CHAPTER XXIII A MINIATURE THEATRE
Children at the Theatre. Probably nothing can be found which will make a more interesting entertainment for a winter evening, than a miniature theatre patterned as nearly as possible after a large playhouse. The construction of the stage, and preparation of miniature scenery, properties, and mechanical effects, furnish good work for disagreeable weather when it becomes necessary to remain indoors, and there is plenty of it, and of great enough variety, to occupy the attention of a number of boys. Very little material is necessary, outside of what generally can be found in the attic, cellar, and woodshed, so that the expense incurred by making the theatre amounts to almost nothing. A gilt picture-frame makes An Excellent Proscenium for the front of the stage, and, as it will not be marred in the least, you can probably borrow one for the occasion. Fig. 317.—The Stage Framework. On the opposite page is shown a miniature theatre completed, and in Fig. 317 will be seen the proper construction of The Stage Framework, which is made of narrow boards [Pg 304]
[Pg 305]and built upon two horses the width of the picture-frame. Make the horses as shown in Fig. 317, one two feet six inches high and the other two feet nine inches high, using two-by-fours for the tops and narrow boards for the legs and braces. After constructing the horses, cut four boards seven feet long and nail two to the ends of each (A and B, Fig. 317), after which cut two pieces to reach across the tops and nail them in place as shown at C. Then set the horses five feet apart, with the lower one in front, and screw three boards to the tops as shown at D, E, and F, and three narrow strips to the top of the framework as shown at G, H, and I. Strips G, H, and I form what is known as The Gridiron, or supports from which the scenery drops are suspended, and should have a row of tacks driven into each edge, as shown in Fig. 317, upon which to hang the drops. By fastening the framework together with screws, it may be taken apart after a performance and packed away for another time. Fig. 318.—View of Curtain from Stage. The Stage Floor rests upon boards D, E, and F, and is made of laths laid close together, parallel to the front of the stage. The laths should not be nailed in place, as it is necessary to have the stage floor movable. When the work has proceeded thus far, set the picture-frame between the uprights of the front frame so that the opening comes on a level with the stage floor, and fasten it to A and B with nails driven through screw-eyes placed in the back of the picture-frame. The Drop-curtain should be made of white muslin, and measure in width several inches wider than the opening in the picture-frame. Hem the two side edges of the cloth, and sew brass rings on to them two inches apart. Then tack the top and bottom to strips of wood. A scene may be painted upon this curtain, but you will find the result probably more successful if you paste a picture of some sort upon the cloth, as suggested in the illustration of the completed theatre. Fig. 319.—Crank for Curtain Pole. In Fig. 318 we have a view from the stage of the arrangement by which the curtain is raised and lowered. Two heavy wires should be slipped through the rings on the curtain, and their ends fastened to four screw-eyes placed in the uprights at J, K, L, and M. These form the curtain guides. Bore two holes in uprights A and B above the picture-frame, and run a broom-stick through them for a roller, after which make a crank similar to that shown in Fig. 319 and fasten it to one end. Place two screw-eyes in the crosspiece at N and O (Fig. 318) and slip two cords through them, tying one end of each to the top of the curtain and the other end to the roller. By turning the crank the string will now wind around the roller and raise the curtain. It will be necessary to screw a button on to upright A at P, as shown in Fig. 319, to lock the crank when the curtain is raised. We often had two and three drop-curtains upon our miniature theatres, which made it necessary to have additional rollers and guide-wires. Fig. 320.—The Footlights. The greatest precautions should be taken In lighting the Theatre, to have all wood surrounding lights covered with tin, and not to use candles or matches around inflammable substances. Figure 320 shows a satisfactory arrangement of The Footlights.—A piece of tin the length of the picture-frame and ten inches wide should be procured for these and bent into the shape shown in the illustration. Drive tacks through the bottom of the tin about two inches apart, and stick a short candle upon each. Then fasten the tin below the picture-frame as shown in the drawing of the completed theatre, and paint it black upon the outside. Floodlights, which are used to throw light from the wings on to the stage, may be made as shown in Figs. 321, 322, 323, and 324. The case for the light is made in the same manner as the dark-room lantern, described in Chapter XI, and illustrated by Figs. 176 and 177, except that the door is placed in the side instead of the back and no glass or paper is fastened over the front opening (see Figs. 322 and 323). Make the opening four by five inches, and fasten two grooves, formed by nailing two strips of wood together, as shown in Fig. 324, above and below it, in which to slide glass plates for the purpose of throwing Figs. 322-324.
Details of Floodlights. Colored Lights upon a scene. The slides consist of old four-by-five camera plates with colored tissue-paper pasted upon them, and are operated in the same manner as magic-lantern slides. The light should be mounted upon a standard, such as is shown in Fig. 321, consisting of a seven-foot pole fastened at the lower end to a board and braced with triangular blocks, as shown in the illustration. It should be so attached to the pole that it can be adjusted to any desired height, and to attain this two pipe-straps should be fastened to the back of the box, as shown in Fig. 322. First nail two vertical strips in place as at A and B in the drawing, and to these screw the two iron pipe-straps. When the straps have been attached, slip the end of the pole through them, and place a screw-eye in the box, another in the pole near its upper end, and a nail in the side of the box. Then attach a cord to the screw-eye in the box, and, after running it through the screw-eye near the top of the pole, twist it several times around the nail in the side of the box, which will hold the box in that position. One of these lights should be made for each side of the stage. In addition to them, you may have occasion to use Spotlights to throw more light upon one portion of a scene than another. Bicycle lamps will be found handy for this purpose. If your house is wired for electricity, several miniature incandescent lamps can be procured for the footlights, while larger lamps can be used for all the other necessary lighting. As the work of making scenery, properties, and mechanical effects is not in the same line as the construction of the stage and its framework, it has been treated in the following chapter. Before setting up the theatre for a performance, it is well to spread a large cloth over the carpet, to catch anything that may drop from the stage. Then, with all the framework fastened together, hang draperies on each side and above and below the proscenium arch, as shown in chapter heading. This will conceal everything but the proscenium opening. Admission Tickets and programmes should, of course, be printed with a printing-press if you have one; otherwise with rubber stamps.
CHAPTER XXIV SCENERY, PROPERTIES, AND MECHANICAL EFFECTS Working on Drops. Scenery for a miniature theatre will be made in much the same manner as the small drops and wings a scenic artist prepares of each scene of a play, before he commences work upon the large canvasses. Any handy boy will find it an easy matter to prepare his scenery, as it does not require a knowledge of drawing so much as it does the knack of copying scenes from pictures, and the proper placing of the various wings and drops. Several simple suggestions for water, field, street, and interior scenes, with sketches of the drops and wings necessary to complete them, have been placed on the following pages of this chapter with a view to helping you with your first attempts at making scenery. By the time you have made some of these you will have had enough practice in the work to devise other designs and work up the details more elaborately. With a little shifting of drops and wings, or substituting one for another, the appearance of the scene can be sufficiently changed to make it as good as an entirely new setting. Several examples of this will be found among the illustrations. For materials, you will require some large pieces of paper, several sheets of cardboard, a box of colored chalks, a pair of shears, and a pot of paste—add to this a bunch of laths with which to make the frames, and some nails, screws, and tacks for fastenings. The back of wall-paper presents an excellent surface for chalks, and several rolls will cost you but a few cents, as you can purchase old-style patterns. Suit and shoe boxes will furnish the necessary cardboard. Fig. 325.—Drop for Ocean Scene.
Fig. 326.—Drop (D in Ocean Scene). The size and proportion of the scenery will depend entirely upon those of the proscenium, and as these are governed by the size of the picture frame you procure, no attempt will be made to give you the dimensions of wings and drops; but you will get a good idea as to their proper proportion from the illustrations shown of the scenes set up, as the line of the proscenium opening is dotted upon them. In the full-page illustration of the completed theatre preceding Chapter XXIII is shown An Ocean Scene in which the entire depth of the stage is used for the setting. Here you will notice the drops have been made to extend beyond the sides and top of the proscenium opening, a thing which is necessary in order that those of your audience sitting close to the front of the theatre, or to one side of the centre of the stage, will not be able to see through the openings between the drops and wings. Figure 325 shows how the four drops necessary for this scene should be made. First sketch drop A, shading the clouds and waves with colored chalks as shown in the drawing of the completed theatre. Then cut out the opening in its centre, carefully following the outlines of the clouds. Lay this sheet upon another and mark out drop B, with a smaller opening in its centre, and then, after coloring and cutting it out in the same manner as you did drop A, lay it upon a third sheet and mark out drop C, with a still smaller opening in its centre (see Fig. 325). Drop D forms the background of the scene, and should be made as shown in Fig. 326, with a horizontal line separating the sky and water. With the exception of a few white caps in the foreground, no waves should be shown upon this drop. If wall-paper is used for the scenery, several widths will have to be pasted together for each drop. Fig. 327.—Waves for Ocean Scene. Additional waves should be made out of strips of paper and fastened together as shown in Fig. 327, with the crests of the waves of each strip extending a little above those of the strip in front. Prepare three sets of the waves, and, after pasting one to the bottom of each drop, bend out the crests so as to leave a little space between each strip. Fig. 328.—Frames for Drops. These drops should now be tacked to frames made out of laths similar to Fig. 328, with the corners nailed and braced with diagonal strips. Place a couple of tacks in the top of these frames, and to these attach cords. The drops should now be hung by means of the cords to the tacks in the top strips of the stage framework. Space them about as shown in the illustration of the completed theatre, and so adjust the lengths of the cords that, from a point equal to where the centre of your audience will be located, the horizon lines of your drops will appear on a line with one another. Then having found the proper lengths of the cords, make loops in them so the drops can be quickly hung in place without further adjustment. Fig. 329.—Rocks for a Seashore Scene. In the foreground of the ocean scene a stone wall has been shown, which should be made upon a strip of cardboard, with the joints of the stones marked off with gray paint. This strip should be set against the bottom of the front drop. To change this setting into A Mid-ocean Scene, it is only necessary to substitute a strip of waves similar to Fig. 327 in place of the stone wall; and A Seashore Scene can be had by making a strip of rocks similar to Fig. 329 to set against the front drop, and covering the foreground with sand to form the beach. Fig. 331.—Drop (G in Field and Blockhouse Scene).
Fig. 332.—Drop (H in Field, Blockhouse, and Street Scene).
Fig. 338. A Blockhouse Scene.
A Field Scene should be set up as shown in Fig. 330. Make the background drop G similar to Fig. 331, tacking it to a frame as you did the drops of the ocean scene, and prepare the foreground drop H similar to Fig. 332, tacking its upper edge to a single lath from which it can be hung in position. Draw the leaves upon drop H about as shown in the illustration, and in cutting out the strip make a few openings between the leaves as shown in the drawing. Wings I and J are shown in Figs. 333 and 334. These should be drawn upon cardboard, and then cut out with a sharp knife, with openings made in places between the leaves and branches. Tack the bottom of The Trees to small blocks of wood for standards (see[Pg 317]
[Pg 318] Fig. 336), and drive brads through the blocks so they will stick into the stage floor and prevent the trees from toppling over. In setting up this scene, as in the case of all others, you will have to shift the pieces until all entrances and exits are hidden by the wings. The places can then be marked upon the stage floor. This scene will occupy but the front part of the stage. If a greater depth is desired, it will be necessary to prepare additional wings, which can be made similar to Figs. 333 and 334, with possibly a few changes in the form of the branches and leaves. Figure 335 shows a tree that can be used for the centre of a scene. A little earth scattered over the stage floor will give the appearance of ground. Fig. 337.—Blockhouse (L in Blockhouse Scene). By using the same background drop, G, and the foreground drop, H (Figs. 331 and 332), trees, J and K (Figs. 334 and 335), and making a blockhouse and stockade similar to L (Fig. 337), you will have the proper setting for A Blockhouse Scene, such as is shown in Fig 338. The blockhouse should be fastened to a strip of wood in the same manner as you fastened the ends of the trees (see Fig. 336). For outdoor scenery, and especially forest scenes, the writer remembers using Fig. 340.—Drop (M in Street Scene). Pine Boughs for trees and shrubbery. These were cut into pieces of the right length for trees, with their ends pointed so they would stick into gimlet holes made in the laths of the stage floor; and loose pieces were thrown in between for shrubbery. Mounds and hills were made with moss. This saved the work of making so many drops, and, of course, looked a little more realistic than paper scenery, but was not as handy to set up, and caused longer delays between the scenes. Fig. 339. A Street Scene.
Fig. 341.—Wing (O in Street Scene). Rustic Bridges can easily be constructed with a few twigs, as can also rustic seats and fences. A very realistic Pond or Lake can be represented by placing a piece of a mirror upon the stage floor, and banking sand or moss around its edge.
Fig. 342.—Wing (N in Street Scene). Figure 339 shows a simple setting for A Street Scene.—The background will be made similar to Fig. 340, and the wings N and O as shown in Figs. 341 and 342, while drop H and wing K are the same as used for the other scenes (see Figs. 332 and 335). Wing O, the house upon the right of the stage, will be made in one piece, with window openings cut in it and covered with tissue-paper ruled to represent the window-sash (see Fig. 341). Show the trim around the openings and also the siding upon the building. Then fasten the back of the wing to a standard such as used for the trees (see Fig. 336). Wing N, or building upon the left of the stage, will require a number of pieces of cardboard to show its perspective correctly. Make the front of the building as shown in Fig. 342. Then fasten a piece of cardboard to edge A for the side, three pieces at_B, C, and D for the roof, and a strip across the front at E for the porch roof. The pieces can be fastened together best with strips of linen glued to their inside surfaces. The porch roof will be supported upon four posts made out of strips of cardboard as shown in Fig. 339. This building will be the village post-office, grocery, and hardware store combined, and should have a number of signs to this effect painted upon the front. Fig. 343.—A Simple Interior Scene.
Fig. 344.—Pattern for Walls of Interior Scene. To the several outdoor scenes already described, you should add a setting of An Interior, as you will probably have occasion to use one in any play you produce in your miniature theatre. Figure 343 shows a simple interior, the size of which will, of course, depend upon that of the stage. However, it should not be very deep. Figure 344 shows the pattern by which to cut the five pieces of cardboard, of which the walls are made. The edges of these pieces should be glued together with strips of linen. Cut the door openings at F, G, and H, two window openings at I and J, and slots in the tops of B and D at K, L, M, N, O, and P, as shown in the drawing. Make the doors out of pieces of cardboard, hinging them to the openings with linen strips, and draw the window-sash and their divisions upon tissue-paper and paste them over the openings I and J. Oil the paper if it is not very transparent, so the audience can see the villain when he passes by the windows. Make a wainscoting around the walls to the height of the window-sills, ruling the boards with a lead pencil, and draw a line across wall C a little below the bottom of slots M and N in walls B and D, as shown. If you have used white cardboard for the walls, and not injured its calendered surface when cutting the openings, it will have a good plaster appearance. Otherwise, cover the cardboard with white or tinted paper. Paint the wainscoting and the door and window trimmings brown. To set up the room, bend the walls into the shape shown in Fig. 343. Then cut three strips of cardboard several inches longer than the width of the room and slip them into the slots you have cut in the tops of the walls B and D (see Q, R, and S, Fig. 343). T is a drop like S, but is suspended in front from the gridiron. These strips form the ceiling of the room, and generally have beams or mouldings painted across their bottom edges, but it will simplify matters to leave them plain, as shown in the illustration. The line which you have drawn across the rear wall corresponds with these strips. Cut a number of illustrations from a magazine for pictures, and either hang them upon the walls or paste them to the cardboard. Doll furnishings can be used to complete the scene. There are a great variety of subjects upon which a boy can base his plays, but what probably will make the most interesting programme and one of the simplest to prepare is A War Drama.—In this you can picture a number of battles after the descriptions you have read in your history, or dramatize one of your favorite war stories, bringing its young heroes before the footlights. This class of plays will give you an opportunity to use Paper Soldiers for actors. Probably you have a supply of these, but if not, you can get them at any toy store. They come upon printed sheets ready to be cut out, and as they cost only a penny a sheet it pays to buy rather than make them. Cavalry and infantry of about every nationality, Indians in various positions upon horseback and on foot, and a large assortment of American soldiers in marching order and fighting array are now to be found in these sheets. For Marching Soldiers across the stage, tack their feet to a lath as shown in Fig. 345, and then slide the lath across the stage, at the same time pushing out one of the laths forming the floor. The moving of the laths scarcely will be noticeable from the position of your audience. Fig. 345.—Scheme for Marching Soldiers. Separate Standards for soldiers you wish to set about the stage should have small strips of cardboard glued to their backs and bent out in the same manner as easel-backs are made. At least four or five of the soldiers should be jointed so they can walk about the stage and appear perhaps a little more graceful in their actions than their stiff-jointed comrades who are fastened to laths. Figure 346 shows A Jointed Figure made out of a paper soldier. Suppose you have a soldier in some such position as shown in Fig. 347. First cut off the legs along the dotted lines shown in the illustration, each leg in two pieces (see A, B, C, and D, Figs. 347 and 348). Remove also the hand projecting beyond the body at E. A small piece of cardboard of the same thickness as that upon which the soldiers are printed should be glued to the back of C and D where those pieces were cut into in cutting off the legs (see F, G, and H, Fig. 348). When this has been done, pivot A and B to C and D at F and G, and then pivot the ends of C and D at H and I to the hips of the soldier (see Fig. 346). Thread should be used for pivoting these pieces together, with knots tied on either end. New arms will have to be made, as those printed upon the body cannot be cut out. These are made in two pieces similar to J and K in Fig. 348. You will find it a simple thing to make them and paint the hands flesh color and the sleeves to match the rest of the clothes. Pivot J to K at L and the end of K to the shoulder at M. The arm printed upon the side of the figure should now be painted so as to blend with the color of the coat. The white cardboard glued to the joints should also be painted to correspond with the rest of the body. You will find this method of making a jointed soldier much easier than to attempt to draw, paint, and cut out one of your own design. Figures in other positions can, of course, be jointed in the same manner. Figs. 346-348. Scheme for making a Jointed Figure.
The movements of a jointed figure are controlled with pieces of silk-thread attached to the hands, feet, and head, as shown in Fig. 346. These threads should be carried through the top of the stage framework and loops made in their ends should slip over the fingers of your hands, in which position they can be operated. It will take a little practice beforehand to enable you to work the threads successfully, so you will not be responsible for such laughable performances as making him dance while delivering a farewell address, or leave the scene through the top of the stage during an exciting portion of the play. In an interior scene, such as Fig. 343, the jointed figures will have to make their entrÉes and exits through the passages between the front walls and the proscenium, as the operating cords would interfere with them going through the other openings. The figures which pass through the doors will have to be tacked to the floor laths and shoved across the stage. All the small movable furnishings of a scene are known as Stage Properties.—These include such pieces as furniture, boats, carts, and trains.
Tents will be necessary properties for an encampment scene. These should be cut out of white paper the pattern of Fig. 349, then folded along the dotted lines, and edge B pasted over the flap A. The front flaps will be left open. Figure 350 shows the tent set up. An Indian Teepee will also be required for Indian warfare. Follow the pattern shown in Fig. 351, marking it off as though it were made up of a number of skins, and place a few figures of decoration upon it. Then cut three or four short sticks and, after crossing their ends as shown in Fig. 352, fasten the paper covering over them, bending flap A along the dotted line, and pasting B over it. The field scene (Fig. 330) and the blockhouse scene (Fig. 338) will be used for the settings of your battle-fields. For your miniature sea-fights, the mid-ocean scene will be used. Battleships should be made out of cardboard as shown in Fig. 353, with the masts reËnforced at the back with strips of wood, and the rigging made with heavy thread. It will be well to have a number of pictures from which to work in drawing and painting the various ships of your fleet. The hull of each ship should be curved as shown in the illustration, and mounted upon a cardboard rocker. Make a number of slashes along the curved edge of the hull, and bend out the little flaps alternately, first to one side and then to the other (see A in drawing), after which glue them to the rocker. Attach a cord at B, with which to pull the ship across the stage, and another cord at C, with which to guide the stern. The hull will, of course, run between the strips of waves, so as to be half concealed by them. A person cannot imagine how realistic these little battleships appear when tossing about upon the toy waves, without having seen them in operation. Trains and Wagons can be cut out of cardboard and moved across the stage by means of laths to which they have been attached in the same manner as the paper soldiers shown in Fig. 345. Toy wagons, carriages, and an automobile such as described in Chapter XXVI, may also be used in some scenes. Rain, wind, thunder, and such stage sounds, a moon or sun-rise, and lightning, as produced on the stage, are known as Mechanical Effects.—Most of these can easily be adapted to your theatre, though the apparatus need not be as elaborate as that used by professionals. Thunder can be produced by means of a large piece of heavy cardboard held by one corner, as shown in the chapter heading, and vibrated back and forth. The beating of Rain upon the outside of a house is imitated with a small quantity of dried peas or beans dropped upon the head of a drum or into a cardboard box. Every time the door is opened during such a storm, the audience should hear the whistling of the Wind, which is imitated by a few low drawn-out whistles. The stage must, of course, be dark for producing Lightning, in order to get the best effects. The flashes can be made by igniting a small amount of flash-light powder, placed in a tin can cover. The Roar of Cannon and firing of smaller guns can be imitated to good effect upon a drum.
CHAPTER XXV MAKING A TOY RAILWAY Bicycle Powered Railway.
It is often thought that a toy railway is beyond a boy's ingenuity to construct, whereas, in reality, it is one of the simplest toys he can make. This applies to the tracks, stations, and cars of every description, all of which can be made with a few strips of wood, some spools, nails, cardboard, and a bottle of glue, for materials. If you have passed the age of caring for such toys as this, you will, no doubt, enjoy the making of one for your younger brother, or for one of your boy relatives. Fig. 355.—The Toy Railway in Operation. Figure 355 shows a railway set up and in running order. As shown in the illustration, Fig. 356.—Support for Trolley-line. The Trolley-line, or overhead cable, runs around the wheels of two supports, one at either end of the track. Prepare four pieces of wood the shape and size of that shown in Fig. 354 for the uprights of these supports, and make two wheels three inches in diameter. The wheels may be marked out with a piece of string and pencil as shown in Fig. 201, Chapter XV, if you haven't a compass. When the wheels have been cut out, place them in your bench-vise, one at a time, and with a rasp make a groove around the edge as shown at C, Fig. 356. Bore a three-eighths inch hole through each upright at F, Fig. 354, and another through the centre of each wheel. Now fasten two of the uprights six inches apart upon a block of wood, as shown at A and B, Fig. 356. Whittle a shaft to fit loosely in the holes of the uprights, and, after slipping it into them, fasten one of the wheels upon one end and a small spool upon the other (see C and D in Fig. 356). A weight of some sort should be fastened to the base, as shown at E. The uprights for the other support should be similarly mounted upon another block of wood. Fasten the remaining wheel to an axle run through the holes in the uprights, and, as it is unnecessary to have a spool upon the other end of the axle, cut it off short and drive a nail through it to prevent it from slipping through the holes. Having thus prepared the supports, place them as far apart as you wish to extend the railway, and run a cord around the two wheels and tie it. Then set the supports a little farther apart, if necessary, to tighten the cord. Run another cord from spool D to A Water-motor, steam engine, or whatever power you can get with which to operate the railway. A bicycle inverted with the tire removed from its rear wheel has been used satisfactorily, as has also a sewing-machine with the belt slipped off and the cord from the spool put in its place. A good substitute for the tin tracks ordinarily sold in shops for toy railways will be found in those shown in Fig. 357. These Tracks consist of quarter-inch strips mounted upon pieces of cardboard. Make a small gimlet-hole in one end of each stick, and drive a short finishing nail in the opposite end (see Fig. 357). Cut the cardboard strips the length of the sticks, and tack them to the sticks as shown in the illustration. If inch and one-half spools are used for the car wheels, the inside gauge of the tracks should be an inch and three-quarters. By lapping the cardboard strips over the ends of the sticks, and the sticks over the ends of the cardboard strips, and placing the nail dowels in the ends of the sticks as in the drawing, a strong track is formed when the pieces are fitted together. This may be extended to any desired length by adding more sections to it. Fig. 358.—A Top View of Car Truck.
The Cars for this railway will have their trucks constructed alike, and it is a simple matter to transform a car from one style into another. Figure 358 shows a top view of a truck. For the bed of this cut a three-eighths-inch board twelve inches long by two and one-quarter inches wide, and, after rounding the ends as shown in the drawing, cut a mortise at A and B two and three-eighths inches from either end. Procure two one and one-half inch spools for wheels, and drive a wooden peg through the hole in each, cutting off the ends so they project a little beyond the hole, as shown in Fig. 359. Then bore four holes in the edges of the truck-bed with a gimlet at C, D, E, and F (see drawing), and, after setting the spools in mortises A and B, pivot them in place with small finishing nails driven into the wooden pegs. These nails should fit loosely in the gimlet holes. In order to drive them into the exact centres of the spools, it is best to locate these points upon the ends of the pegs before placing the spools in the frame. A quarter-inch hole should be bored in the top of the truck-bed at G and H (Fig. 358) in which to fasten the two uprights I and J (see Fig. 360). Make the uprights four inches long and whittle a peg upon the lower ends to fit holes G and H (see Fig. 361). Bore a hole with a gimlet in the top of each and run a piece of heavy wire from one to the other, bending it as shown in Fig. 360. Fasten K between I and J, as shown. Place a small brass ring upon the wire before you fasten it in place. A small hook should be screwed into one end of the truck and a screw-eye into the other end for couplings, should you wish to hitch two or more cars together. Figs. 360-361. A Gondola Car, such as shown in Fig. 362, should have its truck made similar to Fig. 358, with the exception that it should be two inches shorter, in order that cigar-box strips can be used for the side-pieces. Cut the strips an inch and one-half high and fasten them to the bed of the car with brads. This car may be used as a trailer. The car shown in Fig. 360 is a rather crude affair, but with a little more work may be transformed into a better-looking car— A Street Car such as is shown in Figs. 363 and 364 being an example of what can be made. The sides, ends, and roof of this car are made of cardboard, the patterns for the cutting of which are shown on page 339. Figure 365 shows a cross section taken through the centre of the car. The two side-pieces A should be first prepared as shown in Fig. 366. With a ruler and lead-pencil draw in the windows about as shown in the drawing, using double lines to indicate the sash. Then, with a sharp knife, cut out the centre of each just inside of the inner line. These windows may be left open or may be covered on the inside with tissue-paper. If tissue-paper is used oil it to make it more transparent. When the two sides have been prepared, bend each along the dotted lines (see Fig. 366) and tack one to each side of your car truck as shown in Fig. 365. When properly bent, the distance between the upper part of the sides should be two and three-quarters inches. Cut the two inner ends of the car the shape of Fig. 367, using a compass with a radius of two and one-half inches with which to describe the curve at the top. Draw in the panels and sash lines as you did those upon the side-pieces, being careful to get them on the same level, and cut out the door and window openings. Fasten these end-pieces between the sides with glue, and also tack them to the uprights of the car (I and J, Fig. 360), which will come just inside of them. The roof is made in two sections (B and C, Fig. 365). For B cut a piece of cardboard twelve and one-quarter by three and three-quarter inches (Fig. 368), draw the curved end with a compass, using the radius shown on the drawing, and slit the corners as indicated by the dotted lines. When this piece has thus been prepared, remove the wire from the top of the truck (see Fig. 360). Bend the cardboard over the sides and ends of the car, and lap corners D and E over F and G, and H and I over J and K, tacking them with thread to hold them in place. To fasten this part of the roof to the top of the car, cut a number of small strips of linen, and glue them to the under side of the roof and to the inside face of the sides and ends of the car (see Fig. 365). The upper portion of the roof C should be made out of a piece of cardboard bent into the shape of Fig. 369 and cut at the ends so the upper portion of C projects a little beyond its sides. Draw the ventilation lights upon the sides of C as shown on the drawings, and then fasten the piece upon the top of B with strips of linen in the same manner as you fastened B in place. C should now have the same curve to its [Pg 339]
[Pg 340]top as B. Cut and glue a piece of cardboard in each end of C to complete the roof. The shape of this piece is shown in Fig. 370. The outer ends of the car should be made as shown in Fig. 371 and tacked around the ends of the wooden truck platform, and also fastened to the under side of the roof with strips of linen. The window openings may be cut in the ends, but it will make a stronger car if they are simply drawn upon it. Cut four cardboard steps similar to Fig. 372 and tack them to the sides of the front and rear platforms. When the car has been put together, replace the wire in the tops of uprights I and J (Fig. 360), running the ends through the roof (see Fig. 363). Paint the sides and ends of the car yellow with brown trimmings, and paint the roof a light gray. Water colors can be used for the purpose. Letter the name of your car-line upon the sides and the number of the car upon each end and side. The route should be lettered upon strips of cardboard with pins run through them as shown in Fig. 373, these strips to stick in the roof of the car (see Figs. 363 and 364). Having seen how the car is made, you will find it a simple matter to make designs for Figs. 365-373.—Details of Toy Street Car. Other Cars, using the same scheme for the trucks, and altering the patterns for the sides, ends, and roof, to suit the design. Nothing has, as yet, been said about the Operation of the Railway, and though Fig. 355 probably shows sufficiently clearly how it is run, a few words may be helpful. The car or cars are placed between the wooden tracks, and the trolley (or cord attached to the ring on top of the car) is tied to the trolley-line as in the illustration. Upon starting your engine, water-motor, or whatever motive-power you have, the car will run from one end of the track to the other. When it has reached the support of the trolley-line, it will stop long enough for the cord trolley to pass around the wooden wheel, and then run in the opposite direction until the other support is reached. It will thus be seen that the trolley hangs to the upper part of the cable, or trolley-line, in running one way, and to the lower part on the return run. In changing the direction of the run, the ring to which the trolley is attached slides to the other end of the car. Fig. 374.—The Railway Depot. A Station such as is illustrated in Fig. 374 is made out of cardboard and mounted upon a seven-eighths-inch board large enough to form a railway platform. After cutting out the side-and end-pieces, with door and window openings placed as shown in the illustration, fasten them together with strips of linen glued in the corners. Make the roof low and extend it over the platform upon each side and over the gable-ends, as shown in the illustration. Paint the sides of the depot the regulation depot red, and the roof a shingle or slate color. Paint the door and window-sash black, letter the name of the station upon the gable-ends, and with a ruler and lead-pencil rule off the boards upon the sides, and the slate or shingles upon the roof. As this is a typical railway station, two may be made of the same pattern, one for either end of your car line.
CHAPTER XXVI CLOCKWORK AUTOMOBILES
Children Play with Toy Automobiles.
It is generally easy for a boy to get hold of a set of old clockworks, for a discarded clock of some sort is almost certain to be found in the household storeroom. If the main-spring is intact, it is highly probable that a little tinkering and cleaning will be sufficient to put the mechanism in working order, at least so that it can be used for running small engines, automobiles, and other mechanical toys that most interest boys. Fig. 377.—Top View of Wooden Frame. Before taking a set of works apart, it is well to examine it carefully and note the positions of the various springs and wheels, so it will be possible to put them together again properly should you wish to do so. Without taking notice of this, you are likely to have a handful of wheels as a result, with which you can do nothing except perhaps convert them into tops. Fig. 375. The Car Completed.
The adaption of a set of works to An Automobile Touring-car is shown in Figs. 375 and 376, the former showing the little machine completed and the latter its frame with the clockworks fastened in place. The same scheme as that used for the cars of the toy railway described in the preceding chapter will be followed in making The Frame of the automobile, as that is about the simplest way, and makes a light, easy-running vehicle. The bed will be cut of a different pattern, however, as will be seen in Fig. 377. Lay out the piece to the dimensions shown upon this drawing, and then cut it out, making a mortise in each end for the wheels to fit in. The spool wheels should be mounted in the same manner as those of the railway cars, for which see Fig. 359, Chapter XXV, and the directions upon page 335. One end of spool A should be pivoted with a longer finishing nail than those used for the other pivots, so that when driven in place about half an inch will project beyond the frame. A small silk spool should be fastened upon this for a belt-wheel (see B, Fig. 377). The hole in one of these spools is about three-sixteenths of an inch in diameter, so, in order to make it fit tightly upon the nail, it is necessary to fill in around the nail with sealing-wax. To do this, turn the wooden frame upon its edge and place the spool over the nail, being careful to get the nail in the exact centre of the hole. Then hold a stick of sealing-wax over the spool, and with a lighted match melt the end and allow it to drip into the hole. When the hole has been partially filled, allow the wax to harden a little, and then press it down around the nail with the end of a match, being careful not to throw the spool out of centre by doing so. The hole should then be filled to the top. We are now ready to prepare the clockworks for mounting upon the wooden frame. The works shown in Fig. 376 are from an alarm clock, but if you have a striking clock, or one with works a little different from those shown in the illustration, it does not make a bit of difference in the scheme for attaching the works. The three parts shown in the foreground of Fig. 376 must first be removed from the works. These will be recognized readily in any clock, as they are pivoted close together, and regulate the speed of the other wheels. When they have been removed, the main-spring will unwind rapidly. The frame of the works shown in the illustration is held together with nuts, so that in removing the wheels it was necessary to unscrew two of them, spring the frame open enough to let the wheels drop out, and then replace the nuts again in their former positions. If the frame of your clockworks is riveted together, the wheels will have to be[Pg 345]
[Pg 346] broken out. A small silk spool, such as B (Fig. 377), should be fastened upon the small pivot which originally operated the clock's hands, for a belt-wheel. Lay the works upon a table with the face-side down, and, after centring the hole of the spool upon the pivot, fasten it in place with sealing-wax in the same manner as you attached spool B. The works should now be attached to the wooden frame. Place them with the striker uppermost, near the edge of the frame, so that the small belt-wheels are in line with one another. Then bore a number of gimlet holes in the wooden frame and run copper wire through them, passing it around the posts of the clock-frame and twisting its ends until the works are firmly fastened in place. A rubber band about an eighth of an inch wide and long enough to reach from one belt-wheel to the other should be procured for The Belt.—This should stretch just enough to cling upon the spools, as more than that would cause too much friction. Figs. 378-385.—Patterns for the Automobile Touring-car. Before going any further with the construction of the automobile Test the Machine, to be sure that it is in perfect running order. Wind up the main-spring, pressing a finger against one of the wheels to hold it in check until you are ready to start the machine. When properly made, the clockwork automobile should run a distance [Pg 347]
[Pg 348]of from twenty to twenty-five feet upon a wooden floor, while about three-quarters of that distance should be covered upon a floor with a fairly smooth carpet. The Cardboard Sides and other details of the automobile should now be made. The pattern for these have been so shown in Figs. 378-385 that they can easily be laid out to the proper shape and size by means of the process of enlarging by squares described on page 110, Chapter VIII. White cardboard should be used upon which to draw these pieces, and the thinner it is the easier you will find it to work with. Fig. 387.—Cardboard Side of Automobile. First prepare the two sides, cutting them out by the pattern of Fig. 378. Then glue the bottom edge of each side to the edge of the wooden frame, cutting holes in the left side for the belt-wheels and projecting posts to run through (see Fig. 375 and A, B, C, D, and E, Fig. 387). The top to the front of the car should now be cut as shown in Fig. 388, the distance between the sides being measured to get the piece of proper dimensions. Bend the edges as in Fig. 388, and glue them to the inner surfaces of the side-pieces as shown by the dotted lines in Fig. 387. In the same way cut and glue a piece of cardboard between the side-pieces at G and H (Fig. 387) for the seat-backs. The bent edges of these pieces are shown by dotted lines in the illustration. Draw four Wheels as shown in Fig. 379, using a compass with which to describe the circles, and cut them out with a sharp knife. You can cut out between the spokes, if you wish, or leave them solid. Glue the wheels to the cardboard, placing their centres about as located at I and J, Fig. 387. Four Mud-guards should be cut like Fig. 380, with flaps made along one edge. Then bend these guards around the tops of the wheels, and, after applying glue to the flaps, press them against the cardboard side, holding your fingers upon the flaps until the glue has dried (see Fig. 375). The guards should be placed a little above the tops of the wheels. Cut four Lamps like Fig. 381, and glue end K of two upon the front of the automobile at L (Fig. 387) and one of the other two upon each side at M. These lamps are shown in position in the illustration of the completed automobile (Fig. 375). Draw and cut The Steering-wheel similarly to Fig. 382, and, after pivoting it to the end of a strip of cardboard with a pin, as shown in Fig. 389, bend the lower end and glue it to the under side of the cardboard top F at N (see Fig. 387, also Fig. 375). Make a Horn like Fig. 383, and glue it to the steering-wheel as shown in Fig. 389. A strip of cardboard about the size of that used for the upright of the steering-wheel should be cut for The Brake, and glued to the inside surface of the right side of the car at O (Fig. 387). Fig. 389.—The Steering-wheel. The Chauffeur should now be made. Cut his head and body the shape and size of Fig. 384, drawing the face upon each side with goggles over the eyes. Cut the arms in two pieces the shape of P and Q (Fig. 385), and then pivot P to Q at R and the end of Q to the shoulder of the body at S, using thread for fastening the pieces together. Paint the hat, coat, sleeves, and gloves a leather color, and the face flesh color. The body should then be fastened to the hammer of the clockworks with sealing-wax, as shown in Fig. 386, while the left hand should be glued to the edge of the steering-wheel and the right to the end of the brake (see Fig. 375). By thus attaching the body to the end of the hammer, and winding up the small spring, the chauffeur will shake violently when the auto runs across the floor, showing the vibrations of the machine in a greatly exaggerated and amusing manner. It is now only necessary to Paint the Machine to complete it. The photograph (Fig. 375) indicates the different colors used. The lamps, and top, ends, and sides of the front portion of the car should be painted the color of brass, and the rest of the sides, with the exception of a strip along the bottom and the edge of the arms, should be painted vermilion. Paint the inside of the car and the edges of the seat-arms tan color, to represent leather upholstering. With black paint, or ink, stripe off the door and trimmings upon the sides and top of the machine, as shown in Figs. 375, 387, and 388. Blacken the brake and steering-wheel and the spokes and rims of the wheels. Along the bottom of each side roughly indicate some machinery with black paint, about as it is drawn in Fig. 387. When you have tired of your touring-car, you can easily convert it into An Automobile Delivery Wagon, such as illustrated in Fig. 390. To make this you will require the same frame as that used for the touring-car, with the clockworks and belt-wheels attached in the same manner. If you have made the touring-car, remove the cardboard sides from its wooden frame, separating the cardboard from the wood carefully, so you can put the machine together again when you wish. If you haven't made this automobile, you will find the details for the construction of the frame in Figs. 376 and 377, and the manner of performing the work described on pages 343 to 346. The Cardboard Sides are much easier to prepare than those for the touring-car, as they are straight and require but little cutting. The outline for these is shown in Fig. 390, surrounding the drawing of the completed wagon. Lay out one side upon a piece of cardboard, using the dimensions given upon the drawing, and then place it upon a board and cut it out with your knife. Using this as a pattern, place it upon another piece of cardboard and run a pencil around its edges, thus marking out the second side. In cutting out the latter piece, run your knife a little inside of the line in order to allow for the increase in size caused by marking it out with the first cardboard side. Having prepared the two sides, draw panels upon them in some such form as shown in the illustration, separating them with three lines. Draw a small window, with its top slightly arched, near the front edge of each side, and cut an opening for it (see illustration). Fig. 390.—An Automobile Delivery Wagon. Glue the sides to the edges of the truck in the same manner as those of the touring-car were done, piercing holes for the posts of the clockworks to fit in, and openings for the belt-wheels to project through, in the left side. Cut a piece of cardboard for the back of the wagon, fit it between the sides, and fasten it in place by gluing a number of linen strips to it and the sides upon the inner or unexposed surfaces. Then cut a piece of cardboard for the roof, making it about two inches longer than the sides, to give it the proper projection over the front of the wagon. Fasten this piece in position in the same manner as you fastened the back of the wagon. Make the floor and footboard for the wagon out of a piece of cardboard bent as shown in Fig. 390, and fasten it across the top edges of the projecting portions of the sides with linen strips. Cut a strip for a seat, and fit it between the sides an inch and one-half above the floor. The Wheels of an automobile wagon contain fourteen spokes, but as you have the pattern for the touring-car wheels of twelve spokes, you can just as well use it in making the wagon wheels. They should be mounted upon the sides of the wagon, a trifle above the bottoms of the spool wheels, as shown in the illustration, so they will not touch the carpet when the machine is operated. All Other Portions of the wagon should be made of the same patterns given for the touring-car, viz. the chauffeur (Figs. 384 and 385), the steering-wheel (Figs. 382 and 389), the brake (Fig. 375), and the lamps (Fig. 381). As the legs of the chauffeur will show, it will be necessary to cut a pair out of cardboard (the drawing shows the shape clearly enough to work by) and fasten them to his body. Fasten the chauffeur upon the seat and glue his left hand to the steering-wheel, placing the latter in front of him, as shown in the drawing. Stick the lower end of the cardboard upright of the steering-wheel upon a pin run through the wagon floor from the under side. Glue the upper end of the brake to the chauffeur's hand and the lower end to the side of the wagon. Paint the Wagon with water colors, making the sides, end, and roof olive green, the steering-wheel, brake, and spokes of wheels black, and the lamps yellow or the color of brass. In painting the sides show the battery compartments upon them below what would properly be the bottom of the wagon (see illustration). Leave the cardboard white below this box, as it represents no portion of the machine, but is necessarily brought down so far to conceal the wooden frame. It will give the machine a more finished appearance if, after painting, you go over it with black paint and a fine brush and stripe the panels upon the sides, following the lines which you drew upon them with a pencil. Letter the word "Delivery" upon the centre panel of each side, and the firm name in the small panel between the lamp and window. By attaching a set of clockworks in the same manner as described for the automobiles, you can make A Clockwork Railway, constructing the cars similarly to the street car shown in Fig. 363, Chapter XXV, and using the schemes in the same chapter for the tracks and depots.
CHAPTER XXVII WORK TO DO WITH A KNIFE Boy Sharpening Knife. A number of years ago a friend of the writer paid a visit to a large penitentiary where the prisoners were engaged in the manufacture of boots and shoes. Among the workers he became particularly interested in a small German boy who was industriously marking the backs of boots with the lot numbers always to be found upon these goods. The boy didn't have an ink bottle near him, and yet, with what appeared to be a wooden stick, was marking the numbers in ink. A closer inspection disclosed the fact that the pointed stick held by the lad was nothing more or less than A Home-made Fountain Pen.—Upon seeing that the visitor was struck with the novelty of the affair, the superintendent presented him with one of the pens and told him of its origin. The pen was the invention of a forger who was placed in this department of the prison, and when its good qualities were seen it was very quickly adopted by all of the prisoners in place of the pointed stick and ink-bottle they had been using. The pen is shown in Fig. 391. It is made out of a piece of elderberry wood about five inches long, a small glass vial, and a piece of sponge. First push out the pith of the piece of elderberry wood (this you will find easily removed), and then point one end pen-shape, as shown in the illustration, and split it back from the point about an inch in the same manner as a writing pen is made. Whittle the other end of the stick so it will fit tightly in the neck of the glass vial. This bottle, or reservoir, should be filled with ink, and a small piece of the sponge you have procured should be pushed into the hollow of the pen above the point (see illustration), as a means of preventing the ink from flowing too freely upon the point. Fig. 391.—A Home-made Fountain Pen. Although the pen was originally made with a coarse point for marking heavy figures, you will find that it can be made to write to a reasonable degree of fineness by whittling a fine point upon it. Fig. 392.—The Magic Pin-wheel. The Magic Pin-wheel represented by Fig. 392 can be made with a few minutes' work, and is something entirely new in the line of magic toys. There are probably few persons who will understand this simple yet mysterious toy when they see it properly operated, until the secret is disclosed to them. As you will see by looking at the drawing, the pin-wheel consists of nothing more than a stick notched along one edge, and a thin piece of wood about an inch in length fastened through its centre to the end of the stick by means of a pin. In cutting the notches it is important to make them of the same length and depth. Locate the exact centre of the chip of wood before pivoting it to the end of the stick, and with your knife make a small hole for the pin to run through at this point. Be careful to drive the pin in straight. Fig. 393.—How to operate the Pin-wheel. To Operate the pin-wheel, hold the stick in the left hand as illustrated in Fig. 393, and then, taking a coin in the right hand, rub it vigorously across the notches. The vibration produced by rubbing the stick causes the small pin-wheel to revolve about its pin axis. The funny part of the performance is the fact that you can have perfect control over the wheel, and change the direction of its course at will, if you but master one little trick performed with the first and second fingers of the right hand. In holding the coin between the thumb and first finger of the right hand, allow the end of the first finger to extend over the top of the stick and bring the second finger close to the side of it, as shown in the illustration (Fig. 393). To make the wheel revolve from left to right, allow the end of the first finger to rub along the top edge of the notches; then, to reverse the direction, relieve the pressure of this finger, and press the second finger against the other edge of the notches. At first you may not be able to make the wheel obey your commands, but with a little practice you will find it a simple matter to make it change its direction without any one noticing how you perform the magical trick. A Brass Tack driven into the stick a little below the notches, about the point where the thumb of your left hand will strike, will add to the mystic appearance of the pin-wheel. A person invariably notices this the first thing when he sees you operate the wheel (you can make it a point to press your left thumb against the tack), and thinks he has solved the trick. But when you let him have the toy, he will soon find out that all his pressing and pulling upon the tack will have no effect upon the wheel, and beg you to "put him on" to the trick. A Wooden Chain and Rattle has long been one of the most interesting pieces of work a boy can make with his jack-knife, and, inasmuch as the making of one requires careful cutting, the exercise is a good test of a boy's skill with this handy tool. Figs. 394-396.
Details of a Wooden Chain and Rattle. In making the first chain and rattle, you had better use a pine block, as hard wood is not so easy for a beginner to handle. Therefore, for a first attempt, select a piece of sound pine free from blemishes, and plane it down to the dimensions, seventeen inches long, two inches wide, and two inches thick. With a lead-pencil mark off ten divisions one inch apart, running the lines around the four sides of the block (see Fig. 394). Then draw two lines lengthwise on each side of the block, as shown at AB and CD, making them one-half inch apart and three-quarters of an inch from each edge. With a chisel, cut out the four corners of the block down to the tenth line, as represented by the shading in Fig. 394. The Chain is to be cut out of the remaining core, one link out of every two divisions. Commencing at the top of the block, remove the shaded portions T and U (Fig. 395), as those would form only half links; then notch out the shaded corners marked X in the drawing, and gradually cut the core into circular links. Having finished this operation, draw a circle inside of each link, and cut out the wood inside of it. Round the edges of the links as shown in the drawing of the finished chain (Fig. 396). Your success in making a good chain will depend largely upon a good, sharp knife and careful cutting. With a dull knife you are almost certain to split the links when separating one from another. The Rattle is to be made from the lower portion of the block. This part of the figure is more difficult to cut than the chain. First draw the two lines marked HI and JK in Fig. 394 one-half inch from the edges; then draw the cross lines LM, NO, PQ, and RS, as shown in the illustration. These lines should be similarly drawn upon the other three sides of the block. Remove the wood from the spaces shaded in the drawing, and you will then have left a centre solid block from which to cut the ball. Gently round the corners of this, and then gradually separate it from the surrounding framework. When this has been accomplished, the centre block will slip up and down. Now continue cutting the block until it is a perfect round ball, but be careful not to make it small enough to fall out of the frame, for that would spoil the entire piece of work. After completing the cutting, sand-paper the links and rattle until they are perfectly smooth. Then oil the wood or give it a coat of varnish.
CHAPTER XXVIII CORK TOYS Materials Needed and Finished Articles. It is surprising the number of small toys that can be made out of corks of different shapes and sizes with the aid of glue, pins, burnt matches, worsted, and cardboard. Even though a boy has passed the kindergarten age, he will find this work entertaining for days when the weather is disagreeable without; and though he may not care to play with them himself, his work will not have been wasted, for a younger brother will surely be glad to have some cork animals and birds to add to his menagerie, and a sister no less delighted with a small log-cabin and set of cork furniture. Flat and tapered corks can probably be found about the house on old jars and bottles, while the straight variety can be procured at any drug-store. In buying the latter ask for No. 9, inch and one-half, straight, common corks, half a gross of which will cost about twenty-five cents. Cork Animals are peculiar-looking beasts of abnormal proportions, but all sorts of magical feats are performed by toy makers, and such wonders as A Pig that can boast of a body as large as that of an elephant is commonly found among the so-called Noah's ark animals. To make a pig, first draw its head, as in the drawing of Fig. 397, upon a piece of cardboard, and then, after cutting it out, select a straight cork and make a slit in one end of it in which to stick the head. A little glue applied to the cardboard will hold the head in place. The pig's feet consist of four pieces of burnt matches pointed at the ends and stuck into the cork as shown in Fig. 397, while the tail is formed of a piece of copper wire curled at one end and stuck into the cork. When the pig has been made, paint its head and feet to match its body. Fig. 398.—The Horse. A Horse requires a cork of the same shape as that used for the pig. Cut the head out of cardboard and glue it in a slit made in the end of the cork (see Fig. 398). Dip the ends of four burnt matches in glue and stick them in the cork for legs, and fasten a few pieces of worsted in a hole made in the end of the cork for the tail. A piece of thread should be fastened about the animal's neck for reins. After making the horse, take another straight cork for The Elephant, and cut the head, trunk, ears, and tusks out of a piece of cardboard as shown in the illustration (Fig. 399). Cut the tail out of another piece of cardboard, and glue it in a slit made in the end of the cork. The legs are, of course, larger around than those of the horse, and, as matches will be too slender, whittle four short wooden pegs for them. Point these pegs at one end, and, after dipping them in glue, stick them into the cork. The Giraffe is just as simple to make as any of the animals, for he is put together in the same manner, except that a tapered cork is used for the body. The head and neck are made in one piece of cardboard (see illustration), and a piece of worsted forms the tail. When you have painted the head and neck a tan color to match the cork, and marked a number of brown spots upon the body, this tall and most graceful of animals will appear very life-like. A Porcupine is simple to make out of a long, straight cork with toothpicks cut into small pieces for quills, and stuck into the cork as close as you can place them. The head and other portions of this animal can easily be made with the aid of a natural history, and it will be a simple matter to devise Other Animals upon the same schemes as those just described, by consulting the pictures in one of these books. It is not necessary to always copy a real animal. Use your ingenuity and see what queer-looking creatures you can make. Figure 401 gives a suggestion for one of these, which we will call Fig. 401.—The Korka-bird. The Korka-bird.—You will see by looking at the drawing that the two legs are made of matches, the lower ends of which are stuck into a piece of cork for a standard; and the neck consists of a burnt match stuck into the end of the cork with its upper end split to receive the cardboard head. A small chicken-feather stuck into the top of the head (the cardboard being split enough to receive it), two others in the back, and a fourth in the end of the cork compose all the plumage this wonderful bird can boast of, but this lack of feathers is more than made up by a beautiful head, neck, body, and legs, which are gilded. As a suggestion of what can be made in the way of water toys, A Duck is shown in Fig. 402. The body for this consists of a cork split in half, the head is cut out of a piece of cigar-box, and a small tin keel is fastened to the centre of the under side of the body. A few chicken feathers will form the tail. Glue, of course, cannot be used upon the duck, as it would soften in water, so the pieces composing it will have to be fastened together by means of pins. Other water toys, such as Canoes, consisting of a cork split in half, lengthwise, with the inside scooped out by means of your knife, are made with a few minutes' work, and these can be transformed into Small Sail-boats by sticking a toothpick in the bow for a mast and rigging a tiny sail upon it. Cork Furniture is not a new idea for toys, but, inasmuch as many have never heard of them, a few examples of what can be made in this line have been introduced in this chapter. For A Chair, such as shown in Fig. 403, find a flat cork, and stick four pins in one side for legs, and five pins fairly close together in the other side for the chair-back (see illustration). When the pins have been properly placed, take some worsted and wind it around each of the four legs, crossing from one to another as shown in the drawing, thus forming the chair-rounds. Also weave the worsted in and out around the pins forming the chair-back as in the drawing, so that all but the heads of the pins are covered when the operation is completed. The Sofa, illustrated in Fig. 404, is made after the same manner. Split a straight cork lengthwise for the seat, placing it flat-side up, and stick pins around three edges of it upon which to wind the worsted.
A Small Tabouret is shown in Fig. 405. Select a straight cork for the base of this, and, after seeing that a good sharp edge is upon your knife, slice the cork lengthwise, making it hexagonal in shape. Then stick six pins in the cork near the upper edge, placing one in each of the six edges (see illustration). When this has been done, weave worsted upon the pins in the same manner as the chair-back was formed. A Toy Log-cabin, or slab-hut, as it would properly be called, as the building is first put up and then covered with corks split in half for slabs, is illustrated in Fig. 406. A cardboard box should be procured out of which to make this little building, the proportion of which will determine the shape and size. Turn the box bottom side up, and on it construct a gable-roof. Cut two pieces of cardboard large enough to make a good projection over the ends of the building, and fasten them to the bottom of the box as shown in the drawing, gluing a number of linen strips to the pieces to hold them securely in place. Two pieces of cardboard should be cut to fit the gable-ends, and glued in place with linen strips. Cut windows in each side of the box and a door in each end. Having completed the little cardboard cabin, split enough straight corks in half lengthwise to cover the walls. Sharpen your knife well before commencing this work, so the corks will cut evenly and without breaking. Begin gluing these half corks along the bottom of the walls, fitting them end to end as shown in the drawing, and placing one row above another. Fit them neatly around the windows and door openings, and if they do not space out as evenly as shown in the illustration, cut some shorter pieces to fill in. The corks will quickly adhere to the cardboard if you press your finger against each for a second or two after placing it in position. Fig. 406.—A Cork Log-cabin. The roof may be painted to represent boards or shingles, and a cork stuck in it as shown in the illustration will form the chimney. Cover the window openings with paper. Tissue-paper will admit more light than ordinary writing-paper, so probably will be the better material. Hinge a piece of cardboard to the jamb of each door opening, using small pieces of linen for hinges. Rule a few vertical lines upon the doors to represent the boards. All that now remains to be done to complete the cabin is the mounting, for which a seven-eighths-inch board should be procured. Use linen strips to fasten the cabin upon this board, placing them upon the inside surfaces of the walls, which can be reached by running your hand through the door openings.
CHAPTER XXIX DEFINITIONS OF TERMS AND PHRASES Selection of Books. The terms and phrases used in describing the work included in this book have been arranged alphabetically in this chapter, together with their definitions. This has been done for the purpose of furnishing a boy with a handy reference, with definitions in a clear and simple form, covering only such points as apply to his particular kind of work. Abbreviations d stands for "penny." E. G. 16d stands for sixteen-penny nails (see page 36). I.e. or i.e. stands for "that is." E. G. or e.g. stands for "for example." Viz. or viz. stands for "namely, to wit." " stands for "inch" or "inches." E. G. 2" means two inches. ' stands for "foot" or "feet." E. G. 2' means two feet. etc. stands for "and so forth." Abutting Surface.—Next or adjoining. Animated Animals.—Animals (such as those used in the back-yard circus) which are constructed and then given life. In the case of the circus animals, the boys who enclose themselves in the bodies furnish the animals with life. Bait-stick.—A stick in a trap, upon which the bait is placed. It is also known as the trigger. Baluster. See Balustrade.Balustrade.—A series of small spindles or posts (Balusters), to the tops of which a bar (Hand Rail) is attached, placed along the sides of stairs and around stair openings. The hand rail is supported at either end by a post (Newel Post). E. G. See Figs. 71 and 75. Also applied to a solid wall built up the sides of a stairway and around the stair openings. Batten Door.—A door formed by joining the boards together with battens. Battens.—Strips of wood, or cleats, fastened across two or more boards to hold them together, as in making a cover or door. E. G. See Figs. 15, 189, and 194. Bevel.—Formed by cutting off the sharp edge of a board or any piece of work. E. G. See Fig. 28.
A tool used for laying out bevels Bird's Mouth.—A notch, V-shaped, or the form of a bird's mouth, cut in a piece of work. E. G. See Fig. 8. Blind-nailing. See page 34. Brace.—A strip, board, or heavier piece fastened across two or more pieces to strengthen and steady them; a diagonal strip. Bracket.—A support, generally triangular in shape, screwed or nailed to a wall or object to hold up such things as shelves and cabinets. Broom-wire.—The fine wire which is bound around brooms to hold the straw to the end of the broom-stick. Bull's-eye.—The centre ring of a target. Butt-joint.—When the square end of one piece of wood butts or sets against another piece, the joint formed is known as a butt-joint. The pieces are not cut into as in the case of making other joints.
Casings.—The finishing strips placed around door and window openings. E. G. See Figs. 85, 88, and 89. They are also known as Trim. Chair Rail.—A narrow board fastened around the walls of a room at a height equal to that of an ordinary chair-back. Chamfer.—Formed by cutting off the sharp edge of a board. It is much the same as a bevel (see Fig. 28), but the term is more often applied to cases where the bevel is stopped, instead of running the entire length of the edge, and its ends rounded up to meet the square edge of the board. This form of chamfer is used for ornamental purposes, and is known as a Stop Chamfer. Figure 29 shows a form of chamfer used in planing end-wood. Cleats.—Strips of wood fastened to others to strengthen them; or strips secured to an object for the purpose of supporting a shelf or drawers. E. G. See Figs. 15 and 148; also descriptions relating to same. Clinching Nails. See page 34. Corbelled Brick.—Several courses (layers) of brick so laid that each projects a little beyond, or comes a little within, the course below. E. G. See corbelled chimney for doll-house, Fig. 103, Chapter VI. Corner Stone.—A stone placed in the corner of a foundation. CornucopiÆ.—The plural for cornucopia; made by rolling paper or other material into the shape of cones or funnels. Countersunk. See Screws on page 36. Cross-piece.—A piece that crosses another; a piece fastened in a horizontal or oblique position, and extended from one piece to another. Cross Section. See Section.
Details.—The parts of which a thing consists; a Detailed Drawing is usually a working drawing, showing all the parts of a piece of work, with dimensions marked upon them. Diagonal.—A strip, board, or heavier piece fastened in an oblique, or slanted, position—used in bracing (see Bracing of Toboggan Platform Framework, Fig. 310); also a line drawn obliquely to another line, several lines, or an object. Diagonally.—In a diagonal direction. Diameter.—The distance equal to a straight line passing through the centre of a circle or a circular object, terminated at both ends by the circumference, or the curved surface. Door Frame.—The wooden frame built in a door opening for the door to swing in. For definition of Jambs, Sill, and Head, see Window Frame. Door-stops.—Wooden strips nailed around the Jambs and Head of a door frame, for the door to swing against, and to make a tight joint between the door and frame. Dovetail-joint.—A tongue, undercut so as to make it wedge-shaped (somewhat the shape of a dove's tail), is prepared upon one piece, and a mortise, the shape and size of this tongue, is cut in the other piece for it to set into. E. G. See Figs. 209 and 210, and text on page 210, Chapter XV. Dowelling.—A process of securing together two edges or faces of a piece of work with pins of wood or metal. Holes are bored in the edges or faces of the pieces, and wooden pegs are cut to fit them. These pegs are coated with glue and then driven into place. The edges or faces of the pieces are also covered with glue, and if the pieces have been properly planed so as to fit together perfectly, a tight joint will be obtained when the glue has dried. The work should be clamped until the glue has dried. E. G. See Fig. 54. For nails used as dowels, see Fig. 357. Dowels.—The pegs or pins used in dowelling. Dressed.—After lumber has been planed at a mill, it is known as "dressed stuff." A board may be dressed to the proper dimensions, that is, prepared either by sawing, planing, paring, or scraping. Driving Home a Nail.—The act of applying the finishing strokes of a hammer upon the head of a nail in driving it into wood (see Driving Nails, page 32). Drop.—A piece of scenery hung from the Gridiron above the stage. E. G. See Figs. 331, 332, and 340.
Elevation.—A straight Side or End view of an object. E. G. See Fig. 206. Em.—A square type. Used as a unit in measuring type. The letter "m" in type originally had a square end. En.—A type half an "em" in width. End-plate.—A timber, such as a two-by-four or two-by-six, placed across the tops of the studs in the end of a framework, for the roof rafters or the floor joists above to rest upon. E. G. See Fig. 184. When placed across the studs in the side of a framework it is known as a Side-plate. End-wood.—Wood which has been cut across the grain and shows the ends of the grain upon its surface. E. G. The end of a stick. Equidistant.—Equally distant.
Finishing Nail.—A nail with a small head used on surfaces to be exposed, where it is desirable to make as small nail holes as possible. The finishing nail is very handy for all kinds of small work. Fishing.—An operation where two or more pieces are joined together, end to end, by means of strips (known as Fish-plates) nailed or screwed across the joints. It is also known as a Fish-joint, and is a common form of splice. E. G. See Fig. 183. Flange.—A projecting rim such as the edge of a spool. Flush.—A surface of a board is said to be flush with the surface of another when those boards are so placed together that the two surfaces are even, or extend along the same line or plane. Font.—An assortment of type of one size and style, including a certain number of each letter in the alphabet (large and small), punctuation marks, and such characters as are necessary in printing. Spaces and Quads are sold separately. Foundation.—The base upon which a building rests. Usually made of stone, brick, or posts, and placed below the surface of the ground.
Gable-end.—That portion of a wall which extends into the angle formed by a gable or gambrel roof. E. G. See Figs. 64, 77, 96, and 109. Gauge of Tracks.—The distance between the tracks. Grease Paint.—A paint for the purpose of making-up the face in preparation for a circus or entertainment of some sort. Prepared of a composition easily removed, and free from injurious substances. Gridiron.—The framework above the stage from which the scenery drops are suspended. The framework consists of a series of parallel bars resembling a gridiron. Groove.—A channel or hollow cut in a piece of wood. In a tongued-and-grooved board it is the hollow in which the tongue fits.
Halving. See Fig. 267; also description on page 259. This joint is also known as a Halved-joint. Hand Rail. See Balustrade. Hem.—The edge of a piece of cloth doubled over and sewed, to strengthen it and prevent the threads from ravelling. Hexagonal.—Six-sided. Horizontal.—Parallel to the horizon. Hornstone.—A variety of quartz having the appearance of flint, but more brittle.
Kerf.—The opening, or narrow slot, made in sawing.
Latch-pocket. See Spring-catch. Lath.—A strip approximately one and one-half inches wide, three-eighths of an inch thick, and four feet long. Nailed across the walls and ceiling of a room upon which to place plaster. Locking-up.—The process of tightening a form of type so as to hold it together (see description, page 136). Longitudinal Section. See Section.
Making-up.—Painting the face as a disguise or to show expression marks. Mitre.—The end of a board is mitred when cut off at an angle of forty-five degrees. Although applied to other angles, the term mitre is understood to mean a forty-five degree cut, unless otherwise stated (see Bench-hook, Fig. 11, and Mitre-box, Fig. 12, Chapter I; also descriptions of their use). Mitred Try-square.—Used for laying off mitres (see Figs. 38 and 39, Chapter II). Mortise.—A slot or cavity made in a piece of wood to receive the end of another piece. E. G. See Figs. 208, 210, 211, Chapter XV. Bevelled Mortise.—A mortise with its bottom or sides bevelled. E. G. See Fig. 10, Chapter I. Mould.—Something which serves to give the proper form to an object. E. G. The mould for shaping a canvas canoe, Fig. 204, Chapter XV.
Newel Post. See Balustrade. Notch.—A hollow cut in anything; a nick; an indentation. To Notch.—To cut in small hollows, as to notch a stick. E. G. See Fig. 191, Chapter XIV, and Fig. 392, Chapter XXVII.
Obsidian.—A form of lava. On Centres.—In spacing studs or strips of any kind, they are spoken of as being placed a certain number of inches on centres. E. G. Twelve inches on centres means that the distance from the centre of one piece to the centre of another is twelve inches. Out of Plumb.—Not vertical; not perpendicular to the horizon. Out of Square.—Askew; oblique; not true.
Parallel.—Lines or objects are parallel to one another when they have the same direction, and all corresponding points are equidistant from one another. Perpendicular.—Vertical; plumb; in an upright position. Perspective.—A perspective is a drawing showing an object in the form in which it appears to the eye. The lines converge, or approach nearer together, as they go away from the eye, until they finally meet at a point on the horizon, or a line drawn to represent the horizon. E. G. In looking down a railway track the telegraph poles and tracks appear to run together on the line of the horizon. Pica.—The standard of measurement in printing. A name given to a size of type which measures one-sixth of an inch high (measured from the nicked side to the side opposite); and seventy-two ems (see Em) measure one foot. Pie.—A mixed assortment of type. See page 135, Chapter IX. Pieing Type or Making Pie.—Spilling or mixing up type. Pipe-straps.—Iron straps used mostly by pipe-fitters to fasten gas-piping in place. E. G. See Figs. 321 and 322. Pitch.—The pitch of a board is the degree to which it has been tilted. Plan.—A drawing showing a view of an object, looking down upon it, either on top of it (e. g. see Figs. 205 and 207), or with the upper portion sliced off (e. g. see Fig. 190. This shows a plan of the log-cabin at a level of the door and windows, with the upper portion removed). Plank.—Lumber two inches or more in thickness is known as planks or planking. Anything of less thickness is known as boards. Plumb.—Perpendicular; vertical; true. An instrument for determining whether or not an object is plumb (see Fig. 14, Chapter I). Proscenium.—The front portion of a stage. The Proscenium Arch is the arch or frame extending around the front of the stage of a theatre. Pumice Stone.—A porous rock, of extreme lightness, used for polishing metals; for smoothing the surface of wood; and for smoothing the surface of a coat of paint before applying a second coat (see Painting of Canvas Canoe, page 214). Pyrotechnics.—The art of making fireworks; fireworks; the composition and use of fireworks.
Quad.—An abbreviation for quadrat. A block of type-metal lower than the type, used for filling out lines, and for spacing between lines. A 2-em quad is two "ems" in width, and a 3-em quad three "ems" in width. Quartz.—Glassy crystals, having the form of a six-sided prism, terminated at each end by a pyramid. It is colorless, or transparent, when pure, and more or less opaque and in various colors when impure. Quoins.—The wedges used to tighten or lock-up a form of type. E. G. See Figs. 155 and 156.
Rabbet.—A groove or hollow cut in a piece of work, generally for the purpose of joining it with some other material. E. G. The sides of the bow and stern pieces of the Canvas Canoe described in Chapter XV are rabbeted so the ribbands and the edge of the canvas will fit in them (see Figs. 200 and 202, Chapter XV). Radius.—The distance from the centre of a circle to any point upon its circumference. It equals one-half of the length of the diameter. Rasp.—A file with coarse teeth, used for working upon wood. Recess.—A niche in a wall; a space or opening formed by the wall setting in a little way. ReËnforce.—To strengthen; to supply additional strength with strips or braces. Ridge.—An edge of a roof formed by the meeting of two sloping surfaces. The top edge of a peaked roof. E. G. See Fig. 192, Chapter XIV. Ridge-boards.—The boards fastened along the ridge of a roof to cover the joint. E. G. See Fig. 192, Chapter XIV. Right Angle.—An angle of ninety degrees. At Right Angles.—So as to form a right angle. Rubbing Down.—Bringing to a smooth surface by rubbing with sand-paper, emery-paper, or pumice stone. Rustic.—Made of limbs of trees in their natural form.
Sagging.—The bending of a body by its own weight, or by a load placed upon it. Sapling.—A young tree. Sash.—The frame which holds the glass of a window. Also applied to the frame with the glass in place. Scraping.—A piece of glass or the blade removed from a plane is used for scraping a piece of work to give it a smoother surface than can be obtained by using a plane upon it. Section.—A part. Section Drawing.—A drawing made of an object, showing it as it would look if you were to cut it open or split it in two. The portions which would have to be cut through, in such an operation, are shaded in a drawing of this kind. E. G. See Fig. 218, Chapter XV; Fig. 300, Chapter XXI; and Fig. 316, Chapter XXII.
A Cross Section is a section taken through the short way of an object.
A Longitudinal Section is a section taken through the long way of an object. Selvage.—The selvage of cloth or wire-mesh is the edge which has been so woven as to prevent ravelling. Semicircle.—Half a circle. Set of a Saw's Teeth. See page 21, Chapter II. Setting Nails. See page 34, Chapter II. Shape it Down.—A term used to imply that the board or piece of work shall be gradually cut down until it approaches its finished form and size. Shooting Stick.—An iron or wooden tool with a head on one end, used to lock-up the Quoins in a form of type. E. G. See Fig. 155, Chapter IX. Sills.—The lowest horizontal timbers in a building of any kind on which the structure rests. See also Window Frame. Sleepers.—The timbers supporting the lower floor of a building, distinguished from joists by being filled in between with cinders or concrete. E. G. See Fig. 186, Chapter XIII. Slip-knot.—A noose which slips along the line or rope around which it is tied. E. G. See Fig. 243, Chapter XVII. Slot.—A mortise, or hole, with sides square or nearly so. Made by boring several holes, and then connecting and squaring them up with a chisel. Space.—A thin piece of type-metal, lower than the type, used between words, and for spacing out lines. A 3-em space is a third of an "em" in width, a 4-em a quarter of an "em" in width, a 5-em a fifth of an "em," and an 8-em (known as a hair space) is an eighth of an "em." Spike.—A twentypenny nail (four inches long) and all lengths greater. See list of sizes on page 36, Chapter II. To Spike a board in place is to fasten it with spikes. Spliced.—Two pieces are spliced when joined together, generally end to end, in such a way that they are held together and act as one piece. E. G. See Fig. 183, Chapter XIII, and Fishing. Spring-catch.—A small lock, such as shown in Figs. 96, 114, and 187. The latch is operated by a small knob, and is thrown into position by a small spring. The metal socket which is screwed in place for the latch to spring into is known as the Latch-pocket. Sprint.—A short race run at full speed. Squaring Lines.—By squaring lines across a board is meant the operation of drawing lines across a board with a try-square, the head of the try-square being placed against the tried-edge of the board so those lines will be at right angles to that tried-edge. E. G. See Fig. 38, Chapter II. Staple.—A U-shaped piece of metal, with two sharp points which are driven into wood in the same way as a nail. Stock.—Material; supplies.
The brace which holds the bit for boring; the block which holds the blade of a plane (see Fig. 24, Chapter II); the portion of a gun which contains the barrel and trigger. Stops. See Door-stops and Window-stops. Strap-hinge.—A hinge with long arms, or flaps, which extend over a larger area than those of an ordinary hinge, and give it the power of withstanding greater strains. Studs.—The smaller pieces of timber used in the framework of a building, to which the siding is attached, or to which the laths are nailed. Known also as Studding. Stuff.—In carpenter work this term is applied to the different sizes of lumber. E. G. Seven-eighths-inch stuff means boards seven-eighths of an inch thick; two-inch-stuff is lumber two inches thick. Stunt.—Originally a slang word used to denote a trick or feat of some sort. It is now generally recognized as a legitimate word. Swivel.—A fastening with a pivot which allows the object attached to it to revolve without twisting the cord, wire, or chain, by which that object is suspended. E. G. See Fig. 258, Chapter XVIII; and page 249.
Taper.—To make gradually smaller in diameter toward one end; to gradually diminish toward a point. Temper.—Steel and iron tools are given their necessary degree of hardness by a process of heating and cooling, known as Tempering. Too much friction obtained while grinding a tool will destroy this temper, making it necessary to re-temper it. Toe-nailing. See page 33. Tongue.—The projecting edge of a tongued-and-grooved board. A projecting pin cut on a piece of wood to fit a mortise of the same shape cut in another piece of wood. Used in making Dovetail-joints. E. G. See Figs. 208 and 209, Chapter XV. Tongued-and-grooved Boards.—Boards with a groove along one edge and a tongue along the opposite edge, so that the tongue of one board will fit in the groove of another, thus forming a fairly tight joint. These boards are known also as Matched Boards. Trench.—A ditch; a long channel. Tried-edge of Work. See Testing Work, page 28. Trim.—The wooden Casings placed around door and window openings (see Figs. 85, 88, and 89, Chapter V).
To dress a piece of work; to cut; to make smooth. Turnstile.—A post upon the top of which four horizontal arms are pivoted to revolve, so as to allow but one person to pass at a time (see Fig. 266, Chapter XIX, and description of construction on page 259). Two-by-four.—A piece two inches thick by four inches wide used for supports and the construction of frameworks. Pieces of other dimensions are also known and spoken of by their sizes inches. E. G. Two-by-sixes, two-by-eights, and two-by-tens. Typographical.—Relating or pertaining to typography. Typography.—The art of setting type.
Undercutting.—As the term implies, the wood is undercut, or cut under, thus making it wedge-or V-shaped. E. G. See Fig. 209, Chapter XV; also text on page 211. Upright.—An upright is a piece of timber which is perpendicular when in place.
Valance.—A drapery for a couch or bed. E. G. See Couch in illustration of a Boy's Room, Chapter V. Vertical.—Perpendicular to the horizon; upright; plumb; straight up and down.
Wainscot.—A lining placed upon the inside walls of a building. It was originally made of oak timbers, known as wainscot, but the term is now applied to any kind of wood, burlap, tapestry, or other material applied in the same manner. As a rule, it extends but part way up a wall, starting at the floor line. Warped.—Twisted out of shape. Washer.—A ring placed beneath the head of a bolt to give it a broader bearing surface, and thus prevent it from cutting into the surface of the piece of work. It is also placed under a nut to prevent it from working loose. Wedge-shaped.—V-shaped. Window Frame.—The wooden frame built in the window opening for the sash to fit into. The Jambs are the sides of this frame, the Sill the bottom piece upon which the Jambs rest, and the Head the top piece of the frame. E. G. See Figs. 187 and 188, Chapter XIII, and Fig. 193, Chapter XIV. Window-stops.—Wooden strips nailed around the Jambs, Head, and Sill of a window frame to prevent rain and wind from entering between the sash and its frame. Wing.—A piece of scenery placed at the side of the stage. E. G. See Figs. 333, 334, 335, 341, and 342, Chapter XXIV.
INDEX
age_366" class="pginternal">366. Cork toys, 363; animals, 363; the korka-bird, 366; a duck, 367; boats, 367; furniture, 367; a toy log-cabin, 369. Corner, how to fit up a cosey-, 58. Cosey-corner, how to fit up a, 58; a doll-house, 107. Couch, a, 63; covering of, 64. Countersink, use of the, 37. Cracks, calking, 184. Cross-bar for jump standards, 250. Cross-bow, the ancient, 231; new idea for a, 231. Cross-cut saw, use of the, 21. Cupboard, provision, 197. Curio-cabinet, a, 65; finishing of, 67; catalogue for, 67. Curtain, drop-, 306. Curtains for doll-house, 106. Curves, drawing, 204. D Dark-lantern, a home-made, 163. Dark-room, a boy's, 153; a bedroom as a, 154; a bath-room as a, 155; another scheme for a, 156. Dead fall trap, the, 222. Deck beams for canvas canoe, 210. Deck braces for canvas canoe, 211. Definitions of terms and phrases, 371. Delivery-wagon, a clockwork automobile, 352; frame for, 352; cardboard sides for, 353; the wheels, 354; other portions of, 354; painting, 355. Desk, how to make a writing-, 59; another style of, 62; finishing of, 61. Disappearing rope, the, 290. Distribution of type, 137. Divide a board, to, 45. Doll furniture, 109. Doll-house, how to make a, 71; the store, 71; painting the, 90; another style of, 91; furnishing the, 105. Door, batten, for club-house, 184; log-cabin, 194. Doors, doll-house, 80 , 84; trim for, 253. I Ideas for a circus performance, 269. Imposing-stone, the, 136. Indian, story of a trapped, 227. Inking the press, 140. Ink-stand and pen-tray, an, 63. Interior scene, an, 322. J Jack-plane, use of the, 25. Japanese lanterns, for decorating circus tent, 257; hung from kite-string, 278. Jobbing, 47; outfit for, 47. Jocko, 267. Johnstone, Mary Jane, 176. Jointed figures, 325; operation of, 327. Journalism, amateur, 142. Jump standards, a pair of, 249. Justifying, 135. K Keel for canvas canoe, 215; bilge-, 215. Keelson for canvas canoe, 206. Kerf, definition of, 25. Kitchen furniture for doll-house, 118. Kites, firing fireworks from, 277. Knife, work to do with a, 356. Knives, how to grind, 40. Korka-bird, the, 366. L Ladder, stable hay-loft, 103; toboggan-slide, 296. ,Lake High School Daily, the, 146. Lantern, a home-made dark-, 163. Lanterns, Japanese, for circus tent, 257; hung from kite-string, 278. Latch, wooden, for club-house, 184; for log-cabin, 195. Laying out work, 42; tools for, 42. ,Ledger, The, 149. Letter, a mysterious, 176. Lightning, how to imitate, 330. Lock, workshop door, 19; a hinge-, 48; spring-catch for doll-house, 98; spring-catch for stable, 102; club-house, 183; button for club-house, 184; for turnstile, 259. Locking up a form, 136; quoins, shooting-stick, and key for, 136. Lock-joint, the, 189. Log-cabin, how to build a, 186; the pioneer, 186; the modern, 186; site for, 188; design and size of, <
a href="@public@vhost@g@html@files@42650@42650-h@42650-h-5.htm.html#Page_169" class="pginternal">169. Snow scraper, a, 170. Snow shovel, a, 171. Soldiers for miniature theatre, 324; standards for, 324 , 325; jointed, 325. Specimens of amateur papers, 143, 146, 147, 148, 149, and group opposite 142. Spotlights, 309. Spring-board, a, 251. Spring-catch, see Catch. Sprints, method of starting, 254. Stable, how to build a, 100; painting the, 104. Stage, construction of, see Theatre.
Stairways, doll-house, 76 , 98. Stall partitions for stable, 102. Standards, a pair of jump, 249. Stanley plane, the, 25. Station for toy railway, 341. Steel-square, rack for, 16; laying out work with the, 42. Steps, front, 78; rear, 79. Stern piece for canvas canoe, 204. Stick, composing-, 134; the shooting-, 137. Stops, bench-, 7. Street car, a, 336. Street scene, a, 320. Strop, how to make a, 12; how to use a, 41. Stropping, 41. Studs, fishing, 178; placing of, for club-house, 179. Supplies, receptacles for workshop, 18; cabinet for dark-room, 161. Swivel for punching-bag, a, 249. T Table, a miniature mission, 114; another design of, 115; a camp-, 199. Tank, water, for dark-room, 156. Target, a barrel-hoop, 234; a simpler, 235. Tar-paper for club-house roof, 181. Teepee, a paper, 328. Tent for back-yard circus, 257; decorating, 257. Tents, paper, 328. Testing work, ways of, 28. Theatre, a miniature, 303; framework for,
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