cannon ball, the others are spiral-spherical springs covered with black cloth (Fig. 1). These balls can be pressed together in flat disks and put in the bag, Fig. 2. without taking up any great amount of space. When the spring is released it will fill out the black cloth to represent a cannon ball that cannot be distinguished from the real article.
–Contributed by J. F. Campbell, Somerville, Mass.
** A Rising Card Trick [256]
A rising card trick can be accomplished with very little skill by using the simple device illustrated. The only
[Illustration: Card Slips from the Pack]
things needed are four ordinary playing cards and a short rubber band. Pass one end of the rubber band through one card and the other end through the other card, as shown in the illustration, drawing the cards close together and fastening the ends by putting a pin through them. The remaining two cards are pasted to the first two so as to conceal the pins and ends of the rubber band.
Put the cards with the rubber band in a pack of cards; take any other card from the pack and show it to the audience in such a way that you do not see and know the card shown. Return the card to the pack, but be sure and place it between the cards tied together with the rubber band. Grasp the pack between your thumb and finger tightly at first, and by gradually loosening your hold the card previously shown to the audience will slowly rise out of the pack. –Contributed by Tomi O’Kawara, San Francisco, Cal.
** Sliding Box Cover Fastener [256]
[Illustration: Box with Fastener]
While traveling through the country as a watchmaker I found it quite convenient to keep my small drills, taps, small brooches, etc., In boxes having a sliding cover. To keep the contents from spilling or getting mixed in my case I used a small fastener as shown in the accompanying illustration, The fastener is made of steel or brass and fastened by means of small screws or tacks on the outside of the box. A hole is drilled on the upper part to receive the pin that is driven into the sliding cover. This pin should not stick out beyond the thickness of the spring, which is bent up at the point so the pin will freely pass under it. The pin can be driven through the cover to prevent it from being pulled entirely out of the box.
–Contributed by Herm Grabemann, Milwaukee, Wis.
** How to Chain a Dog [257]
A good way to chain a dog and give him plenty of ground for exercise is to stretch a clothesline or a galvanized
[Illustration: The Dog Has Plenty of Room for Exercise]
wire between the house and barn on which is placed a ring large enough to slide freely. The chain from the dog’s collar is fastened to the ring. This method can also be used for tethering a cow or horse, the advantage being the use of a short tie rope eliminating the possibility of the animal becoming entangled.
** Water-Color Box [257]
There are many different trays in the market for the purpose of holding water colors, but they are either too expensive for the average person or too small to be convenient. I do a great deal of water-color work and always felt the need of a suitable color dish. At last I found something that filled my want and suited my pocketbook. I bought 22 individual salt dishes and made a box to hold them, as shown in the illustration. This box has done good service.
Some of the advantages are: Each color is in a separate dish which can be easily taken out and cleaned; the dishes are deep enough to prevent spilling the colors into the adjoining ones, and the box can be made as big or as small as individual needs require. The tray containing the color dishes and brushes rests on 1/4-in. round pieces 2-1/4 in. from the bottom of the box, thus giving ample store room for colors, prints, slides and extra brushes.
[Illustration: Color Trays Made of Salt Dishes]
–Contributed by B. Beller, Hartford, Connecticut.
** Saving Ink Pens [257]
Ink usually corrodes pens in a short time. This can be prevented by placing pieces of steel pens or steel wire in the ink, which will absorb the acid and prevent it from corroding the pens.
** A Plant-Food Percolator [258]
Obtain two butter tubs and bore a large number of 1/4-in. holes in the bottom of one, then cover the perforated part with a piece of fine brass gauze (Fig. 1), tacking the gauze well at the corners. The other tub should be fitted with a faucet of some kind–a wood faucet, costing 5 cents, will answer the purpose. Put the first tub on top of the other with two narrow strips between them (Fig. 2). Fill the upper tub, about three-fourths full, with well packed horse manure, and pour water on it until it is well soaked. When the water has percolated through into the lower tub, it is ready to use on house and garden plants and is better than plain water, as it adds both fertilizer and moisture. –Contributed by C. O. Darke, West Lynn, Mass.
[Illustration: FIG.1, Fig. 2]
** Lathe Safety [258]
Always caliper the work in a lathe while it is standing still. Never use the ways of a lathe for an anvil or storage platform.
** Folding Quilting-Frames [258]
The frame in which the material is kept stretched when making a quilt is usually too large to be put out of the way conveniently when other duties must be attended to; and especially are the end pieces objectionable. This can be remedied by hinging the ends so they will fold underneath to the center. The end pieces are cut in two at one-fourth their distance from each end, a hinge screwed to the under side to hold them together, and a hook and eye fastened on the other side to hold the parts rigid when they are in use. When the ends are turned under, the frame is narrow enough to be easily carried from one room to another, or placed against a wall.
** A Drip Shield for the Arms [258]
When working with the hands in a pan of water, oil or other fluid, it is very disagreeable to have the liquid run down the arms, when they are raised from the pan, often to soil the sleeves of a clean garment. A drip shield which will stop the fluid and cause it to run back into the pan can be easily made from a piece of sheet rubber or, if this is not available, from a piece of the inner tube of a bicycle tire. Cut a washer with the hole large enough to fit snugly about the wrist, but not so tight as to stop the
[Illustration: Shields for the Arms]
circulation of the blood. A pair of these shields will always come in handy.
–Contributed by L. M. Eifel, Chicago.
** How to Cane Chairs [259]
There are but few households that do not have at least one or two chairs without a seat or back. The same households may have some one who would enjoy recaning the chairs if he only knew how to do it, and also make considerable pin money by repairing chairs for the neighbors. If the following directions are carried out, new cane seats and backs can easily be put in chairs where they are broken or sagged to an uncomfortable position.
The first thing necessary is to remove the old cane. This can be done by turning the chair upside down and, with the aid of a sharp knife or chisel, cutting the cane between the holes. After this is done the old bottom can be pulled out. If plugs are found in any of the holes, they should be knocked out. If the beginner is in doubt about finding which holes along any curved sides should be used for the cane running nearly parallel to the edge, he may find it to his advantage to mark the holes on the under side of the frame before removing the old cane.
The worker should be provided with a small sample of the old cane. At any first-class hardware store a bundle of similar material may be secured.
The cane usually comes in lengths of about 15 ft. and each bundle contains
[Illustration: Three Stages of Weaving]
enough to reseat several chairs. In addition to the cane, the worker should provide himself with a piece of bacon rind, a square pointed wedge, as shown in Fig. 1, and 8 or 10 round wood plugs, which are used for temporarily holding the ends of the cane in the holes.
[Illustration: First Layer of Strands]
A bucket of water should be supplied in which to soak the cane just before weaving it. Several minutes before you are ready to begin work, take four or five strands of the cane, and, after having doubled them up singly into convenient lengths and tied each one into a single knot, put them into the water to soak. The cane is much more pliable and is less liable to crack in bending when worked while wet. As fast as the soaked cane is used, more of it should be put into the water.
Untie one of the strands which has been well soaked, put about 3 or 4 in. down through the hole at one end of what is to be the outside strand of one side and secure it in this hole by means of one of the small plugs mentioned. The plug should not be forced in too hard nor cut off, as it must be
[Illustration: First Two Layers in Place]
removed again. The other end of the strand should be made pointed and passed down through the hole at the opposite side, and, after having been pulled tight, held there by inserting another plug. Pass the end up through the next hole, then across and down, and hold while the second plug is moved to the last hole through which the cane was drawn. In the same manner proceed across the chair bottom. Whenever the end of one strand is reached, it should be held by a plug, and a new one started in the next hole as in the beginning. No plugs should be permanently removed until another strand of cane is through the same hole to hold the first strand in place. After laying the strands across the seat in one direction, put in another layer at right angles and lying entirely above the first layer. Both of these layers when in place appear as shown in one of the illustrations.
After completing the second layer, stretch the third one, using the same holes as for the first layer. This will make three layers, the first being hidden by the third while the second layer is at right angles to and between the first and third. No weaving has been done up to this time, nothing but stretching and threading the cane through the holes. The cane will have the appearance shown in Fig. 3. The next thing to do is to start the cane across in the same direction as the second layer and begin the weaving. The top or third layer strands should be pushed toward the end from which the weaving starts, so that the strand being woven may be pushed down between the first and third layers and up again between pairs. The two first strands of the fourth layer are shown woven in Fig. 3. During the weaving, the strands should be lubricated with the rind of bacon to make them pass through with ease. Even with this lubrication, one can seldom weave more than half way across the seat with the pointed end before finding it advisable to pull the remainder of the strand through. After finishing this fourth layer of strands, it is quite probable that each strand will be about midway between its two neighbors instead of lying close to its mate as desired, and here is where the square and pointed wedge is used. The wedge is driven down between the proper strands to move them into place.
Start at one corner and weave diagonally, as shown in Fig. 4, making sure that the strand will slip in between the two which form the corner of the square in each case. One more weave across on the diagonal and the seat will be finished except for the binding, as shown in Fig. 5. The binding consists of one strand that covers the row of holes while it is held down with another strand, a loop over the first being made every second or third hole as desired. It will be of great assistance to keep another chair with a cane bottom at hand to examine while recaning the first chair.
–Contributed by M. R. W.
** Repairing a Cracked Composition Developing Tray [260]
Fill the crack with some powdered rosin and heap it up on the outside. Heat a soldering-iron or any piece of metal enough to melt the rosin and let it flow through the break. When cool, trim off the surplus rosin. If handled with a little care, a tray repaired in this manner will last a long time. The chemicals will not affect the rosin.
–Contributed by E. D. Patrick, Detroit, Michigan.
** How to Lay Out a Sundial [261]
The sundial is an instrument for measuring time by using the shadow of the sun. They were quite common in ancient times before clocks and watches were invented. At the present time they are used more as an ornamentation than as a means of measuring time, although they are quite accurate if properly constructed. There are several different designs of sundials, but the most common, and the one we shall describe in this article, is the horizontal dial. It consists of a flat circular table, placed firmly on a solid pedestal and having a triangular plate of metal, Fig. 1, called the gnomon, rising from its center and inclined toward the meridian line of the dial at an angle equal to the latitude of the place where the dial is to be used. The shadow of the edge of the triangular plate moves around the northern part of the dial from morning to afternoon, and thus supplies a rough measurement of the hour of the day.
The style or gnomon, as it always equals the latitude of the place, can be laid out as follows: Draw a line AB, Fig. 1, 5 in. long and at the one end erect a perpendicular BC, the height of which is taken from table No. 1. It may be necessary to interpolate for a given latitude, as for example, lat. 41 degrees-30′. From table No. 1 lat. 42 degrees is 4.5 in. and for lat. 40 degrees, the next smallest, it is 4.2 in. Their difference is .3 in. for 2 degrees, and for 1 degrees it would be .15 in. For 30′ it would be 1/2 of 1 degrees or .075 in. All added to the lesser or 40 degrees, we have 4.2+.15+.075 in.= 4.42 in. as the height of the line BC for lat. 41 degrees-30′. If you have a table of natural functions, the height of the line BC, or the style, is the base (5 in. in this case) times the tangent of the degree of latitude. Draw the line AD, and the angle BAD is the correct angle for the style for the given
[Illustration: Details of Dial]
TABLE No. 1.
Height of stile in inches for a 5in. base, for various latitudes
Latitude Height Latitude Height
25 2.33 42 4.50
26 2.44 44 4.83
27 2.55 46 5.18
28 2.66 48 5.55
30 2.89 50 5.96
32 3.12 52 6.40
34 3.37 54 6.88
36 3.63 56 7.41
38 3.91 58 8.00
40 4.20 60 8.66
latitude. Its thickness, if of metal, may be conveniently from 1/8 to 1/4 in. ; or if of stone, an inch or two, or more, according to the size of the dial. Usually for neatness of appearance the back of the style is hollowed as shown. The upper edges which cast the shadows must be sharp and straight, and for this size dial (10 in. in diameter) they should be about 7-1/2 in. long.
To layout the hour circle, draw two parallel lines AB and CD, Fig. 2, which will represent the base in length and thickness. Draw two semi-circles, using the points A and C as centers, with a radius of 5 in. The points of intersection with the lines AB and CD will be the 12 o’clock marks. A line EF drawn through the points A and C, and perpendicular to the base or style, and intersecting the semicircles, gives the 6 o’clock points. The point marked X is to be used as the center of the dial. The intermediate hour and half-hour lines can be plotted by using table No. 2 for given latitudes, placing them to the right or left of the 12-o’clock points. For latitudes not given, interpolate in the same manner as for the height of the style. The
Table NO. 2.
Chords in inches for a 10 in. circle Sundial.
Lat HOURS OF DAY
12-30 1 1-30 2 2-30 3 3-30 4 4-30 5 5-30 11-30 11 10-30 10 9-30 9 8-30 8 7-30 7 6-30 20 .28 .56 .87 1.19 1.57 1.99 2.49 3.11 3.87 4.82 5.93 30 .33 .66 1.02 1.40 1.82 2.30 2.85 3.49 4.26 5.14 6.10 35 .38 .76 1.16 1.59 2.06 2.57 3.16 3.81 4.55 5.37 6.23 40 .42 .85 1.30 1.77 2.27 2.82 3.42 4.07 4.79 5.55 6.32 45 .46 .94 1.42 1.93 2.46 3.03 3.64 4.29 4.97 5.68 6.39 50 .50 1.01 1.53 2.06 2.68 3.21 3.82 4.46 5.12 5.79 6.46 55 .54 1.08 1.63 2.19 2.77 3.37 3.98 4.60 5.24 5.87 6.49 60 .57 1.14 1.71 2.30 2.89 3.49 4.10 4.72 5.34 5.93 6.52
1/4-hour and the 5 and 10-minute divisions may be spaced with the’ eye or they may be computed.
When placing the dial in position, care must be taken to get it perfectly level and have the style at right angles to the dial face, with its sloping side pointing to the North Pole. An ordinary compass, after allowing for the declination, will enable one to set the dial, or it may be set by placing it as near north and south as one may judge and comparing with a watch set at standard time. The dial time and the watch time should agree after the watch has been corrected for the equation of time from table No. 3, and for the difference between standard and local time, changing the position of the dial until an agreement is reached. Sun time and standard time agree only four times a year, April 16, June 15, Sept. 2 and Dec. 25, and on these dates the dial needs no correction. The corrections for the various days of the month can be taken from Table 3. The + means that the clock is faster, and the means that the dial is faster than the sun. Still another correction must be made which is constant for each given locality. Standard time is the correct time for longitude 750 New York, 900 Chicago, 1050 Denver and 1200 for San Francisco. Ascertain in degrees of longitude how far your dial is east or west of the nearest standard meridian and divide this by 15, reducing the answer to minutes and seconds, which will be the correction in minutes and seconds of time. If the dial is east of the meridian chosen, then the watch is slower; if west, it will be faster. This correction can be added to the values in table No. 3, making each value slower when it is east of the standard meridian and faster when it is west.
The style or gnomon with its base can be made in cement and set on a cement pedestal which has sufficient base placed in the ground to make it solid.
The design of the sundial is left to the ingenuity of the maker. –Contributed by J. E. Mitchell, Sioux City, Iowa.
Table No. 3
Corrections in minutes to change.
Sun time to local mean time,- add those marked + subtract those Marked – from Sundial lime.
Day of month 1 10 20 30
January +3 +7 +11 +13
February +14 +14 +14
March +13 +11 +8 +5
April +4 +2 -1 -3
May -3 -4 -4 -3
June -3 +1 +1 +3
July +3 +5 +6 +6
August +6 +5 +3 +1
September +0 -3 -5 -10
October -10 -13 -15 -16
November -16 -16 -14 -11
December -11 -7 -3 +2
** Imitation Arms and Armor-Part IV [263]
The ancient arms of defense as shown in the accompanying illustrations make good ornaments for the den if they are cut from wood and finished in imitation of the real weapon. The designs shown represent original arms of the sixteenth and seventeenth centuries. As they are the genuine reproductions, each article can be labelled with the name, adding to each piece interest and value, says the English Mechanic, London.
Each weapon is cut from wood. The blades of the axes and the cutting edges of the swords are dressed down and finished with sandpaper and the steel parts represented by covering the wood with tinfoil. When putting on the tinfoil, brush a thin coat of glue on the part to be covered and quickly lay on the foil. If a cutting edge is to be covered the tinfoil on one side of the blade must overlap the edge which is pasted on the opposite side. The other side is then covered with the tinfoil of a size that will not quite cover to the cutting edge. After laying the foil and allowing time for the glue to dry, wipe the surface with light strokes up and down several times using a soft piece of cloth.
[Illustration: Partisan, Fork and Halberd]
A French partisan of the sixteenth century is shown in Fig. 1. The weapon is 6-1/2 ft. long with a round handle having the same circumference for the entire length which is covered with crimson cloth or velvet and studded all over with round-headed
[Illustration: Spontoon. Glaive and Voulge]
brass nails. The spear head is of steel about 15 in. long from the point where it is attached to the handle. The widest part of the blade from spear to spear is about 8 in. The length of the tassel or fringe is about 4 in.
Figure 2 shows a German military fork of the sixteenth century, the length of which is about 5 ft. with a handle of wood bound with heavy cord in a spiral form and the whole painted a dark color. The entire length of the fork from the handle to the points is about 10 in., and is coveted with tinfoil in imitation of steel.
A Swiss halberd of the sixteenth century is shown in Fig. 3. This combination of an axe and spear is about 7 ft. long from the point of the spear to the end of the handle, which is square. The spear and axe is of steel with a handle of plain dark wood. The holes in the axe can be bored or burned out with red-hot iron rods, the holes being about 1/4 in. in diameter.
Figure 4 shows an Austrian officers’ spontoon, used about the seventeenth century. It is about 6 ft. long with a round wooden handle. The spear head from its point to where fixed on the handle is about 9 in. long. The edges are sharp. The cross bar which runs through the lower end of the spear can
[Illustration: Halberd. Ranseur and Lance]
be made in two pieces and glued into a hole on each side. The length of this bar is about 5 in. The small circular plate through which the bar is fixed can be cut from a piece of cardboard and glued on the wooden spear.
A gisarm or glaive, used by Italians in the sixteenth century, is shown in Fig. 5. The entire length is about 6-1/2 ft. The blade is engraved steel with a length of metal work from the point of the spear to where it joins the handle or staff of about 18 in. It has a round wooden handle painted black or dark brown. The engraved work must be carved in the wood and when putting the tinfoil on, press it well into the carved depressions.
Figure 6 shows a Saxon voulge of the sixteenth century, 6 ft. long, with a round wood handle and a steel axe or blade, sharp on the outer edge and held to the handle by two steel bands, which are a part of the axe. The bands can be made of cardboard and glued on to the wood axe. These bands can be made very strong by reinforcing the cardboard with a piece of canvas. A small curved spear point is carved from a piece of wood, covered with tinfoil and fastened on the end of the handle as shown. The band of metal on the side is cut from cardboard, covered with tinfoil and fastened on with round-headed brass or steel nails.
A very handsome weapon is the German halberd of the sixteenth century which is shown in Fig. 7. The entire length is about 6-1/2 ft., with a round wooden handle fitted at the lower end with a steel ornament. The length of the spear point to the lower end where it joins on to the handle is 14 in. The extreme width of the axe is 16 or 17 in. The outer and inner edges of the crescent-shaped part of the axe are sharp. This axe is cut out with a scroll or keyhole saw and covered with tinfoil.
An Italian ranseur of the sixteenth century is shown in Fig. 8. This weapon is about 6 ft. long with a round staff or handle. The entire length of the metal part from the point of the spear to where it joins the staff is 15 in. The spear is steel, sharp on the outer edges.
Figure 9 shows a tilting lance with vamplate used in tournaments in the sixteenth century. The wood pole is covered with cloth or painted a dark color. At the end is a four-pronged piece of steel. The vamplate can be made of cardboard covered with tinfoil to represent steel and studded with brass nails. The extreme length is 9 ft.
The tassels or fringe used in decorating the handles can be made from a few inches of worsted fringe, about 4 in. long and wound around the handle or staff twice and fastened with brass-headed nails.
** An Emergency Babbitt Ladle [264]
Take an old stove leg and rivet a handle on it and then break the piece off which fastens on the stove. The large and rounding part of the leg makes the bowl of the ladle. This ladle will be found convenient for melting babbitt or lead.
–Contributed by R. H. Workman, Loudonville, Ohio.
[Illustration: Babbitt Ladle]
** How to Make Japanese Portieres [265]
These very useful and ornamental draperies can be easily made at home by anyone possessing a little ingenuity. They can be made of various materials, the most durable being bamboo, although beads of glass or rolled paper will produce good results. Substances such as straw, while readily adaptable
[Illustration: Bamboo and Straw Portieres]
and having a neat appearance, are less durable and will quickly show wear. The paper beads are easily made as shown in Figs. 1, 2 and 3. In Figs. 1 and 2 are shown how the paper is cut tapering, and as it appears after rolling and gluing down the ends. A straight paper bead is shown in Fig. B.
The first step is to select the kind of beads desired for stringing and then procure the hanging cord. Be sure to get a cord of such size that the beads will slip on readily and yet have the least possible lateral movement. This is important to secure neatness. One end of each cord is tied to a round piece of wood, or in holes punched in a leather strap. Iron or brass rings can be used if desired.
Cut all the cords the same length, making allowance for the number of knots necessary to produce the design selected. Some designs require only one knot at the bottom. It is best to make a rough sketch of the design on paper. This will greatly aid the maker in carrying on the work.
When the main part of the screen is finished, the cross cords, used for spacing and binding the whole together, are put in place. This is done with a needle made from a piece of small wire, as shown in Fig. 4. The cross cords are woven in as shown in Fig. 5. As many of these cross cords can be put in as desired, and if placed from 6 to 12 in. apart, a solid screen will be made instead of a portiere. The twisted cross cords should be of such material, and put through in such manner that they will not be readily seen. If paper beads are used they can be colored to suit and hardened by varnishing. The first design shown is for using bamboo. The cords are knotted to hold the bamboo pieces in place. The finished portiere will resemble drawn work in cloth. Many beautiful hangings can be easily fashioned.
The second design is to be constructed with a plain ground of either straw, bamboo or rolled paper. The cords are hung upon a round stick with rings of metal to make the sliding easy. The design is made by stringing beads of colored glass at the right places between the lengths of ground material. One bead is placed at the extreme end of each cord. The rows of twisted cord placed at the top keep the strings properly spaced. –Contributed by Geo. M. Harrer, Lockport, New York.
** Makeshift Camper’s Lantern [266]
While out camping, our only lantern was accidentally smashed beyond repair, and it was necessary to devise something that would take its place.
[Illustration: Lantern Made of Old Cans]
We took an empty tomato can and cut out the tin, 3 in. wide, for a length extending from a point 2 in. below the top to within 1/4 in. of the bottom. Each side of the cut-out A was bent inward in the shape of a letter S, in which was placed a piece of glass. Four V-shaped notches were cut, as shown at B, near the top of the can and their points turned outward. A slit was cut in the bottom, shaped as shown at C, and the pointed ends thus formed were turned up to make a place for holding the base of a candle. A larger can was secured and the bottom perforated. This was turned over the top of the other can. A heavy wire was run through the perforations and a short piece of broom handle used to make a bail.
–Contributed by Maurice Baudier, New Orleans, La.
** New Tires for Carpet-Sweeper Wheels [266]
The rubber tires on carpet-sweeper wheels often become so badly worn and streched that they fail to grip the carpet firmly enough to run the sweeper. To remedy this, procure some rubber tape a little wider than the rims of the old wheels, remove the old rubber tires and wind the tape on the rims to the proper thickness. Trim the edges with a sharp knife and rub on some chalk or soapstone powder to prevent the tape from sticking to the carpet. A sweeper treated in this manner will work as well as a new one.
–Contributed by W. H. Shay, Newburgh, N. Y.
** Gauntlets on Gloves [266]
When the fingers or palms of gloves with gauntlets wear out, do not throw away the gloves, but cut off the gauntlets and procure a pair of gloves with short wrists to which the old gauntlets can be sewn after the wrist bands have been removed from the new gloves. The sewing may be done either by hand or on a machine, gathering in any fullness in the bellows of the cuff on the under side. A pair of gauntlets will outwear three or four pairs of gloves. –Contributed by Joseph H. Sanford, Pasadena, Cal.
** How to Make an Ornamental Brass Flag [266]
The outlines of the flag–which may be of any size to suit the metal at hand–and the name are first drawn on a sheet of thin paper and then transferred to the brass by tracing through a sheet of carbon paper. The brass should be somewhat larger than the design.
The brass is fastened to a block of soft wood with small nails driven through the edges. Indent the name and outline of the flag with a small chisel with the face ground flat, about 1/16 in. wide. This should be done gradually, sinking the lines deeper and deeper by going over them a number of times. After this is finished, the brass is loosened from the block, turned over but not fastened, and the whole outside of and between the letters is indented with the rounded end of a nail, giving the appearance of hammered brass.
The edges are now cut off and four holes drilled, two for the chain by which to hang the flag to the wall, and two along the side for attaching the staff. The staff is a small brass rod with a knob attached to the top end.
It would be well to polish the brass at first, if the finished work is to be
[Illustration: The Finished Flag]
bright, as it cannot be done after the flag is completed. A coat of lacquer is applied to keep it from tarnishing. This is done by heating the brass and quickly applying a coat of shellac. –Contributed by Chas. Schaffner, Maywood, Ill.
** An Adjustable Punching-Bag Platform [267]
A punching-bag platform, suitable for the tall athlete as well as the small boy, is shown in the accompanying sketch. The platform is securely fastened to two strong wooden arms or braces, which in turn are nailed to a 2 by 12-in. plank as long as the diameter of the platform. This plank, as shown in the small drawing at the upper left-hand corner of the sketch, is placed in grooves or slots fastened against the side of a wall. The plank with the platform attached may be raised or lowered to the desired height and held there by a pin or bolt put through the bolt-hole of the plank and into a hole in the wall.
–Contributed by W. A. Jaquythe, Richmond, Cal.
[Illustration: Adjustable Platform]
** Clasp for Holding Flexible Lamp Cords [267]
A very easily made drop-light adjuster is shown in the illustration. It consists of a piece of copper wire 7/8 in. in diameter, bent as shown. This clasp is capable of standing a strong pull and will hold the lamp and socket with a glass shade. –E. K. Marshall, Oak Park, Ill.
[Illustration: Clasp]
** Protect Camel Hair Brushes [267]
Camel hair brushes for painters’ use should never be allowed to come in contact with water.
** Home-Made Electric Clock [268]
The clock illustrated herewith is driven by means of electromagnets acting directly on the pendulum bob. Unlike most clocks, the pendulum swings
[Illustration: Magnetic Clock]
forward and backward instead of laterally. The construction is very simple, and the result is not only novel but well worth while, because one does not have to bother about winding a clock, such as this one, says the Scientific American.
The clock is mounted on a wooden base measuring 3-3/4 by6-1/2 in., by 1-5/16 in. thick. Secured centrally on this base is a 1/8 by 3/4-in. bar, 6 in. long and at each side of this, 5/16 in. away, is an electromagnet, 3/4 in. in diameter and 1-7/16 in. high. Two uprights, 7-1/2 in. high and 1/4 in. in diameter, are secured in the base bar, and are connected at the top by a brass yoke piece on which the clock frame is supported. Just below the yoke piece a hole is drilled in each upright to receive the pivot pins of the crosspiece secured to the upper end of the pendulum rod. The pendulum bob at the lower end is adjusted to swing just clear of the electromagnets. Mounted at the right-hand side of the base are three tall binding-posts, the center one being 2-3/4 in. high, and the other two 2-5/8 in. high. Each is fitted with a piece of copper wire provided with a small brass spring tip. These springs lie in the plane of the pendulum, which serves to swing the central tip first against one and then against the other of the side tips, thereby closing the circuit of first one magnet and then the other. Each magnet attracts the pendulum until its circuit is broken by release of the center tip, and on the return swing of the pendulum the circuit of the other magnet is similarly closed. Thus the pendulum is kept in motion by the alternate magnetic impulses. The clock train is taken from a standard clock and the motion of the pendulum is imparted to the escape wheel by means of a pawl, bearing on the latter, which is lifted at each forward stroke of the pendulum by an arm projecting forward from the pivotal end of the pendulum rod.
** Method of Joining Boards [268]
The amateur wood-worker often has trouble in joining two boards together so that they will fit square and tight. The accompanying sketch shows a simple and effective method of doing this. Secure a board, A, about 12 in. wide that is perfectly flat. Fasten another board, B, about 6 in. wide, to the first one with screws or glue. Now place the board to be joined, C, on the board B, letting it extend over the inside edge about 1 in. and fastening it to the others with clamps at each end. Lay the plane on its side and plane the edge straight. Place the second board in the clamps in the same manner as the first, only have the opposite side up. If the cutting edge of the blade is not vertical, the boards planed in this manner will fit as shown in the upper sketch. In using this method, first-class joints can be made without much trouble. –Contributed by V. Metzech, Chicago.
[Illustration: Joining Boards]
** Toy Gun for Throwing Cardboard Squares [269]
The parts of the gun are attached to a thin piece of wood 1 in. wide and 5 in. long. It is best to use a piece of wood cut from the side or cover of a cigar box. A rectangular hole 3/16 in. wide and 1 in. long is cut in the wood longitudinally along its axis and 1-3/8 in. from one end, as shown at A, Fig. 1. A small notch is made with the point of a knife blade at B and notches are cut in the end of the wood as shown at C. Rubber bands are fastened in these notches as shown in Fig. 2. The trigger, whose dimensions are given in Fig. 3, is fastened in the hole A, Fig. 1, by driving a pin through the wood. The assembled parts are shown in Fig. 4.
Place the cardboard square in the nick B, attach the rubber bands and pull the trigger. The top rubber band will fly off and drive the cardboard
[Illustration: Details of Toy Gun]
square 75 ft. or more. The cardboard should be about 1/2 in. square. These can be cut from any old pasteboard box. –Contributed by Elmer A. Vanderslice, Phoenixville, Pa.
** Photographic Developing Tray [269]
Plates developed in an ordinary tray must be removed from the bath occasionally for examination. The film when in a chemical-soaked condition is easily damaged. The tray illustrated herewith was made for the purpose of developing plates without having to take hold of them until the bath had completed its work, the examination being made through the plate and the bottom of the tray.
A pocket is provided for the liquid developer in one end of the tray when it
[Illustration: Developing Tray with Glass Bottom]
is turned up in a vertical position. A tray for developing 5 by 7-in. plates should be made 8 in. square inside. The side pieces with the grooves for the glass are shown in Fig. 1. Two of each of these pieces are made with mitered ends. The short groove shown in the top piece of the illustration is for inserting the plate covering on the pocket end of the tray.
Two blocks, one-half the length of the side pieces, are put in between the glass plates to hold the plate being developed from dropping down when the tray is tipped up in a vertical position. The glass bottom of the tray is 8-1/2 in. square, which allows 1/4 in. on all edges to set in the grooves of the side pieces. The wood pieces should be well soaked in hot paraffin, and the mitered corners well glued and nailed.
–Contributed by J.A. Simonis, Fostoria, Ohio.
** Iron Putty [269]
A good filler used as a putty on iron castings may be made as follows: Take, by weight, 3 parts of stiff keg lead, 5 parts of black filler, 2 parts of whiting, 5 parts of pulverized silica and make into a paste with a mixture of one part each of coach japan, rubbing varnish and turpentine.
** Rubber Bands in Kite Balancing Strings [270]
Kite flyers will find it to their advantage to place rubber bands of
[Illustration: Bands in String]
suitable size in the balancing strings to the kite, as shown in the illustration. This will prevent a “break-away” and also make the right pull, if only two bands are put in the lower strings. –Contributed by Thos. DeLoof, Grand Rapids, Michigan.
** An Aid in Sketching [270]
Sketching requires some little training, but with the apparatus here illustrated an inexperienced person can obtain excellent results. The apparatus is made of a box 8 in. deep, 8 in. wide and about 1 ft. long. A double convex lens, G, is fitted in a brass tube which should have a sliding fit in another shorter and larger tube fastened to the end of the box. A mirror, II, is set at an angle of 45 deg.
[Illustration: Sketching Aid]
in the opposite end of the box. This reflects the rays of light passing through the lens to the surface K, which may be either of ground or plain glass. The lid or cover EF protects the glass and keeps the strong light out when sketching. The inside of the box and brass tube are painted a dull black.
In use, the device is set with the lens tube directed toward the scene to be painted or sketched and the lens focused so the reflected picture will be seen in sharp detail on the glass. Select your colors and put them on the respective colors depicted on the glass. If you wish to make a pencil drawing, all you have to do is to fill in the lines in the picture on the ground glass. If a plain glass is used, place tracing paper on its surface, and the picture can be drawn as described.
** How to Make Miniature Electric Lamp Sockets [270]
A socket for a miniature lamp can be made as shown in the sketch. A brass spring wire is wound around the base of the threads on the lamp and an eye turned on each end to receive a screw and a binding-post, as shown in Fig. 1. A piece of metal, preferably copper, is attached to a wood base as shown in Fig. 2 and the coil-spring socket fastened across it in the opposite direction. Bend the wire so that the spring presses the lamp against the metal. If the wire fits the lamp loosely, remove the lamp and press the sides of the coil closer together. The metal parts can
[Illustration: Wire Socket]
be attached to any smooth surface of wood without making a regular base.
–Contributed by Abner B. Shaw, No. Dartmouth, Mass.
** Imitation Arms and Armor-Part V [271]
The preceding chapters gave descriptions of making arms in imitation of ancient weapons, and now the amateur armorer must have some helmets to add to his collection. There is no limit to the size of the helmet, and it may be made as a model or full sized. In constructing helmets, a mass of clay of any kind that is easily workable and fairly stiff, is necessary, says the English Mechanic, London. It must be kept moist and well kneaded. A large
[Illustration: Making the Clay Model and Three Helmet Designs]
Board or several planks, joined closely together, on which to place the clay, will be necessary. The size of this board will depend on the size of the work that is intended to be modeled upon it.
The way to make a helmet is described in the following method of producing a German morion, shown in Fig. 1. This helmet has fleur-de-lis in embossed work, and on each side is a badge of the civic regiment of the city of Munich. The side view of the helmet is shown in Fig. 1.
The clay, is put on the board and modeled into the shape shown in Fig. 2. This is done with the aid of a pair of compasses, a few clay-modeling tools, and the deft use of the fingers. The fleur-de-lis are slightly raised, as in bas-relief. To aid in getting the helmet in correct proportion on both sides, and over the crest on top, cut out the shape from a piece of wood, as shown in Fig. 3, with a keyhole saw. This wood being passed carefully and firmly over the clay will bring it into shape, and will also show where there may be any deficiencies in the modeling, which can then be easily remedied by adding more clay. The cut-out pattern shown in Fig. 4 is the side outline of the helmet.
Scraps of thin, brown, wrapping paper are put to soak in a basin of water to which has been added about a tablespoonful of size melted and well stirred, or some thin glue, and left over night to soak. The paper should be torn in irregular shapes about as large as the palm of the hand. After the clay model is finished, give it a thin coat of oil-sweet or olive oil will answer the purpose very well. All being ready, the clay model oiled, and the basin of soaked paper near to hand, take, up one piece of paper at a time and very carefully place it upon the model, pressing it well on the clay and into and around any crevices and patterns, and continue until the clay is completely covered.
This being done, give the paper a thin and even coating of glue, which must be quite hot and put on as quickly
[Illustration: Ancient Helmets]
as possible. Put on a second layer of paper as carefully as before, then another coating of glue, and so on, until there are from four to six coats of glue and paper. When dry, the paper coating should be quite stout and strong enough for the helmet to be used for ornamental purposes. Before taking it off the model, which should be no difficult matter, owing to the clay being oiled, trim off any ragged edges of paper with a sharp knife, and smooth and finish all over with some fine sandpaper. The paper is then given a thin coat of glue and sections of tinfoil stuck on to give it a finished appearance. When the helmet is off the model, make holes with a small awl at equal distances, through which to insert some fancy brass nails, bending the points over and flat against the inside of the helmet.
A vizor helmet is shown in Fig. 5. This helmet has a movable vizor in the front that can be lifted up, a crest on top, and around the neck a narrow gorget which rests upon the wearer’s shoulders. The whole helmet with the exception of the vizor, should be modeled and made in one piece. The vizor can then be made and put in place with a brass-headed nail on each side. The oblong slits in front of the vizor must be carefully marked out with a pencil and cut through with a knife or chisel.
In Fig. 6 is shown an Italian casque of a foot soldier of the sixteenth century. This helmet may have the appearance of being richly engraved as shown in one-half of the drawing, or, a few lines running down, as seen in the other part of the sketch, will make it look neat. The band is decorated with brass studs.
An Italian cabasset of the sixteenth century is shown in Fig. 7. This helmet is elaborately decorated with fancy and round-headed nails, as shown: in the design.
In Fig. 8 is shown a large bassinet with a hinged vizor which comes very much forward, so as to allow the wearer to breathe freely. This helmet was worn about the sixteenth century, and was probably used for tilting and tournaments.
A burgonet skull-cap of the seventeenth century is shown in Fig. 9. The vizor is composed of a single bar of metal, square in shape, which slides up and down in an iron socket attached to the front of the helmet, and is held in any position by a thumbscrew as shown in the illustration.
A hole in the peak of the helmet allows it to hang in front of the wearer’s face. This contrivance should be made of wood, the helmet to be modeled in three pieces, the skullcap, peak and lobster shell neck guard in one piece, and the ear guards in two pieces, one for each side. The center of the ear guards are perforated. All of the helmets are made in the same manner as described for Fig. 1. They are all covered with tinfoil.
** How to Repair Linoleum [273]
A deep crack or fissure right in front of the kitchen cabinet spoiled the appearance of the new linoleum. The damaged spot was removed with a sharp knife and from a left-over scrap a piece was cut of the same outline and size. The edges were varnished and then the patch was set in the open space. The linoleum was given a good coat of varnish making it more durable. When perfectly dry, the piecing could not be detected.
–Contributed by Paul Keller, Indianapolis, Indiana.
** How to Make an Electric Stove [273]
The parts necessary for making an electric stove are: Two metal pie plates of the same size; 4 lb. of fire clay; two ordinary binding posts; about 1 lb. of mineral wool, or, if this cannot be obtained, thick sheet asbestos; one oblong piece of wood, 1 in. thick, 12 in. wide and 15 in. long; one small switch; one fuse block; about 80 ft. of No. 22 gauge resistance wire, German-silver wire is better, as it stands a higher temperature; two middle-sized stove bolts with nuts; one glass tube, about 1/4 in. in diameter and 9 in. long, which can be bought from a local druggist, and two large 3-in. screws.
If a neat appearance is desired, the wood can be thoroughly sandpapered on one side and the corners and edges rounded off on the upper side. Punch holes in one of the pie plates, as shown in Fig. 1. The two holes, E and F, are on the rim and should be exactly on a line with the hole D punched in the center. The holes B and C are about 3 in. apart and should be at equal distances from the center hole D. The rim of the second plate is drilled to make two holes, AA, Fig. 2, that will match the holes E and F in the first plate, Fig. 1. A round collar of galvanized iron, FF, Fig. 4, 3 in. high, is made with a diameter to receive the first plate snugly. Two small flaps are cut and turned out and holes punched in their centers, AA, to receive screws for holding it to the base. Two bolts are soldered in the holes E and F, Fig. 1, and used to hold the
[Illustration: Details of Electric Stove]
rims of both plates together, when they are placed in opposite positions, as shown in Fig. 4. This will make an open space between the plates. The collar is then screwed to one end of the base, as shown in Fig. 2.
Two holes are bored through the base to correspond with the holes D and A in the bottom plate. The glass tube is cut to make two pieces, each 4-1/2 in. long. This can be done easily by filing a nick in the tube at the proper point and breaking it. These tubes are forced into the holes bored in the base, and, if the measurements are correct, should extend about 1/4 in. above the collar. The mineral wool, JJ, Fig. 4, is then packed down inside the collar, until it is within 1 in. of the top. This will allow the plate, Fig. 1, to rest on the wool and the ends of the glass tubes, GG, Fig. 4, to project through the holes D and A of the plate, Fig. 1. The rim of the plate should be level with the top edge of the collar. If asbestos is used, the sheets should be cut into disks having the same diameter as the inside of the collar, and holes cut to coincide with the holes D and A of the plate. The small scraps should be dampened and made into pulp to fill the space H, Fig. 4. The plate, Fig. 1, is held to the base by two screws which are run through the holes BC and take the position shown by DD, Fig. 4.
The two binding-posts are attached on the base at D, Fig. 2, also the switch B and the fuse block C, holes being bored in the base to make the wire connections. The reverse side of the base, with slits cut for the wires, is shown in Fig. 3. The points marked BB are the glass tubes; AA, the holes leading to the switch; and C, the fuse block. The wires run through the glass tubes GG, Fig. 4, are allowed to project about 1 in. for connections.
The best way to find the correct length of the resistance wire is to take a large clay or drain tile and wind the wire tightly around it, allowing a space between each turn. The tile is then set on its side with a block or brick under each end. It should not be set on end, as the turns of the wires, when heated, will slip and come in contact with each other, causing a short circuit. When the tile is in place, a short piece of fuse wire is fastened to each of its two ends. A 5-ampere fuse wire is about strong enough. A connection is made to these two wires from an electric-light socket. The wire will get hot but probably remain the same color. If this is the case, one of the feed wires is disconnected from the fuse wire and gradually moved farther down the coil until a point is found where the resistance wire glows a dull red. This point marks the proper length to cut it, as the wire should not be allowed to become any hotter. If the wire gets bright hot when the current is turned on, more wire should be added. The wire is then made into a long coil by winding it around a large wire nail. The coils should be open and about 1/8 in. apart.
Next, the fire clay is moistened and well mixed, using care not to get it too wet. It should have the proper consistency to mould well. The clay, II, Fig. 4, is then packed in the first plate to a height of about 1/4 in. above the rim. While the clay is damp, one end of the coil is connected with the wire in the central glass tube, and the coil laid in a spiral winding on the damp clay, KK, and pressed into it. When this is done, the other end is connected to the wire projecting from the outer glass tube. As these connections cannot be soldered, the ends of the wires should be twisted closely together, so that the circuit will not become broken. Make sure that the coils of wire do not touch each other or the top plate. The fuse wire (about 5 amperes) is put into the fuse block, and wires with a socket adapter connected to the two binding-posts. The top plate is put in place and screwed down. This completes the stove.
It should be set aside in a warm place for a few days to dry out the packing. If it is not thoroughly dry, steam will form when the current is applied. It should not be left heated in this condition. The top plate is used when cooking and removed when making toast.
–Contributed by R. H. Cnonyn, St. Catherines, Can.
** How to Make Weights for Athletes [274]
Many times boys would like to make their own shots and weights for
[Illustration: Mold for the Lead]
athletic stunts, but do not know how to go about it to cast the metal. In making a lead sphere as shown in the illustration, it is not necessary to know the method of molding. The round lead weight for shot-putting or hammer throwing can be cast in a hollow cardboard or pressed-paper ball, sold in department and toy stores for 10 cents. Cut a 1/2-in. hole in the ball as shown in Fig. 1 and place it with the hole up in damp sand and press or tamp the sand lightly around the ball as shown in the section, Fig. 2. Cover over about 1 in. deep. A wood plug inserted in the hole will prevent any sand falling inside. When the sand is tamped in and the plug removed, it leaves a gate for the metal. Pour melted lead into the gate until it is full, then, when cool, shake it out from the sand and remove the charred paper. A file can be used to remove any rough places. The dry paper ball prevents any sputtering of the hot lead.
–Contributed by W. A. Jaquythe, Richmond, Cal.
** Removing Pies from Pans [275]
Sometimes the juices from a hot pie make it stick to the pan so tightly that a knife blade must be run under to cut it loose. If a knife with a flexible blade is not used, the pie will be damaged.
[Illustration: Separating Pies from Pans]
If the pie pans are provided with the simple attachment shown in the accompanying sketch, the baked dough can be separated from the tin with one revolution of the cutter. The cutter is made from a piece of heavy tin, bent to the same outline as the inside of the pan and pivoted at its center.
** Stretcher for Drying Photograph Prints [275]
A quick and convenient way to dry prints is to place them on a cheesecloth stretcher. Such a stretcher can be made on a light wood frame, constructed of 3/4-in. square material in any size, but 12 by 24 in. is large enough. The end pieces B are fastened on top of the long side pieces A, and the cheesecloth C stretched and tacked over them, as shown.
The prints should be placed face up on the cloth, and the frame set near a window. If the stretcher is made in
[Illustration: Cloth on the Frame]
this way, the air can enter from both top and bottom, and the prints will dry rapidly. Several of these frames can be stacked and a large number of prints thus dried at the same time. –Contributed by Andrew G. Thorne, Louisville, Ky.
** A Temporary Funnel [275]
The amateur photographer often has some solution which he desires to put into a bottle which his glass funnel will not fit, says the Photographic Times. The funnel made by rolling up a piece of paper usually allows half of the solution to run down the outside of the bottle, thereby causing the amateur to be dubbed a “musser,” A better way is to take an ordinary envelope and cut it off as shown by the dotted lines. Then clip a little off the
[Illustration: Paper Funnel]
point, open out, and you have a funnel that will not give any trouble. It is cheap and you can afford to throw it away when dirty, thereby saving time and washing.
** An Electric Engine [276]
The parts of this engine are supported on a base 3/4 in. thick, 4 in. wide and 7 in. long. The upright B, Fig. 1,
[Illustration: Shaft Turned by Magnetism]
which is 1/2 in. thick and 3 in. high, is secured across the base about one-third of the distance from one end and fastened with a wood screw put through from the under side. The magnet core C is made of a carriage bolt, 2-1/2 in. long, which is fastened in a hole in the top part of the upright B so that the end C will protrude slightly. Before placing the bolt in the hole of the upright, slip on two cardboard washers, each 1 in. in diameter, one at the head end and the other against the upright B. Wrap a thin piece of paper around the bolt between the washers and wind the space full of No. 22 gauge magnet wire, allowing each end to project for connections.
The driving arm D, Figs. 1 and 3, is made of a piece of soft sheet iron, 1/2 in. wide and 3 in. long. A small block is fastened to the lower end of the metal and pivoted between two uprights, 1/2 in. high, which are fastened to the base. The uprights on each side of the block are better shown in Fig. 3.
Two supports, each 1/2 in. thick and 3 in. high, are fastened with screws about half way between the end of the base and the upright B, Fig. 1. The end view of these supports is shown in Fig. 2, at GG. A 1/8-in. hole is bored through the top part of each support so they will be in a line for the axle. The axle is made of a piece of steel 1/8 in. in diameter and about 4 in. long. An offset is bent in the center, as shown, for the crank. A small flywheel is attached to one end of the shaft. The connecting rod E, Fig. 1, is made of wood and fastened to the upper end of the driving arm D with a small screw or nail. The contact F is made of a strip of copper, 14 in. wide. This is to open and close the circuit when the engine is running. The connections are made as shown in Fig. 1.
Connect two dry cells to the binding-posts and turn the flywheel. The current passing through the magnet pulls the driving arm toward the bolt head, which gives the shaft a half turn. The turning of the shaft pulls the arm away from the copper piece F, causing a break in the current. As the shaft revolves, the arm is again brought back against the copper strip F, thus the current is broken and applied at each revolution of the shaft. –Contributed by S. W. Herron, Le Mars, Iowa.
** Child’s Home-Made Swing Seat [276]
A very useful swing or seat for children can be made from a box or packing case. Procure a box of the right size and saw it out in the shape shown in the illustration. The apron or board in front slides on the two front ropes. The board can be raised to place the
[Illustration: Made of a Box]
child in the box and to remove him. The ropes are fastened to the box by tying knots in their ends and driving staples over them.
** Clay Flower Pots Used for Bird Houses [277]
A novel use of the common garden flower pot may be made by enlarging the small opening at the bottom with a pair of pliers, and carefully breaking the clay away until the opening is large enough to admit a small bird.
Place the pot, bottom side up, on a board, 3 in. wider than the diameter of the largest pot used, and fasten it to the board with wood cleats and brass screws. Fit the cleats as close as possible to the sides of the pot. One or more pots may be used, as shown in the sketch.
The board on which the pots are fastened is nailed or screwed to a post or pole 10 or 12 ft. in height. The board is braced with lath or similar strips of wood, making a framework suitable for a roost. In designing the roost, the lath can be arranged to make it quite attractive, or the braces may be of twigs and branches of a tree to make a rustic effect.
–Contributed by William F. Stecher, Dorchester, Mass.
[Illustration: Pots Fastened to the Board]
** Location of a Gas Meter [277]
The gas meter should not be located in a warm place or the gas will expand before the meter measures it and the gas bill will be proportionately increased. Gas expands by about 1/491 part of its volume for each deg. F. that it is heated. If the meter is warmed 10 deg. F., it will make the gas cost over 2 per cent more, without any corresponding benefit.
** How to Make Rope Grills [277]
Beautiful and useful household ornaments, grills and gratings for doors, windows, shelves, odd corners, etc., can be made by the following method at a slight cost and by anyone possessing a little ingenuity. The materials required are rope or, preferably, common window cord (called sash cord) about 5/16 in. in diameter; ordinary glue, paraffin and paint or varnish. A few strips of wood or molding are very handy to use around the edges.
The design must be considered first and when one is selected, if it is other than straight lines, adopt the method described.
Take a smooth flat board and layout the design or designs which, when combined, will produce the pattern desired. Drive finishing nails at the angle points or along curves as required. Coat the board along the lines of the patterns with melted paraffin, using an ordinary painter’s brush to prevent the ropes from sticking to the boards after they are soaked in glue and run around the nails.
Soak the sash cord in common glue sizing for a short time, then bend or twist it along or around the lines desired, as shown in Fig. 1, and give it time to dry. The bottom part of the sketch, Fig. 1, shows a method of winding the rope on a round stick to make circular objects. Wind the
[Illustration: Fig. 2-Designs for Grills]
desired number of turns and when dry, cut and glue them together.
[Illustration: Fig. 1-Method of Forming the Rope]
In Fig. 2, six designs are shown. These suggest ideas in making up combinations or in plain figures and the number is limited only by the ingenuity of the designer.
–Contributed by Geo. M. Harrer, Lockport, N. Y.
** A Simple and Effective Filter [278]
Procure an ordinary lamp chimney and fit two or three thicknesses of cheese cloth over the end of it. Press a tuft of absorbent cotton into the small part of the neck to a depth of about 3 in. Insert the chimney in a hole cut in a wood shelf used as a support. Pour the water in until the filter is filled, when it will be observed that any organic matter, chips of iron rust, etc., will be retained by the cotton. The fine organic matter may penetrate the cotton for about 1 in., but no farther. The resultant filtered water will be clear and pure.
[Illustration: Filter]
** Cutting Tools [278]
The cutting point of a tool should never be below the centers.
** Imitation Arms and Armor-Part VI [279]
A mass of any kind of clay that is easily modeled and fairly stiff must be prepared and kept moist and well kneaded for making the models over which paper is formed to make the shape of the articles illustrated in these sketches. A modeling board must be made of one large board or several pieces joined closely together upon which to work the clay, says the English Mechanic, London. The size of the board depends upon the size of the work to be made.
[Illustration: Armor and Clay Models]
An open chamfron of the fifteenth century is shown in Fig. 1. This piece of horse armor, which was used in front of a horse’s head, makes a splendid center for a shield on which are fixed the swords, etc., and is a good piece for the amateur armorer to try his hand on in the way of modeling in clay or papier mache work. The opening for the animal to put his head into is semicircular, and the sides do not cover the jaws. As the main part of this armor is worn in front of the head the extreme depth is about 4 in. The entire head piece must be modeled in clay with the hands, after which it is covered with a thin and even coating of sweet or pure olive oil. A day before making the clay model some pieces of thin, brown wrapping paper are torn in irregular shapes to the, size of the palm of the hand and put to soak in a basin of water in which a tablespoonful of size has been dissolved. If size cannot be obtained from your local painter, a weak solution of glue will do equally well. All being ready, and the clay model oiled, take up one piece of paper at a time and very carefully place it on the surface of the model, pressing it on well and into and around any crevices and patterns. Continue this operation until the clay model is completely covered on every part. This being done, give the paper a thin and even coating of glue, which must be quite hot and laid on as quickly as possible. Lay on a second layer of paper as carefully as before, then another coat of glue, and so on until there are five or six coats of glue and paper. When this is dry it will be strong enough for all ornamental purposes. The ragged edges of the paper are trimmed off with a sharp knife and the whole surface smoothed with fine sandpaper. Then carefully glue on sections of tinfoil to give the armor the appearance of steel. The armor is now removed from the model.
A mitten gauntlet of the fifteenth century is shown in Fig. 2. This can be made in one piece, with the exception of the thumb shield, which is separate. The thumb shield is attached to the thumb of an old glove which is fastened with round headed nails on the inside of the gauntlet.
[Illustration: Corrugated Breastplate and Former]
The part covering the wrist is a circular piece, but the back is not necessary, as it would not be seen when the gauntlet is hanging in its place.
In Fig. 3 is shown a gauntlet of the seventeenth century with separately articulated fingers. This gauntlet may be molded in one piece, except the thumb and fingers, which must be made separately and fastened with the thumb shield to the leather glove that is attached to the inside of the gauntlet, the same as in Fig. 2.
A breastplate and tassets of the sixteenth century are shown in Fig. 4. The tassets are separate and attached to the front plate with straps and buckles, as shown in the sketch. There is a belt around the waist which helps to hold the back plate on. Attached to the back of the plate would be two short straps at the shoulder. These are passed through the buckles shown at the top right and left-hand corners of the front plate. For decorative purposes the back plate need not be made, and therefore it is not described. The method of making armor is the same as of making helmets, but as larger pieces are formed it is well to use less clay owing to the bulk and weight.
An arrangement is shown in Fig. 5 to reduce the amount of clay used. This triangular-shaped support, which can be made in any size, is placed on the modeling board or bench and covered with clay. This will make the model light and easy to move around, and will require less clay. It is not necessary to have smooth boards; the rougher the better, as the surface will hold the clay. The clay forms modeled up ready to receive the patches of brown paper on the surface are shown in Figs. 6 and 7.
A German fluted armor used at the beginning of the sixteenth century is shown in Fig. 8. The breastplate and tassets of this armor are supposed to be in one piece, but for convenience in making it will be found best to make them separately and then glue them together after they are taken from the model. A narrow leather belt placed around the armor will cover the joint. Fluted armor takes its name from a series of corrugated grooves, 1/2 in. in depth, running down the plate. A piece of board, cut into the shape shown in Fig. 9, will be very useful for marking out the fluted lines.
** Home-Made Hand Vise [280]
A vise for holding small articles while filing can be made as shown in the illustration. The vise consists of three pieces of wood, two for the jaws and one a wedge. The hinge for connecting the two jaws is made of four small screw eyes, two in each jaw. When locating the place for the screw eyes, place the two in one jaw so they will fit between the two of the other jaw. Put a nail through the eyes when the jaws are matched together and they are ready for the wedge in clamping the article to be filed. –Contributed by John G. Buxton, Redondo Beach, Calif.
[Illustration: Hand Vise]
** Detector for Slight Electrical Charges [281]
A thin glass bottle is thoroughly cleaned and fitted with a rubber stopper. A hole is made through the center of the stopper large enough to admit a small brass rod. The length of this rod will be governed by the shape of the bottle, but 3-1/2 in. will be about right. The bottom of the rod is bent and two pieces of aluminum foil, each about 1/4 in. wide and 1/2 in. long, are glued to it. The two pieces of foil, fastened to the rod, are better shown in Fig. 2. Fasten a polished brass ball to, the top of the rod, and the instrument is ready for use. Place the article which you wish to test near the ball, and if it holds a
[Illustration: Aluminum Foil in a Bottle]
slight electrical charge, the two pieces of foil will draw together. If it does not hold a charge, the foils will not move. –Contributed by Ralph L. La Rue, Goshen, N. Y.
** Fishing through Ice with a Tip-Up [281]
The tip-up, used for signaling the fisherman when a fish is caught, is made of a 1/4-in. pine board, about 15 in. long, 2-1/2 in. wide at one end and narrowing down to about 1 in at the other. At a point 6 in. from the smaller end, the board should be cut slightly wider and a 1/2-in. hole bored through it. Two or three wrappings of fine copper wire may be wound around the board on each side
[Illustration: Tip-Up in Place]
of the hole to give added strength. Both ends of the board should be notched deeply.
A long gash is cut in the ice and then a round hole is made with a chisel, as this will cut under the water without splashing. The chipped ice can be removed with a pail. A rod or round stick of wood is passed through the hole in the tip-up and placed across the round hole, as shown in the illustration.
The fishhook is baited in the usual way and hung on a line from the short end of the tip-up. When a fish is hooked, the other end will tip up and signal the fisherman. Any number of holes can be cut in the ice and a tip-up used in each, thus enabling one person to take care of as many lines.
** Home-Made Candle Holder [281]
The candlestick or holder shown in the illustration is made of an ordinary tin can, such as is used for canning salmon or potted ham. Three triangular cuts are made in the cover or bottom of the can and the points turned up about the can die. The can may be bronzed, silvered, enameled or otherwise decorated, thus making it ornamental as well as useful.
–Contributed by Mrs. A. M. Bryan, Corsicana, Texas.
** How to Make a Match Holder of Wood and Metal [282]
A very simple piece of art craft work is easily made, as follows: Secure a piece of paper and upon it draw the outline and design, as indicated in the
[Illustration: Match Holder]
accompanying sketch. The size may be made to suit the taste of the worker. A good size is 5 in. wide by 6 in. long over all. The metal holder should be proportioned to this size, as shown.
Having completed the drawing, take a piece of thin wood, 3/8 or 1/4 in. thick, and trace upon it the design and outline, using a piece of carbon paper. A couple of thumb tacks should be used to fasten the paper and design in place. Put the tacks in the lines of the design so that the holes will not show in the finished piece. Any kind of wood will do. Basswood or butternut, or even pine, will do as well as the more expensive woods.
Next prepare the metal holder. This may be made of brass or copper and need not be of very heavy gauge-No. 22 is plenty heavy enough. The easiest way to get the shape of the metal is to make a paper pattern of the development. The illustration shows how this will look and the size of the parts for the back dimensioned above. Trace this shape on the metal with the carbon paper and cut it out by means of metal shears. Polish the metal, using powdered pumice and lye, then with a nail, punch the holes, through which small round-head brass screws are to be placed to hold the metal to the wood back. Carefully bend the metal to shape by placing it on the edge of a board and putting another board on top and over the lower edge so as to keep the bending true.
The wood back may be treated in quite a variety of ways. If soft wood, such as basswood or pine was used, it may be treated by burning with the pyrography outfit. If no outfit is at hand a very satisfactory way is to take a knife and cut a very small V-shaped groove around the design and border so as to keep the colors from “running.” Next stain the leaves of the conventional plant with a little green wood dye and with another dye stain the petals of the flower red. Malachite and mahogany are the colors to use. Rub a coat of weathered oil stain over the whole back and wipe dry with a cloth. The green and red are barbarously brilliant when first put on, but by covering them at the same time the background is colored brown, they are “greyed” in a most pleasing manner. When it has dried over night, put a coat or two of wax and polish over the wood as the directions on the can suggest.
The metal holder may next be fastened in place.
If one has some insight in carving, the background might be lowered and the plant modeled, the whole being finished in linseed oil. If carving is contemplated, hard woods such as cherry or mahogany should be used.
** Protecting the Fingers from Chemicals [283]
The finger nails and fingers may be easily protected from stains of chemicals by coating them with a wax made up as follows: Melt white wax in the same manner as melting glue. This may be done by cutting the wax into small pieces, placing them in a vessel and setting the vessel in boiling water. To each ounce of melted wax thoroughly stir in 1 dr. of pure olive oil. The fingers should be dipped into the wax while it is in a liquid state. This will form a coating that will permit the free use of the fingers, yet protects the skin from the chemicals. It is useful for photographers.
** Combined Turning Rings and Swings [283]
This trapeze, with rings for the large boys and a swing for the smaller ones, can be made on the same standards. Instead of the usual two short ropes, tied and bolted through the top crosstimber bore two holes large enough for the ropes to pass through easily. Pass the rope along the crosspiece and down the post and tie it to cleats nailed at a height that can be easily reached.
At the ends of the crosspiece drive two nails, allowing them to project 1 or 2 in. This will keep the rope from slipping off when the rings and swing are raised and lowered. All sharp edges should be sandpapered to prevent
[Illustration: Rings and Swing]
the rope from being cut. A board with notches cut in the ends will make a good swing board which can be removed instantly. –Contributed by W. A. Jaquythe, Richmond, Cal.
** Homemade Telegraph Key [283]
[Illustration: Key and Connections]
A piece of wood, 1/2 in. thick, 2 in. wide and 5 in. long, is used for the base of this instrument. Two wire nails, each 1 in. long, are used for the cores of the magnets. Each nail is wound with three or four layers of fine insulated magnet wire, about No. 25 gauge, similar to that used in electric bells, leaving about 1/4 in. of the end bare so that they may be driven into the wood base. The connections for the coils are shown in the sketch, at A.
About 1 in. behind the coils is fastened a small block of wood, the top of which is just even with the top of the nails in the coils. A piece of tin, cut in the shape of the letter T, is fastened with two screws to the top of this block, and the end bent slightly so as to clear the top of the nails about 1/32 in.
The key lever is cut from a thin piece of wood, in the shape shown in the sketch, and pivoted in a slotted block which is used as a base for the key. A piece of bare copper wire is fastened along the under side of the key, as shown by the dotted lines. A rubber band, passing over the end of the key and attached to the base with a tack, acts as a spring to keep the key open. A small piece of tin is fastened to the base under the knob of the key. This is for making the contact between the copper on the key and the wires from the coils, when the key is pushed down. –Contributed by W. H. Lynas.
** Protecting Sleeves [283]
Bicycle trousers-guards make excellent sleeve bands when the cuffs are turned back and rolled above the elbows.
** Imitation Arms and Armor-Part VII [284]
The helmets, breastplates and gauntlets described in parts V and VI can be used in making up a complete model
[Illustration: Full Suit of Armor]
for a full suit of armor of any size, as shown in Fig. 1. All of the parts for the armor have been described, except that for the legs. Figure 2 shows how the armor is modeled on the side of the left leg. The clay is modeled as described in previous chapters, the paper covering put on, and the tinfoil applied in imitation of steel. The chain mail seen between and behind the tassets is made by sewing small steel rings on a piece of cloth as shown in Fig. 3. These rings may be purchased at a hardware store or harness shop.
The whole figure when completed is placed on a square box covered with red or green baize. The armor should be supported by a light frame of wood built up on the inside, says the English Mechanic, London. Two vertical pieces are firmly attached to the box so they will extend up inside the legs, and at the top of them is attached a crosspiece on which is placed a vertical stick high enough to carry the helmet. The two lower pieces must be built up and padded out with straw, then covered with red cloth or baize to represent the legs.
In making up the various pieces for a full model it will be found very convenient to use rope, a stout cord or strings in making up the patterns on the parts. Instead of using brass-headed nails, brass paper fasteners will be found useful. These can be purchased at a stationery store. Secure the kind having a round brass head from which hang two brass tongues. These are pushed through a hole and spread out flat on the opposite side. Other materials can be used in the place of tinfoil to represent steel. Silver paper will do very well, but if either the tinfoil or silver paper are found difficult to manipulate, go over the armor with a coat of silver paint put on with a brush. When dry give the surface a coat of varnish.
** A Home-Made Tripod Holder [284]
An inexpensive tripod holder, one that will prevent the tripod from slipping on a smooth floor, and prevent the points from doing damage to the polished surface or puncturing an expensive rug or carpet, can be made in a few minutes’ time, says Camera Craft.
Secure two strips of wood, or ordinary plaster laths will do, and plane them down to a thickness of 3/16 in., for the sake of lightness. Cut them to a length or 40 in. and round off the ends to improve their appearance. Take the piece shown in Fig. 1 and drill a 1/4-in. hole in the center, and eight small holes, 1 in. apart, at each end. In one end of the piece, Fig. 2, make the same series of eight small holes and, in the other end, drill six 1/4-in. holes, 3 in. apart. A 1/4-in. flat headed carriage bolt, about 1 in. long, completes the equipment.
The two pieces are bolted together, not too tight, and the points of the tripod legs inserted in their respective small holes. So set up, there is absolutely no danger of one of the legs slipping out of position. By moving the position of the bolt from, one to another of the larger holes in the strip, Fig. 2, almost any desired inclination of the camera can be secured.
The same sort of simple apparatus built slightly stronger, and with a small caster under each of the three series of small holes, makes an
[Illustration: The Tripod Cannot Slip]
excellent tripod clamp for use when the camera has to be shifted about, as in portraiture and the like.
** How to Weave a Shoestring Watch Fob [285]
Having procured a pair of ordinary shoestrings, take both ends of one of them and force the ends through the middle of the other, leaving a loop 1-1/2 in. long, as shown in Fig. 2. In this sketch, A is the first string and B is the second, doubled and run through the web of A. Take hold of the loop and turn it as shown in Fig. 2, allowing the four ends to hang in four directions. Start with one end, the one marked A, in Fig. 1, for instance, and lay it over the one to the right. Then take B and lay it over A, and the one beneath C; lay Cover B and the one under D, and then lay D over C and stick the end under A. Then draw all four ends up snugly. Commence the next layer by laying the end A back over B and D; D over A and C; C over D and B, then B over C and the end stuck under A. Proceed in the same manner and keep on until about 1-1/2 in. of the ends remain unwoven. Four pins stuck through each corner and into the layers will hold the ends from coming apart. The ends of the strings are raveled out so as to make a tassel. This will make a square fob which will appear as shown in Fig. 4.
A round fob is made in a similar way, taking the same start as for the square fob, but instead of reversing
[Illustration: Fobs Made from Shoestrings]
the ends of each alternate layer, always lap one string, as at A in Fig. 3. over the one to its right, as B, slipping the last end of the four strings under and tightening all, as in making the square fob. Fasten the ends with pins and ravel out for a tassel. The round fob is shown in Fig. 5.
A fob in the shape of a horseshoe can be made by taking four shoestrings and tying a small string around the middle of them, then weaving the layers both ways from the point where the strings are tied. A loop, 1-1/2 in. long, is left out at the center before starting on one side. The loop is for attaching the fob to the watch. After the weaving is complete and the tassel ends made, a small stiff wire is forced through the center to form the shape of a horseshoe.
Other designs can be made in the same manner. Strings of different colors will make up a very pretty fob, especially if silk strings are used.
–Contributed by John P. Rupp, Monroeville, Ohio.
** How to Make a Table Mat of Leather [286]
The table mat, the design of which is shown herewith, is to be made of leather. It may be made of Russian calf and the background modeled down
[Illustration: Pattern for the Table Mat]
as has been described in several previous articles dealing with leather work. To do this the leather is moistened on the back side just enough to make the leather take the impression of the tool, but not enough to make the moisture show through on the face. Any smooth piece of steel, such as a nut pick, that will not cut or scratch the leather and will make a V-shaped depression will do.
A second method is to secure a piece of sheepskin and, using the reverse side, outline the design by means of a pyrographer’s outfit. This manner of treating leather is so common that it needs no description.
A third method is to secure a piece of sheep or goat skin, trace the design on the reverse side by means of carbon paper, and put the outline and design in with brush and stains such as are sold for this purpose.
The accompanying pattern shows but one-fourth of the mat. Draw the one-fourth on paper to the size desired and then fold on lines A and B, tracing this one-fourth on the other parts by the insertion of double-surfaced carbon paper.
On the calfskin the pattern is to be held on the leather and the tool worked over the pattern to get the outline transferred. After this the pattern is to be removed and the leather modeled.
** Sad Iron Polisher [286]
A small amount of wax is necessary on an iron for successful work. The wax is usually applied by hand to the heated surface of the iron. A much better and handier way is to bore five or six holes in one end of the ironing board to a depth of half
[Illustration: Polisher]
its thickness, filling them with wax, beeswax or paraffin, and covering them over with two thicknesses of muslin.
The rubbing of the hot iron over this cloth absorbs just enough of the wax to make the iron work smoothly. When the supply of wax is exhausted, it can be easily renewed.
–Contributed by A. A. Houghton, Northville, Mich.
** Making Coins Stick to Wood by Vacuum [287]
Take a quarter and place it flat against a vertical surface of wood such
[Illustration: Floating Coin]
as the side of a bookcase, door facing or door panel, and strike it hard with a downward sliding motion, pressing it against the wood. Take the hand away and the coin will remain on the woodwork. The striking and pressure expel the air between the quarter and the wood, thus forming a vacuum sufficient to hold the coin.
** Simple and Safe Method for Sending Coins by Mail [287]
Sending coins by mail is not as a rule advisable, but sometimes it
[Illustration: How the Paper is Folded]
becomes necessary, and usually a regular coin mailer is not available. A very simple and secure way to wrap a coin or coins for mailing is as follows: Procure a piece of heavy paper, nearly as wide as the envelope is long, and about 12 in. long. Fold on the dotted lines shown by A and B in the sketch, and slip the coin in the pocket thus formed. Fold together on lines C, D, E and F, making the last two folds wide enough to fit snugly in the envelope. This method holds the coin in the center of the envelope where it cannot work around and cut through the edges. –Contributed by O. J. Thompson, Petersburg, Ill.
** Mounting Photographs in Plaster Plaques [287]
Purchase a few pounds of plaster of paris from your local druggist and select a dish of the desired shape in which to make your cast. The size of the dish will depend on the size of the print to be mounted. Select the print you wish to mount, those on matte paper will work best, and after wetting, place it face down in the dish, press into place and remove all drops of water with a soft cloth. Be sure and have the print in the center of the dish. Earthen dishes will be found more convenient, although tin ones can be used with good success, says Photographic Times.
Mix same of the plaster in clear water so it will be a little thick. Enough plaster should. be mixed to cover the bottom of the dish about 1/2 in. thick. Pour the plaster into the dish over the print and allow to stand until it becomes quite hard. The cast can then be removed and the print should be fast to it. If the print or plaster is inclined to stick, take a knife and gently pry around the edges and it can be removed without breaking.
Prints of any size may be used by having the mold or dish large enough to leave a good margin. This is a very important point as it is the margin that adds richness to all prints. Platinum or blueprint papers work well, but any kind that will not stick may be used. After the plaster has thoroughly dried, any tint may be worked on the margin by the use of water colors; if blueprints are used, it is best to leave a plain white margin.
** Iron Rest for an Ironing Board [288]
A flatiron rest can be made on an ironing-board by driving a number of large tacks into one end of the board. The tacks should be about 1 in. apart and driven in only part way, leaving about 1/4 in. remaining above the surface of the board. The hot iron will not burn the wood and it cannot slip off the tacks. This iron rest is always with the board and ready when wanted. –Contributed by Beatrice Oliver, New York, N. Y.
[Illustration: Iron Rest]
** Instantaneous Crystallization [288]
Dissolve 150 parts of hyposulphite of soda in 15 parts of water and pour the solution slowly into a test tube which has been warmed in boiling water, filling the same about onehalf full. Dissolve in another glass 100 parts of acetate of soda in 15 parts of boiling water. Pour this solution slowly on top of the first in such a way that it forms an upper layer, without mixing the solutions. The two solutions are then covered over with a thin layer of boiling water and allowed to cool.
[Illustration: Crystallization]
Lower into the test tube a wire, at the extremity of which is fixed a small crystal of hyposulphite of soda. The crystal traverses the solution of acetate without causing trouble, but crystallization will immediately set in as soon as it touches the lower hyposulphite of soda solution, as shown at the left in the sketch.
When the hyposulphite of soda solution becomes crystallized, lower in the upper solution a crystal of acetate of soda suspended by another wire, as shown in the right of the sketch, and this will crystallize the same as the other solution.
** Decoloration of Flowers by Fumes of Sulphur [288]
Dissolve some sulphur in a small dish which will inflame by contact with air thus forming sulphuric acid fumes. Cover the dish with a conical chimney made of tin and expose to the upper opening the flowers that are to be decolored. The action is very rapid and in a short time myrtle, violets, bell flowers, roses, etc., will be rendered perfectly white.
[Illustration: Flowers]
** How to Preserve Egg Shells [288]
Many naturalists experience difficulty in preserving valuable egg shells. One of the most effective ways of preserving them is as follows: After the egg is blown, melt common beeswax and force it