird.

Place the pot, bottom side up, on a board, 3 in. wider than the diameter of the largest pot used, and fasten it to the board with wood cleats and brass screws. Fit the cleats as close as possible to the sides of the pot. One or more pots may be used, as shown in the sketch.

The board on which the pots are fastened is nailed or screwed to a post or pole 10 or 12 ft. in height. The board is braced with lath or similar strips of wood, making a framework suitable for a roost. In designing the roost, the lath can be arranged to make it quite attractive, or the braces may be of twigs and branches of a tree to make a rustic effect. —Contributed by William F. Stecher, Dorchester, Mass.



** Location of a Gas Meter [277]

The gas meter should not be located in a warm place or the gas will expand before the meter measures it and the gas bill will be proportionately increased. Gas expands by about 1/491 part of its volume for each deg. F. that it is heated. If the meter is warmed 10 deg. F., it will make the gas cost over 2 per cent more, without any corresponding benefit.



** How to Make Rope Grills [277]

Beautiful and useful household ornaments, grills and gratings for doors, windows, shelves, odd corners, etc., can be made by the following method at a slight cost and by anyone possessing a little ingenuity. The materials required are rope or, preferably, common window cord (called sash cord) about 5/16 in. in diameter; ordinary glue, paraffin and paint or varnish. A few strips of wood or molding are very handy to use around the edges.

The design must be considered first and when one is selected, if it is other than straight lines, adopt the method described.

Take a smooth flat board and layout the design or designs which, when combined, will produce the pattern desired. Drive finishing nails at the angle points or along curves as required. Coat the board along the lines of the patterns with melted paraffin, using an ordinary painter's brush to prevent the ropes from sticking to the boards after they are soaked in glue and run around the nails.

Soak the sash cord in common glue sizing for a short time, then bend or twist it along or around the lines desired, as shown in Fig. 1, and give it time to dry. The bottom part of the sketch, Fig. 1, shows a method of winding the rope on a round stick to make circular objects. Wind the



desired number of turns and when dry, cut and glue them together.



In Fig. 2, six designs are shown. These suggest ideas in making up combinations or in plain figures and the number is limited only by the ingenuity of the designer. —Contributed by Geo. M. Harrer, Lockport, N. Y.



** A Simple and Effective Filter [278]

Procure an ordinary lamp chimney and fit two or three thicknesses of cheese cloth over the end of it. Press a tuft of absorbent cotton into the small part of the neck to a depth of about 3 in. Insert the chimney in a hole cut in a wood shelf used as a support. Pour the water in until the filter is filled, when it will be observed that any organic matter, chips of iron rust, etc., will be retained by the cotton. The fine organic matter may penetrate the cotton for about 1 in., but no farther. The resultant filtered water will be clear and pure.



** Cutting Tools [278]

The cutting point of a tool should never be below the centers.



** Imitation Arms and Armor-Part VI [279]

A mass of any kind of clay that is easily modeled and fairly stiff must be prepared and kept moist and well kneaded for making the models over which paper is formed to make the shape of the articles illustrated in these sketches. A modeling board must be made of one large board or several pieces joined closely together upon which to work the clay, says the English Mechanic, London. The size of the board depends upon the size of the work to be made.