The Boy's Own Book of Indoor Games and Recreations
by C. Stansfeld Hicks · English · Gutenberg #49415 · 1,262,305 chars · public domain (US)
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Title: The Boy's Own Book of Indoor Games and Recreations
Editor: G. Andrew Hutchison
Author: C. Stansfeld Hicks
John Nevil Maskelyne
Gordon Stables
Release date: July 10, 2015 [eBook #49415]
Most recently updated: January 2, 2026
Language: English
Other information and formats: www.gutenberg.org/ebooks/49415
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*** START OF THE PROJECT GUTENBERG EBOOK THE BOY'S OWN BOOK OF INDOOR GAMES AND RECREATIONS ***
Transcriber’s Notes:
Text printed in small capitals has been transcribed as ALL CAPITALS.
Italics and bold face text have been transcribed as _text_ and =text=,
respectively.
Letters in square brackets, [T], [V], [O], [H] and [X] represent
letter-shaped symbols rather than actual letters.
[Illustration: THE YOUNG TAXIDERMIST.--_See_ page 298.]
THE BOY’S OWN BOOK
OF
INDOOR GAMES AND RECREATIONS
A Popular Encyclopædia for Boys
BY
DR. GORDON STABLES, R.N., C. STANSFELD HICKS, J. N. MASKELYNE,
REV. HARRY JONES, M.A., DR. STRADLING, CAPTAIN CRAWLEY,
REV. A. N. MALAN, M.A., F.G.S., AND MANY OTHERS
EDITED BY G. A. HUTCHISON
_WITH OVER SEVEN HUNDRED ILLUSTRATIONS_
PHILADELPHIA:
J. B. LIPPINCOTT COMPANY.
1890.
[Illustration]
[Illustration: PREFATORY NOTE.]
[Illustration]
In presenting to American youth this carefully-edited volume of home
amusements, the publishers are happy in their belief that in the
selection and treatment of the subjects chosen the Editor and the
accomplished experts who have contributed to its pages have successfully
combined, to a degree not commonly found in books prepared for the
young, much sound scientific instruction and a large amount of that
recreative amusement that seldom fails to awaken an interest both in the
youthful mind and in the minds of “children of a larger growth.” In the
language of the accomplished Editor, as expressed in his prefatory note
to the English edition, the volume is “a veritable recreative
text-book, prepared by experts in their several subjects, and treated
with sufficient amplitude of detail and thoroughness of exposition to
render their respective contributions of very real and permanent
educational value. Mere ‘rule of thumb’ is scrupulously avoided, and
underlying _principles_ are clearly and intelligently explained. The
tyro is led on pleasantly step by step, and almost unconsciously learns
many lessons that should stand him in good stead in the battle of life.
The wealth of graphic illustrations--of clever pictures that really
illustrate--is another and not, we think, the least noteworthy feature
of the book.
“In the numerous and greatly diversified sections, it will be seen, the
work is carefully graduated in the natural order--from the simpler to
the more complex and difficult tasks. We have also endeavoured wherever
practicable--as in the model-making chapters--to afford, by means of
alternative plans, instructions likely to cause little or no tax upon
the pocket, as well as some that necessarily involve more or less
expenditure for tools and material. Thus, boys of all ages and
conditions--at home or at school; with leisure and ample opportunities,
or already closely engaged in the sterner duties of bread-winning; boys
to whom a considerable preliminary outlay may be of trifling moment, and
others who rarely have a shilling to spare,--may alike turn to the
different chapters with the certainty of finding something for each,
calculated to afford both pleasure and profit in those spare hours that
are the gold-dust of time.
“It will be pretty generally admitted, we presume, that a pronounced
characteristic of the age is the daily increasing attention given to
Athletics and Technical Training.... This book seeks to give that class
of instruction in the most attractive guise. The subjects in which boys
naturally feel peculiar interest are skilfully treated by writers of
proved capacity and aptitude for the task; and hence considerable space
is devoted to those essentially boys’ topics that are not only of
recreative value in themselves, but incidentally afford invaluable
training to eye and hand.... Nor is the moral and spiritual side of
boy-nature overlooked. Games dominated by elements of ‘chance’ or
‘luck,’ as well as those of questionable or evil associations, are of
course scrupulously ignored. But this negative claim to confidence is
also supplemented by the positive influence exerted towards the building
up of a true, robust Christian manhood. It were indeed a grievous thing
if, while learning from this book how to use wisely many of the
ingenious tools and contrivances described, any boy should neglect to
learn how to control and direct to the most useful work in the service
of God and of man the marvellous and complex machinery of his own moral
and spiritual nature. To every reader, therefore, we make bold to speak
that direct, manly word, that no true-hearted boy will resent. It is Dr.
Cuyler, if we mistake not, who remarks that Samson builded better than
he knew when he uttered his famous riddle, ‘Out of the eater came forth
meat, and out of the strong came forth sweetness;’ for the pathway of
life has many a lion in it, and our success and happiness depend not a
little on the way we meet the foe. Thus Hedley Vicars encountered quite
a shower of scoffs from his brother officers in the Crimean army when he
was first converted. But he put his Bible on his table in his tent, and
stood by his colours. Henceforth the lion was not only slain, but there
was rich honey in the carcase when his religious influence became a
power in his regiment. In the carcase of a slain temptation, also,
millions besides Joseph have found delicious honey. ‘There is not a
peril, or a trouble, or a spiritual foe of any kind but may be
vanquished by the help of Samson’s God. Life’s sweetest enjoyments are
gathered from the _victories of faith_. Out of slain lions come forth
meat; out of conquered foes to the soul come its sweetest honeycombs.
One of the joys of heaven will be the remembrance of victories won
during our earthly conflicts.’ In Christ’s name and power, try it,
boys!”
This volume will be followed by another, prepared on similar principles,
devoted to _outdoor_ sports and recreations; and the two, it is
believed, will form a very complete encyclopædia of amusements adapted
to the youth of all ages and circumstances.
J. B. LIPPINCOTT COMPANY.
[Illustration]
[Illustration: CONTENTS]
PAGE
PREFATORY NOTE 5
SECTION I.
GYMNASTICS, INDIAN CLUBS, DUMBBELLS, AND JUGGLING WITH BALLS.
CHAPTER I.--GYMNASTICS. By a MEMBER OF THE LONDON ATHLETIC CLUB.
I.--PRELIMINARY HINTS AS TO DRESS, DIET, AND EXERCISES WITHOUT
APPARATUS 19
II.--EXERCISES WITHOUT APPARATUS 20
LEG MOVEMENTS 21
III.--EXERCISES WITH APPARATUS 21
THE HORIZONTAL BAR 22
HANGING ON THE BAR AND THE WALK 22
BREASTING THE BAR 23
THE SHORT CIRCLE 23
GETTING ON TO THE BAR 24
THE LEG SWING (BACKWARDS) 24
TO SIT ON THE BAR 25
SIT SWING (BACKWARD) 26
HANGING BY THE LEGS 27
THE CLEAR CIRCLE 27
THE MUSCLE GRIND 28
HANGING BY THE TOES 28
THE HOCK SWING 28
THE UPSTART 29
THE SLOW PULL-UP 29
HORIZONTAL (BACK AND FRONT) 30
THE SPLITS 30
THE LONG SWING 30
COMBINATIONS 31
THE PARALLEL BARS 31
EXERCISES 32
VAULTING HORSE 35
LEG SPRING 36
HORSE JUMPING 37
SADDLE VAULTING 37
FLYING OVER THE HORSE 38
THE HAND-RINGS OR STIRRUPS 39
CLIMBING 41
THE LADDER 42
IV.--HOW TO MAKE GYMNASTIC APPARATUS. By CHARLES SPENCER,
Author of _The Modern Gymnast_, &c. 42
HORIZONTAL BAR 43
PORTABLE HORIZONTAL BAR 44
LAWN GYMNASIUM 45
PORTABLE FRAME FOR TRAPEZE, RINGS, OR SWING 46
JUMPING STANDS 47
THE PAN-GYMNASTICON 48
OTHER USEFUL APPARATUS 48
CHAPTER II.--INDIAN CLUBS AND HOW TO USE THEM. By a MEMBER OF THE
LONDON ATHLETIC CLUB 50
WEIGHT OF THE CLUBS 51
HINTS AS TO DRESS, ETC. 53
EXERCISES FOR LIGHT CLUBS 54
SINGLE OR HEAVY CLUB EXERCISE 58
CHAPTER III.--DUMBBELLS, AND HOW TO USE THEM. By W. J. GORDON 60
CHAPTER IV.--JUGGLING WITH BALLS. By a PRACTICAL GYMNAST 68
THE VERTICAL FALL 69
THE INSIDE AND OUTSIDE FALLS 70
THE PARALLEL FALL 70
THE OUTSIDE AND INSIDE FALL FROM RIGHT HAND TO LEFT 70
THE HORIZONTAL PASS 71
THE DOUBLE VERTICAL FALL 71
THE DOUBLE INSIDE FALL 71
THE TRIPLE PASS 72
THE TRIPLE OVER AND UNDER PASS 73
THE SINGLE OVER AND DOUBLE UNDER PASS 73
THE SHOWER 73
THE TRIPLE SHOWER 74
THE QUADRUPLE SHOWER 74
THE FOUNTAIN 74
THE DOUBLE FOUNTAIN 74
THE DOUBLE FOUNTAIN CHANGE 75
SECTION II.
MODEL-MAKING--MOVING AND OTHERWISE.
CHAPTER V.--SOME SIMPLE MODELS FOR BEGINNERS.
I.--HOW TO MAKE A BOAT WITH A SCREW PROPELLER. By F. CHASEMORE 79
II.--HOW TO MAKE A SMALL MARINE ENGINE FOR A BOAT FOUR OR FIVE
FEET LONG. By FRANK CHASEMORE 81
CHAPTER VI.--THE AMERICAN DANCING NIGGER. By C. STANSFELD-HICKS 94
CHAPTER VII.--MOVING MODELS, AND HOW TO MAKE THEM; OR, ‘DROP A
PENNY IN THE BOX AND THE MODEL WILL WORK.’ By FRANK CHASEMORE 97
A MODEL WINDMILL 97
A MODEL CUTTER YACHT 101
DANCING ‘NIGGERS’ 104
A REAL WATER-WHEEL 106
HOW TO MAKE A CHEAP CLOCK 109
CHAPTER VIII.--HOW WE MADE A CHRISTMAS SHIP. By C. STANSFELD-
HICKS, Author of _Yacht and Canoe Building, &c. &c._ 111
CHAPTER IX.--MODEL STEAM-ENGINES, AND HOW TO MAKE THEM. By PAUL
N. HASLUCK, Author of _Lathe-work, &c._
I.--PRINCIPLES OF THE STEAM-ENGINE 117
II.--A SIMPLE TOY ENGINE 120
III.--SMALL MODEL ENGINES 123
IV.--THE HORIZONTAL ENGINE 127
V.--THE OSCILLATING ENGINE 131
VI.--MODEL BOILERS AND THEIR CONSTRUCTION 134
CHAPTER X.--THE BOY’S OWN MODEL LAUNCH ENGINE. By H. F. HOBDEN 138
CHAPTER XI.--THE BOY’S OWN MODEL LOCOMOTIVE, AND HOW TO BUILD
IT. By H. F. HOBDEN 144
SECTION III.
GAMES OF SKILL, ETC.
CHAPTER XII.--CHESS--SINGLE AND DOUBLE, ETC.
I.--CHESS FOR BEGINNERS.--By HERR MEYER 165
THE UNIVERSAL NOTATION 165
II.--A NEW CHESS GAME--‘THE JUBILEE.’ By HERR MEYER 171
III.--ANOTHER JUBILEE GAME 172
IV.--THE GAME OF DOUBLE CHESS. By THE LATE CAPTAIN CRAWLEY and
HERBERT MOONEY 173
CIRCULAR CHESS 180
CHAPTER XIII.--DRAUGHTS. By THE LATE CAPTAIN CRAWLEY
I.--ALL ABOUT THE GAME 181
II.--THE LOSING GAME 190
III.--POLISH DRAUGHTS 191
THE OPENINGS 192
CHAPTER XIV.--SOLITAIRE. By THE LATE CAPTAIN CRAWLEY 199
CHAPTER XV.--FOX AND GEESE. By THE LATE CAPTAIN CRAWLEY 202
CHAPTER XVI.--GO-BAN. By HERR MEYER 204
CHAPTER XVII.--THE MALAGASY GAME OF FANÒRONA. By W. MONTGOMERY 208
CHAPTER XVIII.--THE AMERICAN PUZZLES 212
CHAPTER XIX.--SOME MINOR GAMES
I.--A NEW INDOOR GAME 214
II.--KNUCKLE BONES. By CAPTAIN A. S. HARRISON 215
SECTION IV.
THE MAGIC-LANTERN, AND ALL ABOUT IT.
CHAPTER XX.--THE MAGIC LANTERN AND ALL ABOUT IT.
I.--PLEASANT HOURS WITH THE MAGIC LANTERN. By A. A. WOOD,
F.C.S. 219
1.--ALL ABOUT LANTERNS 219
2.--VARIOUS KINDS OF LANTERNS 219
3.--THE PHANTASMAGORIA LANTERN 220
4.--THE EUPHANERON LANTERN 221
5.--DISSOLVING VIEWS 223
6.--THE LIME-LIGHT 224
7.--OXYHYDROGEN JET 226
8.--THE GAS AND GAS-BAGS 227
9.--OXYGEN AND HYDROGEN 228
10.--SLIDE PAINTING, ETC. 229
II.--HOW TO MAKE A CHEAP MAGIC LANTERN. By FRANK CHASEMORE 231
III.--HOW TO MAKE THE SLIDES FOR A MAGIC LANTERN 240
IV.--REVOLVING SLIDES FOR THE MAGIC LANTERN, WITHOUT RACK-
WORK. By F. CHASEMORE 245
V.--SCREEN FRAME FOR THE MAGIC LANTERN. By FRANK CHASEMORE 247
VI.--MAGIC LANTERN FOR OPAQUE SLIDES. By W. J. GORDON 250
CHAPTER XXI.--HOW TO MAKE AN APHENGESCOPE, OR APPARATUS FOR
EXHIBITING PHOTOGRAPHS, OPAQUE PICTURES, AND LIVING INSECTS IN
THE MAGIC LANTERN. By FRANK CHASEMORE 252
CHAPTER XXII.--INGENIOUS ADAPTATIONS FOR THE LANTERN. By W. J.
GORDON
I.--CHROMATROPES AND PAPER FIREWORKS 257
II.--THE LANTERN AND THE KALEIDOSCOPE 259
III.--THE LANTERN PRAXINOSCOPE 260
SECTION V.
HOW TO BUILD BOATS, PUNTS, CANOES, ETC.
CHAPTER XXIII.--THE BUILDING OF THE SWALLOW; OR, HOW TO MAKE A
BOAT. By E. HENRY DAVIES, C.E. 265
CHAPTER XXIV.--HOW TO MAKE A CANVAS CANOE. By E. T. LITTLEWOOD,
M.A. 273
CHAPTER XXV.--CANADIAN, INDIAN, BIRCH-BARK AND OTHER LIGHT
CANOES. By C. STANSFELD-HICKS.
I.--CANADIAN AND BIRCH-BARK CANOES 279
II.--PAPER AND OTHER TYPICAL CANOES 283
CHAPTER XXVI.--HOW TO BUILD A PUNT. By THE REV. HARRY JONES,
M.A. 287
CHAPTER XXVII.--RAFTS AND CATAMARANS, AND HOW TO MAKE THEM. By
W. J. GORDON and W. W. L. ALDEN 291
SECTION VI.
PLEASANT AND PROFITABLE OCCUPATIONS FOR SPARE HOURS.
CHAPTER XXVIII.--PRACTICAL HINTS ON TAXIDERMY. By LIEUT.-COLONEL
CUTHELL
I.--CATCHING AND SETTING BUTTERFLIES 299
II.--HOW TO CURE AND SET UP A BIRD’S SKIN 302
III.--ON PRESERVING THE SKINS AND HEADS OF ANIMALS 305
CHAPTER XXIX.--HINTS ON POLISHING HORN, BONE, SHELLS, STONES,
ETC. By GORDON STABLES, C.M., M.D., R.N. 308
CHAPTER XXX.--BRITISH PEBBLES. By the REV. A. N. MALAN, M.A.,
F.G.S.
I.--THE PEBBLES AND HOW TO FIND THEM 314
II.--THE LAPIDARY’S BENCH 320
III.--HOW TO POLISH A PEBBLE 322
IV.--HOW TO CUT A PEBBLE 325
A POSTSCRIPT 329
CHAPTER XXXI.--GRAPHS AND GRAPH-MAKING. By THEODORE WOOD 330
CHAPTER XXXII.--CRYPTOGRAPH, OR CIPHER. By a NAVAL SURGEON 333
CHAPTER XXXIII.--HAMMOCK-MAKING AND NETTING.
I.--HAMMOCKS AND HAMMOCK-MAKING 337
II.--NETTING, AND HOW TO NET 339
CHAPTER XXXIV.--A PERPETUAL CALENDAR. By HERR H. F. L. MEYER 342
CHAPTER XXXV.--HOW TO MAKE A SUNDIAL. By F. CHASEMORE
I.--THE HORIZONTAL DIAL 347
II.--THE EQUATORIAL DIAL 349
TABLE OF MINUTES 354
CHAPTER XXXVI.--THE CAMERA OBSCURA: HOW TO MAKE AND USE IT. By
GORDON STABLES, C.M., M.D., R.N. 355
SECTION VII.
THE BOY’S OWN WORKSHOP.
CHAPTER XXXVII.--CARDBOARD-MODELLING AND WOOD MODELLING.
I.--HOW THE REEDHAM BOYS MAKE THEIR CARDBOARD MODELS.--By the
HEAD MASTER 361
II.--A HOME-MADE HUMMING-TOP 374
CHAPTER XXXVIII.--ARTIFICIAL WOOD: HOW TO MAKE IT AND WHAT TO
MAKE OF IT. By the LATE DR. SCOFFERN 375
CHAPTER XXXIX.--HOW TO MAKE AN ASTRONOMICAL TELESCOPE. By FRANK
CHASEMORE 380
CHAPTER XL.--THE KALEIDOSCOPE, AND HOW TO MAKE IT. By W. J.
GORDON 385
CHAPTER XLI.--HOW TO MAKE A PORTABLE STAGE AND FIGURES FOR THE
LIVING MARIONETTES. By F. CHASEMORE 388
CHAPTER XLII.--HOW TO MAKE A PANTAGRAPH 391
CHAPTER XLIII.--MY FLAGSTAFF, AND HOW I RIGGED IT 393
CHAPTER XLIV.--HOW TO MAKE A POCKET COMPASS AND TIMEPIECE. By F.
CHASEMORE 396
CHAPTER XLV.--WOOD-WORKING AND CARVING; OR, WALKING-STICKS AND
HOW TO TREAT THEM 398
CHAPTER XLVI.--CAGES AND HUTCHES: AND HOW TO MAKE THEM. By
GORDON STABLES, C.M., M.D., R.N.
I.--THE TOOLS AND MATERIALS--USEFUL HINTS 403
II.--CANARY BREEDING-CAGES, GERMAN AND ENGLISH 405
III.--NESTS AND NEST-BOXES--THE GERMAN METHOD OF BREEDING--
HUTCHES FOR RABBITS, GUINEA-PIGS, RATS, AND SQUIRRELS 408
CHAPTER XLVII.--HOW TO MAKE A CAGE FOR WHITE MICE. By W. G.
CAMPBELL 410
SECTION VIII.
MUSIC AND MUSICAL INSTRUMENTS AND TOYS.--HOW TO MAKE THEM AND HOW
TO PLAY THEM.
CHAPTER XLVIII.--MUSICAL GLASSES AND THE WOOD HARMONICON.
I.--THE GLASS HARMONICON 417
II.--MUSICAL TUMBLERS 419
III.--A WOOD HARMONICON 420
CHAPTER XLIX.--ÆOLIAN HARPS, AND HOW TO MAKE THEM 422
CHAPTER L.--THE PENNY WHISTLE, AND HOW TO PLAY IT. By W. J.
GORDON 425
SECTION IX.
ELECTRICITY, AND HOW TO USE IT IN PLAY AND EARNEST.
CHAPTER LI.--CURIOSITIES OF ELECTRICITY. By DR. ARTHUR STRADLING 431
CHAPTER LII.--THE LEYDEN JAR, AND HOW TO MAKE IT 434
CHAPTER LIII.--THE ELECTRICAL MACHINE, AND HOW TO MAKE IT 437
CHAPTER LIV.--A STORM IN A TEACUP 443
SECTION X.
CONJURERS AND CONJURING--VENTRILOQUISM AND SPIRITUALISM, ETC.
CHAPTER LV.--MYSTERY AND MUMMERY; OR, HOUDIN AND THE ARABS. By
JOHN NEVIL MASKELYNE, OF THE EGYPTIAN HALL 449
CHAPTER LVI.--VENTRILOQUISM, AND HOW TO ACQUIRE THE ART. By
WILLIAM CROMPTON 454
CHAPTER LVII.--SECOND SIGHT 457
CHAPTER LVIII.--SPIRITUALISM AT HOME. By DR. STRADLING 470
SECTION XI.
DIVERSIFIED DIVERSIONS.
CHAPTER LIX.--FIRE-BALLOONS AND GAS-BALLOONS: HOW TO MAKE AND
USE THEM. By THE LATE DR. SCOFFERN.
I.--THE PRINCIPLE OF BALLOONING 481
II.--FIRE-BALLOONS AND THEIR CONSTRUCTION 483
III.--ON GASES AND GAS-BALLOONS 491
IV.--HOW TO PREPARE HYDROGEN GAS 492
V.--THE CONSTRUCTION OF THE BALLOON 493
CHAPTER LX.--MODEL BALLOONS AND ALL ABOUT THEM. By a PROFESSIONAL
AËRONAUT AND BALLOON MAKER 497
HOW TO MAKE A MODEL BALLOON 503
THE NETTING 506
THE GAS 507
COST 508
CHAPTER LXI.--SMUDGEOGRAPHY; OR, HOW TO TELL THE CHARACTER BY
HANDWRITING 509
CHAPTER LXII.--THE LUDION. By THE LATE DR. SCOFFERN 512
CHAPTER LXIII.--MECHANICAL AND OTHER PUZZLES.
I.--SOME MECHANICAL PUZZLES. By F. CHASEMORE 515
II.--THOUGHT-GUESSING 516
III.--AN IMPROVED RING-PUZZLE. By HERR MEYER 517
IV.--AËRIAL RINGS 518
V.--BUBBLE BLOWING 520
VI.--MARIONETTES 521
VII.--MODEL WRESTLERS 522
CHAPTER LXIV.--KEEPING THE BALANCE. By the REV. T. S. MILLINGTON,
M.A. 524
SECTION I.
GYMNASTICS, INDIAN CLUBS, DUMBBELLS, AND JUGGLING WITH BALLS.
[Illustration]
THE BOY’S OWN BOOK OF INDOOR GAMES AND RECREATIONS.
CHAPTER I.--GYMNASTICS.
BY A MEMBER OF THE LONDON ATHLETIC CLUB.
I.--PRELIMINARY HINTS AS TO DRESS, DIET, AND EXERCISES WITHOUT
APPARATUS.
That fine old Latin motto, ‘Mens sana in corpore sano’ (‘A vigorous mind
in a sound body’), has stood the test of years, and happily its truth is
day by day more forcibly asserting itself. The feeling is becoming
general that body and mind ought to be developed to the utmost, for they
are both gifts to us, divinely bestowed, and for the proper use of them
we are responsible.
The benefits of _judicious_ exercise to the human frame cannot be
over-estimated. In these days of sedentary occupations, it becomes an
absolute necessity, an antidote, in fact, to the labours of the brain.
By its use the balance between mind and body is preserved.
Irrespective of the increased health that gymnastics impart, and the
spring which they give to the mind, they possess one great advantage,
namely, that they endow the gymnast with presence of mind in
difficulties. In positions of danger how much better chance of escape
those who have trained themselves to use their limbs will have over
those who have not!
Foremost as we stand among nations, it is surprising that such
indifference should have hitherto prevailed with regard to the
development of the body. In many continental countries (Germany and
Switzerland more especially) gymnastics form part of a boy’s education;
here, at any rate until quite recently, they were indulged in only as an
accessory, and often without the aid and direction of an experienced
teacher. Boys are allowed to enter the gymnasium, make their own choice
of apparatus (and they generally select that which requires the greatest
skill), and, in imitation of some expert gymnast whose performances they
have witnessed, attempt feats far beyond their strength, which can only
be successfully accomplished after a systematic course of practice. The
result is often positive injury, and _always_ discouragement.
As in other things, there is no royal road to gymnastics. The learner
must begin with simple and gentle exercises if he wishes to acquire a
graceful and easy style, increasing them in difficulty in regular
degree, according to his strength and progress. The extra time and
trouble devoted to the simple exercises, in which lies the groundwork of
the most ‘taking’ feats, will be acknowledged to have been well
expended, and the acquirement of a cool, easy, and elegant style will
prove sufficient recompense for having assiduously practised them.
The best material for dress is undoubtedly white flannel. A pair of
trousers made to fit the legs tolerably closely, with plenty of room in
the seat (not ‘baggy,’ of course), a close-fitting ordinary under
jersey, minus the sleeves (to give freedom to the arms), and a pair of
canvas shoes without heels, are all that are necessary for wear during
actual practice. Add to these a loose jacket of medium thickness to slip
on during intervals of rest, and you have your costume complete.
Upon the question of wearing a belt opinions are divided. Many gymnasts
approve of it, and assert that it affords them support; but our view, in
which we are confirmed by medical authority, is that artificial support
should be avoided. All that is necessary is that the trousers should be
made to fit well over the hips, with a waistband about 2-1/2 in. in
width, and a strap and buckle behind. Be sure that the flannel is _well
shrunk_ (by immersion in water for about thirty-six hours) previous to
making up.
Before proceeding to describe the exercises, we have a word to say with
regard to the time at which they can be most beneficially practised. Let
it be a golden rule never to attempt work directly after a meal. The
digestive organs require time to fulfil their functions, and exercise
upon a full stomach only impairs and weakens them. Food should not be
taken immediately _after_ practice; a short time--say half an
hour--should elapse before eating.
It is of importance that these directions should be observed, for with
impaired digestion the muscles, instead of being strengthened and
developed by exercise, are really weakened and reduced, in consequence
of not having received the nourishment which digestion alone can extract
from food.
Light practice before breakfast may be taken with advantage, but a dry
biscuit or crust of bread should be eaten on rising.
II.--EXERCISES WITHOUT APPARATUS.
_No._ 1. Place the heels together, toes pointing outwards, stand
perfectly upright, as at attention, chest expanded. Raise the arms, and
stretch them out in front, hands open, palms touching. Keeping the hands
at the same level, throw them as far behind the back as you can. Do not
bend the body. Continue this exercise until you feel you have had
enough.
_No._ 2. Stand as before. Clench the hands and throw them out in front.
Bring them back sharply to the sides, throw them out again, and
continue.
_No._ 3. Again same position. Raise the fists to the shoulders, knuckles
turned outwards, strike upwards. Bring the fists down again to the
shoulders.
_No._ 4. Extend the arms at full length on each side, hands open, palms
upwards. Bend from the elbow, bringing the tips of the fingers to the
shoulders, then straighten out again. This is fine exercise for the
biceps.
Now combine these four exercises, doing them in succession.
_No._ 5. Stand with the legs a little apart, toes pointing outwards.
Arms straight, and hanging in front. Describe a circle in front of you
with each hand, alternately keeping the fist shut and arms _perfectly
straight_. First one way, the hands going outwards, then the other
coming inwards. Keep up this ‘windmill’ action for some time.
These extension exercises will give ease and pliancy to the arms and
their joints.
LEG MOVEMENTS.
_No._ 1. Place the hands on the hips, and stand upright, heels together.
Raise each leg alternatively, as high as possible, straight out in front
of you, toes pointed, leg perfectly still.
This should not be done too slowly, but with a slight swing, as in the
act of kicking.
_No._ 2. In addition to the forward movement, swing the leg behind you,
do not bend the body over, and mind your balance. Keep up this pendulum
movement, first with one leg, then with the other, counting 1, 2, 3, 4.
1, leg out in front; 2, swing behind; 3, in front again; 4, foot to
ground to first position; then do the same with the other leg.
_No._ 3. Stand as in No. 1, and throw each knee up alternately,
endeavouring to strike the chest. Do not stoop forward. This exercise
loosens the knee joints.
_No._ 4. When in the position described last, with the knee raised,
throw the leg out in front, and straighten it before bringing the foot
to the ground. This is part of No. 1.
_No._ 5. Stand as before. Now sink down slowly, as low as possible,
raising the heels from the ground, knees bent at an angle, then rise
again. Do this at least twenty times in succession. It will give it to
you in the calves and thighs, but it is splendid exercise.
If you practise these exercises for about half an hour every day for a
week you will be ready for the more advanced practice which we shall
next describe.
III.--EXERCISES WITH APPARATUS.
The exercises described in the last section do not by any means exhaust
the list of extension movements that can be practised. They are
sufficient, however, to form a groundwork upon which the reader may
begin. Many other exercises will readily suggest themselves to him
during practice.
If he has a few friends who will join him in them, it will prove
mutually advantageous, the exercises becoming much less monotonous by
being performed in company. One should act as director, standing facing
the others, and setting the exercises, counting aloud 1, 2, 3, 4, and so
on.
This system is practised at all the large gymnasiums, the ‘Mass
Exercise,’ as it is called, commencing the evening’s work, and forming a
very pretty spectacle. This is notably the case at the German Gymnasium,
King’s Cross, where frequently as many as 200 gymnasts, standing at
arm’s length from each other and obedient to the word of command from
the leader, who occupies a raised platform in front of them, go through
the extensions in unison and perfect time. The effect is unique, and
must be seen to be appreciated.
After having become accustomed to these movements, they may be practised
with light dumb-bells.
The pupil having passed through the preliminaries, and moulded himself a
little into shape, we now proceed to describe the exercises _with_
apparatus. Those on the ‘horizontal bar’ being among the most
strengthening of gymnastic performances, and perhaps also the most
varied and attractive, we shall treat of them first.
THE HORIZONTAL BAR.
Almost every boy is familiar with this apparatus, but for the benefit of
the few who may be in ignorance, we give a drawing of it (Fig. 1).
[Illustration: FIG. 1.]
The bar or pole should be of ash, diameter 2 inches, length 6 feet. The
more expensive bars have a steel core running through the middle, in
which case the diameter can be reduced to 1-1/2 inches, and the length
increased to 7 feet. This size is decidedly more pleasant for use, as a
firmer grip can be obtained than on the thicker bars. The height of the
bar from the ground of course varies according to that of the gymnast,
who should be able to touch the lower side with _both_ hands (the tips
of the fingers) when standing raised on his toes. When _hanging_ by the
hands, the toes will then just clear the ground.
[Illustration: FIG. 2.]
Having adjusted the apparatus to the proper height, begin by
HANGING ON THE BAR AND THE WALK.
Jump up and seize the bar with both hands, knuckles upwards, the thumbs
on _the same side as the fingers_. Remember (with the exceptions
mentioned later on) never to grasp the bar as you would a broomstick,
but hook the hand over it. Let the legs hang perfectly straight and
together, toes pointed.
Now ‘walk’ with the hands from one end of the bar to the other, and back
again. Keep the body steady and avoid swaying (Fig. 2).
BREASTING THE BAR.
Hang on the bar as before, and slowly draw yourself up, keeping the
shoulders square, until the chest is level with the bar (Fig. 3).
[Illustration: FIG. 3.]
Then lower the body until the arms are quite straight again, draw up
again, and continue to practise until you can accomplish it from eight
to a dozen times in succession. When breasting the bar, repeat the walk
in that position.
[Illustration: FIG. 4.]
Now try swinging forward and backward, arms straight, increasing the
height with each swing until the body assumes an almost horizontal
position. When at the extent of the backward swing, the hands should be
shifted slightly round the bar to recover the grip which the forward
swing has lessened (Fig. 4).
[Illustration: FIG. 4A.]
Now in the backward swing release your hold of the bar and launch
yourself away from it with a slight push and alight on your feet. This
will accustom you to leaving the bar neatly and effectively (Fig. 4A).
THE SHORT CIRCLE.
Draw the chest up to the bar, throw the head well back, raising the legs
at the same time (keep them straight), and get the toes over the front
of the bar, pulling hard with the arms (Fig. 5). This will cause you to
revolve half round the bar, and will bring you into position as in Fig.
6.
[Illustration: FIG. 5.]
[Illustration: FIG. 6.]
This is rather difficult to perform, and requires a deal of practice,
but it is an indispensable exercise.
When in this position (Fig. 6) endeavour to revolve completely round the
bar like a wheel on its axis. To do this you must throw the upper part
of the body forward with a good swing, at the same time keeping the arms
rigid, and giving yourself sufficient impetus to go round, coming up
into the original position.
GETTING ON TO THE BAR.
Get into position as in Fig. 3, then drop the right side of the body,
simultaneously throwing the left leg over the bar as in Fig. 7, and
swing the other leg which will have the effect of bringing you up over
the bar. Endeavour to come up with the body upright, as in Fig. 8.
[Illustration: Fig. 7]
[Illustration: Fig. 8]
You will experience some difficulty in doing this, and your first
attempt will no doubt result in a mere scramble up, but persevere until
success rewards your efforts.
There is another method you may try--viz., to bring the leg up through
the hands, and, with a good swing, bring yourself up, as in Fig. 8.
One method is perhaps as good as the other, but neither can be neatly
performed without continual practice.
THE LEG SWING (BACKWARDS).
When in position, as in Fig. 8, swing the right leg out behind, at the
same time shifting the left leg backward until the bend of the knee
catches the bar (Fig. 9).
[Illustration: Fig. 9]
Keep the arms straight, and throw the head back with a good swing, just
enough to bring you round the bar into the original position. You must
be careful in judging the swing, otherwise you will find that you cannot
stop yourself, and will make a half turn too much. After a little
practice you will be able to judge the first swing to a nicety, and come
up with a good balance. Now do several turns without stopping, always
remembering to finish above the bar.
[Illustration: Fig. 10]
For the forward leg swing, turn the hands the other way, leaning the
weight of the body on the arms; throw the head forward, and, with one
bold plunge, keeping the body erect, and holding tightly on to the bar,
make the revolution (Fig. 10).
Do not be content with accomplishing this with one leg only, but
practise with right and left alternately.
The forward swing will tax your confidence more than the backward, but
it is really not more difficult. You will, after a little practice, be
able to make several revolutions in succession. This has a very dashing
appearance.
TO SIT ON THE BAR.
This will prove rather difficult at first. Get on to the bar, as in Fig.
8, and preserving your balance, bring the hanging leg with a rapid
movement over the bar into a sitting position. To effect this you must
leave go of the bar with the right hand, resuming your grasp directly
the leg has passed under your hand. You will now be in position as in
Fig. 11.
[Illustration: Fig. 11]
[Illustration: Fig. 12]
This exercise really consists of balancing, and in your first attempts
you will find a tendency to roll over backwards directly the leg reaches
the level of the bar. Should you do so, however, you can quickly recover
your position by the method described in ‘getting on to the bar.’
[Illustration: Fig. 13]
[Illustration: Fig. 14]
There is another way of getting into the sitting position. Hang on as in
Fig. 2, and doubling up, pass the legs through the arms (Fig. 14),
straighten the body, as in Fig. 15, and draw yourself up until the
posterior is a little above the bar. You will then, with a slight bend
of the body, roll over into position. You must keep the head well back,
and pull hard with the arms.
[Illustration: Fig. 15]
[Illustration: Fig. 16]
A good exercise for the muscles of the back is to drop through when in
position as in Fig. 14, to position as in Fig. 16, and back again to
Fig. 2. Be careful to keep the legs _straight_ while doing it. It is
easy enough to effect with legs bent.
Having accomplished ‘sitting,’ accustom yourself to remaining in that
position without holding the bar with the hands, balancing yourself with
the bar under different parts of the leg.
This will prepare you for the
SIT SWING (BACKWARD),
which is not unlike the leg swing, but very much more difficult, as
greater strength is required, in consequence of the whole weight being
thrown upon the arms.
Sitting on the bar as in Fig. 11, stiffen the arms, and launch yourself
backwards with a good swing, holding the bar firmly with both hands, and
go right round the bar with the impetus you have given yourself,
resuming the position from which you started. As in the leg swing, you
must judge the swing correctly, or else you will go round half a turn
too much, or fail to give sufficient swing to come up at all. This will
very likely be the case in your first few attempts, for you can hardly
expect to accomplish the feat at once.
In attempting this exercise it is as well to have some one standing in
front of the bar ready to catch you in the event of your not having
given swing enough to balance yourself, in which case you will fall
forward.
In the sit swing forward, starting is the important part. Raise the body
as far from the bar as possible, the whole weight supported on the arms
(Fig. 12), legs straight, chest thrown out. Now with a bold plunge
forward you will go right round (that is after a time). The arms must be
kept perfectly straight, as in Fig. 13, and the hands of course reversed
as in the leg swing forward.
This feat requires more nerve than any we have yet described, and, as a
natural accompaniment, more practice, but it will well repay any amount
of perseverance.
HANGING BY THE LEGS.
Sit on the bar, then suddenly slide backwards and drop, catching
yourself by your bent knees (Fig. 17).
[Illustration: Fig. 17]
[Illustration: Fig. 18]
You must be very careful not to communicate any swing to the body, but
to drop quite straight, or off you will come. Having successfully
acquired this exercise, you may now practise swinging by the legs, when
as in Fig. 18, let go with your legs, and let them drop and come on your
feet on the ground. This exercise had better be first practised on a bar
sufficiently low to allow of your just touching with the tips of your
fingers when hanging, in case you hold on too long, and so come on your
hands and feet instead of on your feet only. A very little practice,
however, will suffice to give you the knack of leaving go at the exact
moment, and as this method of leaving the bar is often called into
requisition at the end of a series of combined movements, it should be
acquired perfectly.
We cannot too strongly advise our young friends who wish to become
gymnasts to pay particular attention to the _style_ in which they
perform the exercises. Many a difficult feat is spoiled in appearance by
the clumsy manner in which it is executed, and fails to elicit the
admiration afforded to a much simpler movement gracefully performed.
THE CLEAR CIRCLE.
This exercise is very difficult, and will necessitate a lot of practice.
It differs from the ‘Short Circle’ already described in this important
particular, viz., that the circle is performed without any part of the
body touching the bar. You must commence by drawing the chest up to the
bar from the hanging position, then throw the head back, and, raising
the legs, and pulling hard with the arms, endeavour to bring the feet
over the bar, describing, as it were, part of a circle. While the legs
are passing round, straighten the arms, and you will come into position
as in Fig. 19.
[Illustration: Fig. 19]
Now revolve round the bar, keeping the arms rigid, and the body away
from the bar. The whole weight of the body (which must be kept quite
straight) will thus be thrown on the arms. Our readers must not be
discouraged at the nonsuccess that will attend their first efforts to
accomplish this exercise, which, as we have before remarked, is a very
difficult one, and requires a deal of practice before the knack can be
acquired.
THE MUSCLE GRIND.
This, although not difficult to perform, is very showy, and frequently
elicits greater applause from an audience than much more difficult
feats. Get on to the bar in sitting position, as in Fig. 11, then slide
down in front, at the same time putting the arms straight down behind
you until the bar comes across the biceps; then communicate a swing to
the body until you have acquired sufficient momentum to carry you
completely round the bar. The ordinary way in which this feat is
performed is with the head going forwards (Fig. 20). The other way
(backwards) is more difficult.
[Illustration: Fig. 20]
[Illustration: Fig. 21]
It can be done in a third way, with the arms straight along the bar
(Fig. 21).
HANGING BY THE TOES.
This is easier than most people imagine. Whatever difficulty may be
found will consist not so much in the actual sustaining of the weight of
the body by the toes as in the task of getting the feet into position on
the bar. We will suppose, however, that by this time the pupil will have
mastered the short circle described on page 23, in which case he will
find it easy enough to hitch the toes on the bar instead of bringing
them over to complete the circle. This having been accomplished, nothing
remains but to leave go with the hands and let the body drop slowly
until hanging quite perpendicularly (Fig. 22).
[Illustration: Fig. 22]
In first attempting this, it is advisable to stretch out your arms, so
as to be prepared in case you find your feet slipping off. To drop on to
the hands is the easier way of leaving the bar from this position, but
it is not the correct one, which is to draw the body up and resume your
hold of the bar by the hands.
THE HOCK SWING.
This is like the sit ‘swing backward,’ except that it is performed
without holding the bar by the hands, which of course renders it very
much more difficult.
Sit on the bar as far back as possible, and then launch yourself
backwards with arms extended, holding tight with the legs, and, with a
good swing, come right round the bar into sitting position from which
you started (Fig. 23).
[Illustration: Fig. 23]
Great demand will be made upon your store of confidence in the
performance of this feat, but it well repays the practice involved, as
it has a very dashing appearance, especially when several turns are done
in succession, which you will be able to accomplish after a time.
THE UPSTART.
This is an indispensable exercise, and one that will be frequently
called into requisition by the gymnast as he becomes more advanced. It
consists of getting on to the bar by a swing and a jerk, the peculiar
nature of which it is rather difficult to describe. First hang by the
hands, then bring the feet up to the bar and shoot them out sharply as
far as possible (Fig. 24), at the same time pulling hard with the arms.
You will find, after a time, that this will have the effect of bringing
you right up on to the bar as in Fig. 6.
[Illustration: Fig. 24]
[Illustration: Fig. 25]
The upstart can be performed without the swing, but the arms in this
case must be kept perfectly straight. Raise the legs as before, then
drop them suddenly and pull the body above the bar. To see the upstart
once performed will do more towards teaching its acquirement than pages
of explanation. It is purely a knack, which will come to you all at
once, after, perhaps, numberless fruitless attempts (Fig. 25).
THE SLOW PULL-UP
is another method of getting on to the bar, and is a feat of strength
rather than of agility, great muscular power being necessary for its
successful accomplishment.
[Illustration: Fig. 26]
It is performed by drawing the body up while hanging from the bar. The
hands must be well over the bar--in fact, the wrists must rest there. In
this exercise it is better to have the thumbs underneath (this is one of
the exceptions referred to in page 22), as otherwise, when you come up,
your hands may slip off. Fig. 26 shows the position midway.
This is the critical point, and all your strength will be required to
get the rest of the way. By raising the elbows a little you will find
you will get a greater purchase, and the raising of the legs will
counterbalance the weight of the body and bring it up. This exercise
always meets with great applause, especially when done several times in
succession, a feat that will task your powers to their utmost.
Another strength movement is the
HORIZONTAL (BACK AND FRONT).
It consists of supporting the body by the strength of the arms, as shown
in Figs. 27, 28.
[Illustration: Fig. 27]
[Illustration: Fig. 28]
THE SPLITS.
This must first be practised on a bar reaching not higher than the
waist. The feat is to clear the bar as shown in Fig. 29. Some amount of
confidence will be required for the performance of this exercise, and
there must be no hesitation in the matter, or over you will come on your
nose. First practise jumping on to the bar, so as to touch with both
feet _inside_ the hands; then try outside, and, when you have become
accustomed to this movement, you may make your attempt to go clean over.
You must be careful to let go with the hands at the proper moment when
in position shown in Fig. 29.
[Illustration: Fig. 29]
The exercise is usually first acquired on the ‘horse’ (an apparatus
which we shall describe in due course), and is much more difficult on
the horizontal bar, but as it is a very pretty finish to a series of
combined movements, we have introduced it here.
We should recommend your having some one standing in front of the bar
when you commence to practise this movement, to catch you in case your
feet do not quite clear.
THE LONG SWING.
This is perhaps the most difficult of all the exercises on the bar, and
requires great strength and nerve for its accomplishment. There are very
few gymnasts who can do it properly, which is not to be wondered at,
considering the amount of practice that it involves. Only the advanced
gymnasts, those who have completely mastered all the foregoing exercises
(especially the clear circle, which is the preliminary to the long
swing), should attempt it.
[Illustration: Fig. 30]
Start from position as in Fig. 6, and raise the body up (Fig. 30), then
descend with a dashing swing (Fig. 31), bending the body backward, and
just as you are underneath the bar throw the legs forward and the head
back. This will have the effect of bringing you up above the bar. You
must now bend the arms slightly, to bring you nearer the bar, over which
you should come with the chest thrown out. This position is the most
awkward part of the whole swing, for the hands will be found too far
over the bar. To rectify this you must make what is known as the shift,
which consists of making a rapid turn with the hands, bringing the palms
on to the top of the bar, when you can straighten the arms (Fig. 32),
ready for another circle.
[Illustration: Fig. 31]
[Illustration: Fig. 32]
The long swing can also be performed forward, but it is even more
difficult than the one just described.
COMBINATIONS.
We have now shown most of the principal movements on the horizontal bar,
a great many of which, when properly acquired singly, can be performed
in combination. For instance--
Start with the short circle, throw the legs over the bar into sitting
position, then sit swing backwards, leave go with the hands, two hock
swing backwards, and off the bar on to your feet as in Fig. 18.
Again. Upstart, clear circle (three or four times) into sitting
position, sit swing forward, change hands, and hock swing off.
A very dashing-looking feat is the upstart and splits in one movement.
Care must be taken not to allow the body to touch the bar, or your
impetus will be stopped just when it is required for clearing the bar.
This concludes the Horizontal Bar. We will now proceed to describe the
exercises on the Parallel Bars.
THE PARALLEL BARS.
The Parallel Bars are very simple in their structure. They consist of
two bars, running side by side, supported by uprights at a sufficient
height from the ground to allow the feet to swing clear. The width
should not be more than eighteen inches; length about seven feet.
The exercises that can be performed upon this apparatus are various and
attractive; some of them comparatively easy, the more advanced very
difficult, and requiring great strength and skill in their execution.
EXERCISES.
Rise into position as in Fig. 33, and walk with the hands to the end of
the bars, keeping the arms stiff, legs straight, and toes pointed. Now
walk back again. Now proceed along the bars by a succession of jumps
with the hands and back again.
[Illustration: Fig. 33]
[Illustration: Fig. 34]
Let the body sink down, as in Fig. 34, and hop along in that position
forwards and backwards. Be careful to keep the body steady and legs
straight.
[Illustration: Fig. 35]
[Illustration: Fig. 36]
Position as in Fig. 33. Now commence swinging the legs backwards and
forwards. When accustomed to this movement, throw the legs over the bars
in front of you (Fig. 35), then bring the hands to the front (Fig. 36),
and bring the legs over again between the bars into original position.
Do this several times in succession, and vary the exercise by commencing
with throwing the legs behind.
[Illustration: Fig. 37]
[Illustration: Fig. 38.]
[Illustration: Fig. 39]
[Illustration: Fig. 40]
The _pumping movement_ is a splendid exercise for bringing out the
muscles of the chest, and is performed as follows. Swing the body into a
horizontal position, as in Fig. 37; then bend the arms and drop into
Fig. 38. Swing the legs forward, and with the impulse this will give you
come up into Fig. 39, and finish with a swing back into position from
which the movement was commenced. In the backward ‘pump,’ commence from
the position as shown in last figure, and drop with the backward swing.
It is a pretty movement to combine the two--first forwards, then
backwards, in alternate swings, and then to leave the bars by a side
movement on to your feet, as in Fig. 40. This last movement is one of
the neatest and easiest ways of leaving the bars, and can be done either
forwards or backwards, and on right or left side.
[Illustration: Fig. 41]
[Illustration: Fig. 42]
After having fairly mastered the pumping movement, you will now be ready
for attempting _the hand-balance_--an exceedingly effective exercise,
and not very difficult to accomplish. Commence as for the backward pump,
and, with an increased momentum, bring yourself up into a hand-balance
(Fig. 41). This movement should be first practised at the end of the
bars, as in the event of your overbalancing--a not unlikely
contingency--you can save yourself by bending the arms, as in Fig. 42.
We should also recommend your having two friends to stand by you, one on
each side of the bars, ready to catch you in case of a tumble. Having
become proficient in the stationary balance, try to walk along the whole
length of bars with the hands, still preserving the balance. This will
be found none too easy, as directly one hand is moved forward the
balance is altered, and there is a tendency to fall over. The correct
method of leaving the bars after balancing is by means of the
_hand-spring_, which is performed by bending the arms as in Fig. 42, and
when in that position dropping the legs and pushing away from the bars
with the arms; the result will be that you will alight on your feet
after having turned a half-somersault. In practising this also you
should have two friends ready to catch you, as your first few attempts
are nearly certain to be unsuccessful.
[Illustration: Fig. 43]
[Illustration: Fig. 44]
The slow pull-up was described in our remarks on the Horizontal Bar, but
upon the parallels it is much more difficult of execution. The movement
is shown in Figs. 43 and 44. In starting, the hands should be placed
well over the ends of the bars--the wrists, in fact, being over--then by
sheer strength raise the body up to Fig. 44. This is the awkward point,
and all your exertion and power will be called upon to get right up with
straight arms.
[Illustration: Fig. 45]
[Illustration: Fig. 46]
The following exercise is also very similar to one described for the
horizontal bar, but it is more difficult on the parallels. Stand between
the bars, catch hold of them with the hands, and stoop down until the
shoulders are level with the bars; then raise the legs--keeping them
straight--until the body is in position, as in Fig. 45, when drop right
over to Fig. 46; then back again, and continue the movement several
times. This is splendid exercise for opening the chest and strengthening
the muscles of the back.
[Illustration: Fig. 47]
[Illustration: Fig. 48]
Vaulting movements, when neatly performed, are very pretty, and should
be commenced from the centre of and between the bars. Figs. 47 and 48
will convey the idea to our readers. A great many movements may be gone
through while in this position, the necessary impetus being obtained by
swinging the legs over the bars.
[Illustration: Fig. 49]
Fig. 49 shows the most difficult of all the exercises upon the
parallels. It is to make the head and shoulders counterbalance the legs,
and to hold the body parallel with the bars by the arms. This is known
by the name of ‘La Planche.’
We will now proceed to a description of the exercises on the
VAULTING HORSE.
[Illustration: Fig. 50]
The above sketch shows the apparatus (Fig. 50). The dimensions most
convenient for use are 5 feet 10 inches to 6 feet in length, and about
16 inches across the back; the height can be arranged as required. It
will be seen from the illustration that the legs are telescopic, and can
be lengthened or reduced at pleasure.
The two pommels in the centre are about 18 inches apart, and can be
removed for certain exercises hereafter described. In that case, pommels
level with the back of the horse are inserted to fill up the grooves. In
performing a great many of the exercises it is necessary to have a
wooden board about 3 feet square, rising in thickness from a feather
edge to 3 inches, to be placed on the ground at the side or end of the
horse, as the case may be, for the ‘take-off.’ This is not used as a
spring-board. It should be solid, and made of deal.
The trunk of the horse is made of a solid piece of wood, and covered all
over with cowhide. One end, as will be seen from the engraving, is
raised, with a slight bend corresponding to the neck of the animal,
which gives it its name.
Many of the exercises upon the horse are similar to those upon the
parallels. Our readers can themselves recognise which they are; we shall
therefore avoid recapitulation, and only describe those peculiar to the
horse.
[Illustration: Fig. 51]
[Illustration: Fig. 52]
Start by springing on to the horse with the hands one on each of the
pommels, legs hanging straight (Fig. 51). Now swing the right leg over
the horse in between the pommels (as in Fig. 52), momentarily
relinquishing the hold of the right hand, and immediately the leg has
passed resuming your hold; then the same with the left leg. This must be
done without touching the horse with the foot, and the body must be
supported by the arms the whole time. Then bring each leg back again
into original position.
Now try the two movements at once--that is, while the one leg is being
brought back the other is to be passed through forward. You will thus
always have one leg on each side of the horse.
The next exercise is the--
LEG SPRING.
Stand in front of the horse, hands on pommels, then spring up into the
saddle into a kneeling position (as in Fig. 53). Then, throwing the
arms up, give a good spring forward, alighting on your feet the other
side (Fig. 54). You will feel rather awkward at first in attempting the
spring, as the legs seem to be glued to the saddle, but it is very easy
after having once been accomplished.
[Illustration: Fig. 53]
[Illustration: Fig. 54]
HORSE JUMPING.
Jumping exercises on the horse, when neatly performed, are very
effective.
[Illustration: Fig. 55]
Take a short run up to the board (described above), and jump--off both
feet at once--over the back, passing the legs through the arms, and
assisting yourself by the hands one on each pommel (Fig. 55).
[Illustration: Fig. 56]
When in this position shoot out the legs in front of you, and, leaving
go of the pommels, come down neatly on the other side. Be careful to
gather up the legs well when passing through, or you may catch your feet
against the back of the horse, and come down on your nose. There are
several forms of this exercise. Fig. 56 shows one of them.
It is rather more difficult than the last, from the legs passing
_outside_ the hands. A much greater spring is required to raise you high
enough to pass over, and you must be careful to let go with the hands at
the proper time, otherwise you will lose command of yourself and pitch
forward on to the ground. In practising this movement we recommend your
having a friend to stand in front of the horse, to catch you in case of
such an emergency.
SADDLE VAULTING.
Get on to the horse as in Fig. 57, sitting across, outside the pommels,
then catch hold of the pommels as shown, and, throwing the whole weight
of the body upon the arms, throw the legs right up, and, with a kind of
twist, bring yourself round on to the horse the opposite side of the
pommels, retaining your hold all the time. You will then face the
opposite direction to the position from which you started. Practise the
exercise from right to left, and _vice versa_.
[Illustration: Fig. 57]
There are many other forms of saddle-vaulting possible of practice, some
of them very difficult, but it is not needful to describe them.
[Illustration: Fig. 58]
The hand-balance was described in the chapter on the parallel bars. It
is a little more difficult of execution on the horse. It is shown in
Fig. 58.
The assistance of two friends in attempting this feat is desirable.
FLYING OVER THE HORSE.
For these exercises the pommels must be removed, and the spaces filled
up with the flush ones, as described already. The movement is not unlike
leap-frog, as the spring is taken off the board, and you pitch on to
your hands in the same manner. But there the similarity ends, for it is
a very different matter clearing a boy’s back, from getting over the
whole length of the horse.
[Illustration: Fig. 59]
Commence by placing the jumping-board about 3 feet from the largest end
of the horse, then with a run and a spring pitch on to your hands, as in
Fig. 59.
After practising this, move the board farther away and repeat; continue
the exercise, each time measuring the distance, until you can pitch on
to the ends from about 5 or 6 feet.
[Illustration: Fig. 60]
Now jump up on to the end of the horse, as in Fig. 60, then plunge
forwards on to the other end, pitching on to the hands, and clearing the
horse, as in leap-frog, coming down safely on the ground in front.
This exercise must be done with dash and vigour. If you are half-hearted
about it you will come to grief.
THE HAND-RINGS OR STIRRUPS.
This simple apparatus consists of iron rings attached to two ropes
suspended from a cross bar or from a ceiling, about seventeen or
eighteen feet in length, and at a sufficient height from the ground to
allow the feet to swing just clear. The rings or stirrups (the latter
shape is the more convenient) should be covered with leather, and of a
thickness affording a good grasp. The exercises that can be performed
upon them are neither attractive nor various, but they are useful, and
as no section on gymnastics would be complete without their
introduction, we will proceed to describe them.
[Illustration: Fig. 61]
Begin by drawing yourself up, as in Fig. 61, holding one ring close to
the shoulder and the other extended at arm’s length. Now draw in the
extended arm, at the same time straightening the other, and repeat the
movement as long as you are able, first one arm straight, then the
other. Keep the head erect, looking straight before you, not at either
of the rings. Legs hanging close together, toes pointed.
[Illustration: Fig. 62]
Now try the slow pull up; this is not so difficult upon the rings as
upon the horizontal bar. The wrist should be placed well over the rings,
so as to get a good purchase. Then proceed as directed in the horizontal
bar directions, and when you have drawn yourself quite up, straighten
the arms and press them close to your sides. Now for a stiff one. When
in this position gradually extend the arms apart, allowing the body to
sink until the shoulders are nearly level with the rings (Fig. 62).
Endeavour to keep in this position, supporting the body as long as
possible, then lower yourself gradually, until you hang straight down
again.
The back and forward ‘horizontals’ (also described in the horizontal
bar) are very good exercises to practise on the rings.
[Illustration: Fig. 63]
[Illustration: Fig. 64]
Now for some swinging exercises. Take hold of the rings and with a few
quick steps forward communicate a swing to the body, which increase by
drawing yourself up in the forward swing, and when at its extent
lowering yourself with a drop. This will cause you to swing higher each
time until your arms and legs are straight and nearly in a horizontal
position, as in Fig. 63. When accustomed to this exercise, which should
be practised until perfect confidence is attained, you may proceed to
the following. Commence as before, and when at the end of the forward
swing, draw up the legs over the head, as in Fig. 64, and immediately
before commencing the backward swing shoot the legs out straight, and
come back to position as in Fig. 63. Continue the movement half a dozen
times.
[Illustration: Fig. 65]
[Illustration: Fig. 66]
Commence as before, and when at the end of the _backward_ swing,
suddenly contract the arms and raise yourself up into the rings, as in
Fig. 65, and continue swinging in that position. In order to preserve
your equilibrium you must bring the legs forward when beginning to
descend, as in Fig. 66.
[Illustration: Fig. 67]
Another variety of the swing is to support yourself on the rings,
‘grasshopper fashion’ (Fig. 67). A very pretty effect is produced by a
combination of the different swings we have described. The order in
which they are performed is immaterial, and may be left to the pleasure
of the gymnast.
We will conclude our directions for the rings with a description of what
is known as ‘dislocation.’
Hang from the rings and draw up the legs over the head, and drop over,
as in Fig. 46 (Parallel Bars). Now instead of going back again, push the
rings out and away from you on each side. The body, by its own weight,
will drop through and cause the arms to twist until you will find
yourself hanging with straight arms in the position from which you
started. The sensation you will experience when first the exercise is
performed is (of course momentarily only) not unlike ‘dislocation,’
hence the name the exercise bears, but after a few successful attempts
it is comparatively easy, and is a splendid means of opening the chest.
CLIMBING.
Although not generally looked upon as a gymnastic exercise, climbing the
rope, pole, etc., is so essentially useful, and so likely to prove of
service in an emergency, that we devote a few lines to describe the best
and most effective method. Those who have never attempted to climb a
rope can have but little idea of the severe nature of the exercise.
Although unfortunately neglected, in favour of more showy feats by the
majority of gymnasts, yet there are a few who make a speciality of it,
and climb heights really marvellous. A few years ago, on the occasion of
the German Gymnastic Society’s annual display at the Crystal Palace, one
of the members ascended a rope from the floor to the extreme height of
the centre transept. The arduous nature of the feat may be imagined when
our readers are informed that a quarter of an hour was occupied in the
ascent. The way of taking hold of the rope is shown in Fig. 68. The legs
should now be drawn up and the knees and feet pressed against the rope,
and the hands then shifted higher (Fig. 69).
[Illustration: Fig. 68]
[Illustration: Fig. 69]
Climbing by the hands only, ‘hand over hand,’ as it is called, is much
more difficult, and can only be performed to a limited height. Climbing
the pole is more difficult, from the fact that it is unbending and
thicker to grasp. Fig. 70 shows the position.
[Illustration: Fig. 70]
THE LADDER.
In nearly every well-appointed gymnasium there are ladders, placed in
horizontal or slanting positions, upon which a variety of easy but
useful exercises may be performed. ‘Walking’ by the hands is shown on
the horizontal ladder in Fig. 71. By moving the hands forward
alternately, holding by the outside, you progress from one end to the
other, and back again by reversing the movement.
[Illustration: Fig. 71]
[Illustration: Fig. 72]
In Fig. 72 another movement is shown, in which progression is made by a
succession of ‘steps’ from round to round, first from one round to the
next, and afterwards increasing the length of the step by missing four,
five, or six rounds, as the length of reach will permit.
IV.--HOW TO MAKE GYMNASTIC APPARATUS.
BY CHARLES SPENCER, Author of _The Modern Gymnast_, &c.
Comparatively few years ago bodily exercises were mostly confined to
walking, running, and rowing; now, happily, it is an exception not to
find some sort of gymnastic exercise desired by boys where apparatus is
necessary. My object in this article is to tell as briefly and
succinctly as possible, how any one, with a slight knowledge of
carpentry, can make at home all that is requisite for a gymnasium, and
that too at a comparatively small expense.
As you will, of course, require some tools, I will begin by supposing
that you have the ordinary commonplace ones, but may mention that, as
you will find the truth of the adage, ‘A bad workman finds fault with
his tools,’ you must not attempt to cross-cut a piece of timber with a
rip saw, or split your wood by using a gimlet instead of a bradawl,
blaming the tools, spoiling the wood and also your own temper.
Let us begin with the construction of the horizontal bar, as it is the
simplest apparatus to make, and affords the greatest variety of
exercises. There are several ways of forming the supports. We will take
the two most suitable, one as a fixture and the other portable, to be
used in a room or anywhere else desired.
HORIZONTAL BAR.
With wooden uprights to fix in the ground (_See_ next page, Fig. 1):
_Tools._
Hand-saw (cross-cut). | Inch chisel.
Jack plane. | Hammer.
Spike gimlet (three-eighths of an | Rule and Pencil.
inch). |
_Materials._ _s._ _d._
2 Yellow battens 14 ft. long, 7 in. by 2-1/2 in. at
3-1/2_d._ 8 2
4 Struts, yellow, 4 ft. 6 in. long, 4 in. by 1 in. 1 0
1 Bar 6 ft. long, 1-7/8 in. in diameter 6 6
2 Pins 6 in. long, 3/8 of an inch in diameter, at 4_d._ 0 8
20 nails 2-1/2 in. long 0 4
2 lb. lead-colour paint, at 8_d._ 1 4
1 lb. ultramarine blue 1 0
-------
19 0
=======
The first thing to be done is to order your wood of the nearest
timber-merchant. There are various kinds of fir-timber, and those mostly
used are pine, spruce, and yellow deal. The latter is the best for our
present purpose, as it is easy to work and will best stand the
inclemency of the weather. I need scarcely tell you where to get the
other materials, as most ironmongers and colourmen keep everything you
may require in this way.
[Illustration: Fig. 1]
Having all your materials and tools ready, saw 4 feet off your battens
(A A), which will leave 10 feet for the uprights, and as 2 feet 6 inches
have to be let into the ground, you will then have 7 feet 6 inches for
the height of the bar, which is sufficient for all exercises. You will
next fit the 4 feet-pieces (B B) into one end of the uprights by halving
them in; this will form the sole-piece to which the struts (C C C C) are
nailed. All this part, which goes underground, is left in its rough
state; the 7 feet 6 inches above the ground will have to be planed over
and the edges rounded off. The uprights can be either left plain or an
ornamental turned top may be added. This is a matter of fancy.
Our bar is made of the best straight-grained ash, 6 feet long and 1-7/8
in. in diameter.
Before fixing, cover the knots with a little patent knotting, then paint
the uprights all over with a coat of priming, another coat of lead
colour and one of any finishing colour you prefer. Green will soon fade,
blue will stand for years.
PORTABLE HORIZONTAL BAR.
_Tools._
Saw. | Inch chisel.
Jack plane. | Three-eighths-of-an-inch spike
| gimlet.
_Materials._ _s._ _d._
4 Lengths of Yellow deal 8 ft. long, 4-1/2 in. by 1-1/2 in. 5 0
2 Stakes 2 ft. 6 in. long, 3 in. square 0 6
1 Bar, with iron core and screw-eyes, 6 ft. long 10 0
2 Stay-ropes and toggles 2 0
2 Stretcher irons 1 0
Size and Varnish 1 0
-------
19 6
=======
[Illustration: Fig. 2]
This bar (Fig. 2), for its simplicity, portability, and strength, has a
reputation for being one of the most useful kinds of apparatus made. Not
only is it used for a bar, but children’s swings, hand-rings, and
trapeze can be attached to it, as the supports can be spread out to
allow the bar to stand at various heights by shifting the stretcher
irons (A A) up and down. These irons, three-eighths of a inch in
diameter, are cranked at each end--_i.e._, bent at right-angles--and fit
into holes in the uprights about 3 inches apart.
There will be very little for you to make in this, viz., the four
uprights. After you have planed these over and rounded the edges,
mortice 1-1/4-in. square holes through two of the uprights (D), six
inches from the top, and bore 3/4-in. round holes through the other two.
This is to take the end of the bar (B). The square part is to prevent
the bar turning round when you swing on it. You will have to purchase
the bar with iron core, as it would be impossible to make it without
proper machinery.
Size and varnish the uprights with one coat of size and two of hard oak
varnish. In fixing, you merely turn the screw-eye into the floor or
stakes, and attach the stays (C C) to them.
LAWN GYMNASIUM (Fig. 3)
with wooden uprights to fix in the ground.
[Illustration: Fig. 3]
_Tools._--Same as for Horizontal Bar, Fig. 1.
_Materials._ _s._ _d._
2 Yellow battens 15 ft. long, 7 in. by 4 in., at 5_d._ 12 6
1 Yellow 14 ft. long, 7 in. by 2-1/2 in., at 3-1/2_d._ 4 1
4 Struts 5 ft. long, 4 ft. by 1-1/2 in. 1 3
4 Runners 3 ft. long, 2 in. by 2 in. 1 0
1 Ash bar 6 ft. long, 1-7/8 in. diameter, with 2-in. square
ends 6 6
1 Facia board 6 ft. long, 6 in. by 1 in. 0 6
20 Nails 2-1/2 in. long 0 4
4 Spikes 4 in. long 0 2
16 Screws No. 16, 3 in. long 0 8
2 Pins 6 in. by 3/8 in. diameter 0 8
3 lb. lead-colour paint, at 8_d._ 2 0
1-1/2 lb. ultramarine blue, at 1_s._ 1 6
-----------
£1 11 2
===========
Fig. 3 represents the Lawn Gymnasium with some of its appendages. My
object now is to show you how to construct the frame, and, of course,
when that is done you can add whatever you like, as, for instance,
climbing-rope or pole, hand-rings (H H), trapeze bar, foot or sitting
swing (G), vaulting and horizontal bar (F), etc.
On referring to the quantities you will find there are two yellow
battens 15 ft. long; these form the uprights (A A); 3 feet has to go
into the ground, leaving 12 feet for the height of the swing. The top
(B), 7 feet in length, is cut off the 14-ft. length, the remaining 7 ft.
is again cut in the centre to form the two sole-pieces (D D), 3 ft. 6
in. each; these are then halved into the bottom of the uprights in
centre, and the struts (E E E E) nailed on as shown. The top can be
either morticed on to the uprights or secured by strong iron brackets.
The inch facia board (C) is nailed on the top for ornament, as are also
the cornice pole-ends.
The 2-inch square runners are secured on the uprights with the 3-inch
screws (four to each runner), 3 feet from the ground and 2 inches apart,
leaving a groove or space between them for the ends of the bar to slide
up and down. For vaulting purposes these runners have to be bored
through with a 3/8-in. nose or spoon-bit (a gimlet would split the
wood); the holes must be about three inches apart from the top to
bottom, and are intended to take the 3/8-in. pin which is to support the
bar.
The whole of the wood-work above ground must be planed, and the edges
neatly rounded off. It is the custom to burn or char the surface of that
part of the timber which has to be let into the ground, to prevent it
from rotting, but a good coat of gas tar answers the purpose very well.
PORTABLE FRAME FOR TRAPEZE, RINGS, OR SWING.
[Illustration: Fig. 4]
_Materials._ _s._ _d._
2 Norway spars trimmed, 14 feet long, at 5_s._ 10 0
6 ft. 2 in. iron tube, at 7-1/2_d._ per foot 3 9
2 Elbows for iron tube, at 1s. 4-1/2_d._ 2 9
100 ft. 3/8 in. iron wire rope 10 0
1 Coupling Screw 5 0
4 Stakes 3 ft. 3 in. square 1 4
------------
£1 12 10
============
Fig. 4 represents a very simple way of forming the uprights for a swing.
It consists of two scaffold poles, or more correctly speaking, Norway
spars (the same as used for ladder-making when they have been sawn down
the centre). They may be procured at any ladder-makers, with the bark
taken off and properly trimmed. The top should be 2 in. in diameter, and
the bottom 3-1/2 to 4 inches. The cross-piece (B) to which the ropes are
fastened is formed of 2-in. gas barrel, _i.e._ iron tubing, and is
measured by the calibre or inside diameter, therefore 2-inch gas tubes
will measure about 2-1/2 inches outside diameter. The elbows, which are
bought already screwed, would have to be fitted with iron staples
riveted to them, to fasten the wire rope to, and two hooks also riveted
through the tube, made of 1/2-in. diameter iron, 18 inches apart, for
attaching the swing.
Cut the iron rope into four lengths of 25 ft. to form the stays (C C C
C). One of these stays must be fitted with a coupling screw, for
tightening the whole, when fixed. Most telegraph-posts are stayed in
this manner; they would, therefore, be a good guide for you to see how
the wire ropes are fastened.
The two uprights are not let into the ground; it is best to let them
stand on some hard substance, such as a stone or a block of wood, to
prevent their sinking when the stays are strained.
[Illustration: Fig. 5]
The next illustration (Fig. 5) represents another method of constructing
a portable frame. This has the advantage of the uprights being readily
removed, as the whole consists of tube-iron. The Norway spars are here
represented by two 14-feet lengths of 2-inch gas tube. If, however, the
length be a difficulty, then get four 7-feet lengths of 2-inch gas tube,
two of which may be screwed together to form one upright. The screwed
sockets, by means of which the tubes are joined, are supplied with them.
A horizontal bar (D) may be added by introducing the [T] pieces (A A),
which should be 2-1/2 inches, to slide up and down the iron tube, and a
hole drilled through the [T] piece and into the tube will enable it to
be fixed at the requisite height.
The four stays (F F F F) and stakes (G G G G) just the same as described
in Fig. 4.
Any gas-fitter would supply these tubes, but on the score of economy it
is best to go to a wholesale house.
JUMPING STANDS.
[Illustration: Fig. 6]
Jumping stands are very simple in their construction, consisting of two
pieces of square timber (A A) about 4 inches square, bolted to
cross-piece (B B) (Fig. 6). In many instances they are merely sunk into
the ground without any sole-pieces or struts.
For foot-jumping the stands average 6 feet in height, with three-eighths
of an inch holes bored from top to 1 foot from bottom. They are painted
and marked feet and inches. A line and sandbags (D D) rest on two pins
inserted in the three-eighths-of-an-inch holes, so that should the foot
catch in the act of jumping the line immediately falls off.
For pole-jumping the stands must be 12 feet high and strong in
proportion, while in other respects they are the same as for
foot-jumping.
THE PAN-GYMNASTICON.
[Illustration: Fig. 7]
This combination (Fig. 7) consists of a ladder-plank (A), two
standing-planks (D D), and standing-ladder (B), all fourteen feet in
length, which form the four supports to carry the cross-beam (E), ten
feet long, to which may be suspended any apparatus you may wish. This is
very similar to the Portable Horizontal Bar (Fig. 2), only carried out
upon a large and more elaborate scale. If I were to describe its general
construction, I should be merely recapitulating what has already been
explained. This apparatus may be made any size, of course
proportionately strong, G, G, H, H, and I, represent a bar with
triangular ends stayed off to the bottom of the four uprights, which,
when made tight, the bar becomes perfectly rigid, so that a trapeze bar
may be converted into a horizontal bar if required.
OTHER USEFUL APPARATUS.
[Illustration: Fig. 8]
Fig. 8 shows a safe and convenient form of swing.
[Illustration: Fig. 9]
Fig. 9, No. 1, represents a hand-ladder, used in pairs, in place of
hand-rings. They are generally adopted in the German Gymnasia.
No. 3. Hand-stirrup, with spring or dog-stools. This shape is preferred
to rings, as they command a much firmer grip to the hands.
No. 2. Indian Clubs. This illustration represents the best shape, and is
the pattern now generally used.
Figs. 10 and 11 represent Dumb-bells and Bar-bells, with wrought-iron
handles. They do not break so easily as if they were cast in one piece.
It may be useful to know, when making patterns for dumb-bells, in order
to ascertain the weight in metal when cast, that one pound of fir, say
pine, is equivalent to about fourteen pounds of cast iron.
[Illustration: FIG. 10.]
[Illustration: FIG. 11.]
CHAPTER II.--INDIAN CLUBS, AND HOW TO USE THEM.
BY A MEMBER OF THE LONDON ATHLETIC CLUB.
It is our object in this chapter to present to our readers full
instructions for the use of the Indian clubs--instructions that, for
completeness and thoroughness of illustration, have not before been
approached in any work with which we are acquainted.
The origin of their introduction into Europe is not known with
certainty, but it is said that we are indebted for them to a military
officer who had seen them in use by the Persians. The movements that can
be performed with the clubs are almost unlimited in their variety, and
are amongst the most useful and beneficial of any gymnastic exercises,
having the effect of increasing the muscular power of the shoulders and
arms, strengthening the hands and wrists, opening the chest, and also
possessing the advantage of rendering the user ambidextrous, or
two-handed--that is, of making the left arm, shoulder, etc., as vigorous
and able as the right, and developing equally both sides of the body.
If practised properly, the exercises are exceedingly pretty and
graceful, and cause the performer to acquire a good carriage and
deportment. Although in almost every gymnasium Indian clubs are now to
be found, it is surprising how seldom they are used, the pupils
generally preferring to acquire proficiency in the more showy feats that
other instruments--such as the horizontal and parallel bars--permit of
their practising. But we would impress upon our readers that if they
will only exercise a little patience and perseverance in acquiring the
use of the clubs, they will find that no other gymnastic exercises can
surpass them in grace and utility, and give such pleasure both to the
performer and his audience.
The advantages of the clubs are many; amongst others--(1) they are
inexpensive; (2) there is no danger attached to their use; (3) being
portable, there is no fixing required--they can be used either in the
open air or in a room; (4) their weight can be adapted to the age and
strength of the user.
With regard to the price, they can be obtained of any wood-turner at
about 4_d._ per pound (unpolished). We should certainly recommend the
learner to purchase _un_polished clubs, for in the course of practice he
is sure to bruise them by knocking them together, and the damage shows
more plainly upon a polished than an unpolished surface. But when he has
become accustomed to the manipulation of the clubs, then he may obtain
the more showy article, the cost of which is about 6_d._ per lb.
Of course, every boy will know that the clubs are made of wood. American
elm is the best kind and mostly in use. Sometimes they are turned out of
a lighter wood--such as deal--and are weighed to the required extent by
molten lead being poured into a hole at the bottom of the club; but we
must caution the would-be ‘clubbist’ against buying such an article, for
the weight should not be concentrated at the _bottom_, but should be
contained in the wood itself, which allows of the club being properly
_balanced_, without which true grace and elegance can never be acquired.
WEIGHT OF THE CLUBS.
We now come to a most important consideration--viz., the weight to be
used, which should be in proportion to the strength and weight of the
performer. It is almost impossible to lay down any law upon the
subject, but the following scale may be taken as a guide:--
For a boy of 10 years old, 2-1/2 to 3 lb. each club.
„ 11 „ 3-1/2 to 4 lb. „
„ 12 „ 4-1/2 to 5 lb. „
„ 13 „ 5-1/2 to 6 lb. „
„ 14 „ 6-1/2 to 7 lb. „
„ 14 and over 7-1/2 to 8 lb. „
These figures refer only to the light clubs or dual exercises--that is,
when a club is used in each hand. For the single or ‘heavy club’
exercises, of course, the weight can be increased, but of that we will
treat later on.
Many of our readers may consider these weights ‘a mere nothing,’ and
quite unworthy of their muscular powers. But it is a great mistake to
suppose that the benefit to be obtained from Indian clubs is in
proportion to their weight, and in the exertion required in manipulating
them. On the contrary, the easier the exercise (within reasonable
limits, of course), the better, for practice being then a pleasure, it
can be sustained for a longer period, and by this means the muscles
become gradually developed and subsequent fatigue is avoided.
We have said that the weight of the club should be in proportion to the
_weight_ of the user. We will justify this advice by an explanation. We
will suppose that a boy twelve years of age weighs six stone, and
another boy of the same age weighs six stone and seven pounds; the
latter (presuming both boys’ muscular development to be about equal)
could use a heavier pair of clubs than the former, because he would
have greater weight in his body to counterbalance the weight of the
clubs.
In order to impress our readers with the correctness of this principle
we would point out to them that, in performing exercises upon a fixed
gymnastic apparatus (such as the horizontal bar), the gymnast has only
to use muscular exertion proportionate to his bodily weight. If,
however, he were to carry about him any weighty articles, or even wear a
pair of heavy boots, he would experience a greater difficulty in
performing the exercises, and perhaps fail altogether, and his exertions
would soon produce fatigue. Therefore, do not be too ambitious in
selecting your clubs, but be contented with the weights we have
recommended, which, although they may appear small _on paper_, will be
found quite heavy enough _in practice_. The writer, who has used the
Indian clubs constantly for the last ten years, never has a pair of
greater weight than eight pounds each.
The length of the clubs must be varied to the height of the performer.
With the clubs standing on the ground and the hands hanging down, as in
Fig. 1, there should be a space of about two inches between the handles
and the tips of the fingers, so that it becomes necessary to stoop
slightly in order to grasp the clubs. When swung round they should clear
the tops of the toes by about two inches.
HINTS AS TO DRESS, ETC.
With regard to dress, the ordinary gymnastic suit is the most suitable.
‘The best material is undoubtedly white flannel. A pair of flannel
trousers made to fit the legs tolerably closely, with plenty of room in
the seat (not baggy, of course), a close-fitting ordinary under-jersey
minus the sleeves (to give freedom to the arms), and a pair of canvas
shoes without heels, are all that are necessary for wear during actual
practice. Add to these a loose jacket of medium thickness to slip on
during intervals of rest, and you have your costume complete.’
But for Indian club exercise a special costume is not indispensable--and
here, again, their economy is manifested--and all that need be done is
to divest oneself of coat, vest, and over-shirt, and practise in
ordinary trousers, boots, and undershirt.
Before proceeding to describe the different exercises, we would impress
upon the reader most emphatically that, in endeavouring to perfect
himself in them, he should bear in mind that, performed _gracefully_,
and with an easy, swinging motion, there is nothing prettier. On the
other hand, a jerky and strained action spoils entirely not only the
effect from a spectator’s point of view, but also neutralises the
benefit that should accrue to the performer.
EXERCISES FOR LIGHT CLUBS.
_First Position_ (Fig. 1). Place the clubs upon the ground, one upon the
right and one upon the left side, slightly in front--about level with
the toes. Stand at attention, head erect, shoulders square. Then bend
down, grasp the clubs, one in each hand, and raise them up until the
hands are level with the shoulders, at the same time separating the legs
and placing the feet apart, toes pointing outwards (as in Fig. 2).
[Illustration: Fig. 1]
[Illustration: Fig. 2]
[Illustration: Fig. 3]
You will then be in position to commence _Exercise_ 1 (Fig. 3). Throw
out the clubs to the right, and describe a complete circle with them in
front of the body from the right to the left, _keeping the arms
perfectly straight and in a line with the clubs_. As they describe the
circle the body should be turned slightly in the same direction, and the
head and eyes also should follow the course of the clubs from right to
left. Continue this exercise at least a dozen times. Should you find any
difficulty in accomplishing this with both clubs at once, try one at a
time, first with the right hand and then with the left, or _vice versâ_.
Here we will take the opportunity of informing the learner that he
should endeavour to _identify_ himself, so to speak, with the clubs, and
consider that they are parts of himself--continuations, in fact, of his
own arms. The base of the club should always be kept in a straight line
with the shoulder. By this means an equal distance is preserved between
the two clubs; otherwise, should they be swung at an angle, they must
surely come into collision in the next exercise (and in many others to
follow), in which one club travels in an opposite direction to the
other.
[Illustration: Fig. 4]
_Exercise_ 2 (Fig. 4).--Commence as before, and when both clubs are
raised above the head, _reverse_ the direction of the left one, and,
instead of describing the circle from right to left, swing it from left
to right, the right club at the same time continuing its original
course. A glance at Fig. 4 will show the exercise; the dotted lines and
arrows indicate the direction in which each club travels. In this
exercise (and in many others to follow) the clubs cross twice in each
circle; care must therefore be taken not to allow them to come into
collision (which catastrophe can be easily avoided by following the
directions just given--viz., to keep the base of each club in a straight
line with each shoulder).
_Exercise_ 3 (Fig. 5).--This is the same as No. 2 with an additional
movement--viz., that when each club is raised in its turn above the head
to its highest point, the circle is checked and the club dropped behind
the head and made to describe a smaller circle in the rear of the
shoulder, after completing which the larger circle is resumed. The
dotted line in the illustration shows the course of the _left_ club
only, but the right club does the same thing in the opposite direction.
[Illustration: Fig. 5]
[Illustration: Fig. 6]
_Exercise_ 4 (Fig. 6).--Commence with Exercise 1, and when the clubs are
raised above the head allow them to drop and make them describe a small
circle behind the shoulders, then resume the larger circle on front of
the body.
_Exercise_ 5 (Fig. 7).--This is the first of the wrist ‘twists,’ and is
a movement that will tax the power of the fore-arm rather severely.
Start from the position shown in Fig. 2, and describe a circle with each
club _from the wrist_ in the direction shown by the dotted lines and
arrows. In practising this exercise, you will experience a tendency to
drop the arms with the clubs, but you must endeavour to keep them in the
position shown, _making each wrist the centre of each circle_.
[Illustration: Fig. 7]
[Illustration: Fig. 8]
_Exercise_ 6 (Fig. 8).--Now for a twist in which each club describes a
circle in an opposite direction. Again be careful to avoid a collision,
and keep the wrists level and opposite each other.
[Illustration: Fig. 9]
_Exercise_ 7 (Fig. 9).--This is rather difficult, but with a little
perseverance you will be able to accomplish the movement, and as it is
very pretty it is well worth the trouble. Carefully study the
illustration and follow the course of the dotted lines (which show the
direction of the right club only; the left club takes a corresponding
course in the opposite direction). Keep the hand close up to the chest,
almost touching it, in fact. You will observe that the club describes a
_small_ circle from the centre of the chest, and is then swung
completely round at arm’s length to make the _great_ circle.
[Illustration: Fig. 10]
_Exercise_ 8 (Fig. 10).--This is a simple swing backwards and forwards,
each club being swung alternately in front of the body and behind the
head. When the right club is extended at arm’s length almost straight
from the shoulder, the left club is passing behind the head and _vice
versâ_.
[Illustration: Fig. 11]
_Exercise_ 9 (Fig. 11).--This is exactly the reverse of Fig. 5. The
illustration will show the movement.
[Illustration: Fig. 12]
_Exercise_ 10 (Fig. 12).--This is very effective, and if performed
rapidly and neatly is sure to elicit applause from an audience. It
consists of circles behind the head with each club, in the direction
shown by the arrows, one club passing in a downward direction while the
other is swinging up.
[Illustration: Fig. 13]
_Exercise_ 11 (Fig. 13).--This is not very difficult to perform. Keep
the arms straight, and beware of a collision. The clubs are swung in a
circle across and in front of the body, passing one another twice in
their course--once when above the head (as in the figure) and again in
front of the legs.
[Illustration: Fig. 14]
_Exercise_ 12 (Fig. 14).--Now this _is_ difficult, and will take a long
time to learn. It is a complication of Exercise 3. Commence with that,
and, having got the clubs into a good swing, check the course of the
right arm, slightly decrease the pace of the left arm, and throw the
right club sharply behind the body, until the base rises a little above
the left shoulder (see Fig.), then swing it back to A and B, and
continue the original circle, all this time keeping the other club (the
left) travelling in a circle, until it becomes its turn to effect the
movement that the right one has just completed, and so on, first with
the right club behind the body, and then with the left in front, and
_vice versâ_. This is one of the best and prettiest exercises yet
described, and will entail long and patient practice; but when
thoroughly acquired it will well repay the perseverance expended upon
it.
[Illustration: Fig. 15]
_Exercise_ 13 (Fig. 15).--Another difficult one. The clubs are swung
downwards, parallel to each other, and then raised up behind the back
(as shown by the dotted arms), then swung to the front again, and in a
circle completely round at arms’ length. The left club executes exactly
the same movement as the right in the last exercise (12), but with the
right club in this the movement is different. The wrist should be
twisted sharply downwards, and the club _tucked under_ the right arm;
its own weight will then carry it down behind the back, and up to a
level and in a line with the right shoulder, reaching that position
exactly at the same time as the other club, and both will thus again be
parallel, but on the opposite side of the body to that from which they
started.
[Illustration: Fig. 16]
_Exercise_ 14 (Fig. 16).--This is purely wrist-work. The arms are
extended straight out on each side, and the clubs passed alternately
from the wrists in the front and rear of each arm, describing circles on
either side. At the same time that one club is swinging round behind the
right arm, the other is swinging in front of the left, and _vice versâ_.
This exercise causes the wrists to become very pliable.
We have now completed our instructions for the ‘light clubs.’ The
learner must, of course, acquire the different exercises separately, one
by one, but when mastered they can be continued from one to another,
making, when so combined, a very effective performance. The movements
capable of performance with Indian clubs are almost without limit, but
we need not here give further descriptions or illustrations. The
performer will find, as he becomes accustomed to the use of the clubs,
and attains proficiency in their manipulation, that other movements will
suggest themselves, and he will be able perhaps to invent some new and
intricate exercise.
SINGLE OR ‘HEAVY’ CLUB EXERCISE.
Roughly speaking, the weight of a club to be used singly should be about
the same as that of the _pair_ the performer is accustomed to--_i.e._, a
boy using two clubs weighing 6 lb. each should use _one_ weighing just
double. This will be found quite sufficient for sustained movements; if
a heavier weight is adopted there is danger of over-exertion, and the
exercise cannot be performed in a graceful and easy manner. We think the
best shape for a heavy club is that shown in Fig. 17, which, our readers
will observe, differs from the light clubs in having a ‘shoulder’
instead of a gradual slope from handle to base.
[Illustration: Fig. 17]
All the exercises described above, with a few exceptions, can be
performed with a heavy club, but, of course, with only one hand at a
time--the other hanging loosely down by the side (as in Fig. 1). When
one arm becomes tired the club should be changed to the other (see Fig.
17), but without the movement of the club being stopped. The exceptions
referred to are the wrist twists, which should not be attempted with a
heavy club, the strain upon that part of the arm being too severe.
It was with considerable diffidence that the writer undertook the task
of penning this chapter, feeling strongly the difficulty of explaining
the numerous and intricate movements in _words_; but, with the aid of
the artist’s graphic illustrations, he trusts that the directions will
prove sufficiently clear to enable all readers who desire to become
experts in the use of the Indian clubs to succeed fully in their
endeavours.
CHAPTER III.--DUMBBELLS, AND HOW TO USE THEM.
BY W. J. GORDON.
In the previous chapter are given comprehensive instructions on Indian
Clubs. The editor thus gave the clubs the preference, as they are in
growing favour amongst gymnasts, and in regular gymnasia are fast
driving out the ancient dumbbell, owing to their wonderful power of
quickly opening the chest and squaring the shoulders. We say ‘ancient
dumbbell’ advisedly, for it is at least two thousand years old. It was
first introduced amongst us after being noticed on the Greek vases. The
shape there given differed somewhat from that now in use, but there is
no break in the chain. The oldest form was that of a pointed capital D,
the curved line being the handle; afterwards, as shown on the vases, the
athletes adopted the form (Fig. A) from which our present bells are
derived. Curiously enough, these bells were used in springing and
leaping, the power given by the weights being well known to the ancient
as well as the modern records. Lawton’s standing wide jump of 12ft.
6-1/2in. in 1876 was done with dumbbells in his hand, and Howard’s
flying jump on Chester Racecourse in 1854, when he cleared 29ft. 7in.,
was done from a block of wood, with a five-pound dumbbell in each of his
hands, quite in the old Greek style. However, it is not with the
ancient, but the modern, practice that we have here to do. And we have
no space to devote to archæology.
[Illustration: FIG. A.]
In the first place, then, two pounds is quite heavy enough for any
dumbbell, and under any circumstances no bell, even for a full-sized
man, should exceed five pounds. Heavy bells of fifty or even a hundred
pounds have been used, but they are now obsolete. For merely lifting
purposes weight was all very well, but as soon as it was shown that
health owed more to suppleness than rigidity, and exercises were
designed in accordance with the new theory, heavy bells became simply
impossible. When they were used by the very strong they were found to
give one-sidedness, and by the weak they could not be worked with at
all. Four pounds the pair is heavy enough for any boy, and most boys
when they come to try the exercises will often wish that the bells were
lighter. A word should be said as to price. Plain bells of cast iron
cost from twopence to fourpence per pound; if covered with leather, and
thereby made considerably more comfortable to the hand, the price is
from fourpence to sixpence per pound. For two shillings a lad can get a
pair of bells that will suit him in every way and last him a lifetime.
The shape of the bells does not matter; the heads may be round or
octagonal, according to fancy, but the handle should be thick enough to
give a good grip, and it should be half an inch longer than the hand is
wide.
Next, let it be clearly understood that dumbbell practice performed in a
slovenly way does more harm than good. It is essential that the
exercises be done in strict time, not jerkily, but quickly and
accurately, as if to the word of command. When the bells are required to
be raised together, they should go up together, not one after the
other. When they are required to go up alternately, they should go up
alternately, at equal speed, the left as fast as the right; when they
are to be held out in front together, they should be held out together,
and change to the recovery as soon as the weaker arm begins to yield.
This brings us to our third caution. Never overtire yourself. Ten
minutes is quite long enough to practise at a time. Take the exercises
in the order in which they are given, advancing gradually from the easy
to the difficult, succeeding as you go. Do not practise after much
head-work, and do not attempt any of the exercises before or after a
heavy meal, no matter how light the bells may be. The best time to
practise is immediately after the morning bath, and the best costume to
wear is that of the mermaid, or as near an approach to nothing as is
consistent with decency. Of course in gymnasia special dresses are worn;
but, as absolute freedom is required, the model dress of the gymnast
should be easily stowable in a glove-box.
[Illustration: FIG. 1.]
And now for the first exercise (Fig. 1). Stand at attention, holding a
bell in each hand. Let the arms and legs be quite straight, the body
upright, the heels close together, the toes well apart. Hold the bells
so that a line through your hips would pass through the centre of each
handle. Move the bells an inch from your legs, and twist them round,
keeping your arms straight and working your wrists. Do this backwards
and forwards with both bells ten times. Then twist the left bell ten
times. Then twist the right ten times; then twist them both together
five times; thirty-five twists altogether, counting each reversal of the
hand as one, beginning with knuckles backwards, and ending with knuckles
forwards.
For the second exercise, stand at attention and bend up your forearms
only from the elbow, holding the bells out from your chest with the
handles vertical and parallel. Now twist them ten times simultaneously,
and then ten times with the left hand, ten times with the right, and
five times together. Let your elbows be well back, pressing your sides
all through this exercise.
[Illustration: FIG. 2.]
For the third exercise, begin at attention, raise your arms from your
sides till they are level with your shoulders, forming one straight line
with them (Fig. 2). Let your knuckles be on the top, and do the
thirty-five twists as in the former exercises. The arms must be quite
straight, and there must be no giving at the knees or bending at the
waist.
These three exercises are quite enough for the first morning, even
though the bells may be under two pounds apiece. Next time we can run
through these three exercises quickly, and then try something rather
more complicated.
[Illustration: FIG. 3.]
For the fourth exercise begin at attention, and keeping the elbows
against the sides, double up your arms so as to bring the bells against
your shoulders. Open your chest as far as you can, throw your shoulders
well back, and while in this position take a long deep breath (Fig. 8).
In fact, in every exercise take long free breaths as often as possible,
so as to expand your chest from within as well as from without. Bring
the bells up and down ten times both together. You are now ready for the
fifth exercise, which consists in bringing the bells from attention up
to the shoulders, as in the fourth exercise, and then thrusting them up
straight overhead (Fig. 3). Hold them up as high as you can, keeping
your feet on the ground and body erect. Then do the twists ten times
together, ten times with the left, ten with the right, five together;
then with ‘one’ to the shoulder, and ‘two’ to the hang, you recover your
starting position.
[Illustration: FIG. 4.]
In the sixth exercise you bring the bells to the shoulder, and keeping
your chest well open, thrust your arms, not overhead, but straight in
front of you (Fig. 4), and again do the thirty-five twists. In the
seventh (Fig. 12) you bring the bells to the shoulder and open your arms
right and left, holding them out high and well back at full length,
then recovering to the shoulder, and then down. Then ‘up,’ ‘out,’ ‘in,’
‘down’ again, and so on for ten times. Keep your shoulders well back
during this exercise, and do not lose your uprightness! It is a most
important and obviously good practice, should be done with care and
regularity, and forms a fitting end to lesson number two.
[Illustration: FIG. 5.]
In our third batch we have said good-bye to the twists. For the eighth
exercise stand at attention, bells to side as before, and always start
from attention. Let this be understood, and it will save repetition.
Bring the bells up under the armpits as far as you can get them (Fig.
5). Bring them up together ten times, then ten times with the left hand,
ten times with the right, and five times together.
In the ninth exercise bring the bells up to the armpit, and then extend
the arms right and left, starting with the bells brought up in front of
the shoulder and reaching the same position as in exercise seven. Then
bring the bells back to the armpits and recover. Do this ten times; that
will be quite enough for the first trial.
[Illustration: FIG. 6.]
[Illustration: FIG. 7.]
For number ten bring the bells to the armpits, and then take them up
overhead as in exercise five. Up together ten times, then with the left
and right alternately stroke for stroke ten times each (Fig. 7). Then
try number eleven, in which the bells are brought to the armpits, then
thrust up, brought down to the chest, and down to the hang--‘one,’
‘two,’ ‘three,’ ‘four’--ten times together, ten times alternately. Then
try number twelve (Fig. 6), in which the bells go to the armpits, then
aloft, then down well back on to the tops of the shoulders, then
extended with a sweep as in number seven, back to chest, and
down--‘one,’ ‘two’ aloft, ‘three’ to shoulder, ‘four’ to the limit,
‘five’ to chest, ‘six’ down to hang.
For our fourth lesson we start as before, upright at attention, ready
for the thirteenth exercise. Bring the bells to the armpits, and then
aloft together, and then keeping them together, bring them down in
front, with the arms and legs as straight as you can until you deposit
them at your toes. Then lift them again to armpits, aloft, and down with
a sweep to your toes, ten times in all, three motions in each.
Now for number fourteen. Lay the bells at the toes from aloft as in
thirteen. Then make a full step to the rear with the left foot, the
right foot following. Make a half turn to the right. Step to the front
with the left foot, the left hand grasping the thighs just above the
knee as the foot comes to the ground, the right arm extended in the line
of the right leg. Next seize the bell with the right hand, keeping the
lower limbs in position. Now lift the bell above the shoulder to the
full extension of the arm, leaning strongly on the left knee and
pressing the breast to the front during the ascent of the bell, the
lower limbs to the knee, and the left arm forming a continuous line from
foot to shoulder. Lower the bell, replace it, and recover. Then upright
again, step to the rear, right half turn, step to the front with the
right foot, and go through the same motions exactly, only with the other
hand. Complete this exercise ten times with each hand.
[Illustration: FIG. 8.]
[Illustration: FIG. 9.]
[Illustration: FIG. 10.]
In number fifteen lay the bells at the toes, then stoop and recover them
to the hang, then charge out, as it were, with the right foot, taking a
good long step, and throwing out your arm to its full length as you do
so (Fig. 9). Keep your left leg straight and your shoulders back, and
double up your extended arm so as to bring the bell to the top of your
shoulder. Move the bell backwards and forwards ten times, and at each
return sink towards the ground, bending as you straighten your arm. Then
move as in Fig. 17. Then recover, strike out with the left leg and arm,
and repeat all the motions (Fig. 18). In sixteen go through the same
preliminaries, but instead of striking the hands straight out strike
them aloft, sinking as the arm is extended (Fig. 10).
In the next group of exercises the bells are swung.
[Illustration: FIG. 11.]
[Illustration: FIG. 12.]
For number seventeen (Fig. 12) swing the bells up from the hang to the
horizontal, and then round till they meet in front, ten times together,
letting them fall each time to the side--one, ‘up,’ two ‘round,’ three
‘down.’ For number eighteen bring them to the front first, and then
swing them round to the back and down. Keep the finger in front of the
handle all through this exercise; do not twist the bells as they pass to
the rear. In number nineteen (Fig. 11) swing to the front, then to the
back at extension, then from extension swing overhead till the bells
meet, then bring them down to the chest and so to the hang, five motions
in all. Then step forward with the left foot and go through the same
five motions. Then with the right foot advanced go through the same five
motions. The object of all these exercises is, of course, to bring into
play as many muscles as possible, giving each a turn in time. Whenever
possible an exercise should always be done from the three
positions--heels together, left foot forward, right foot forward.
[Illustration: FIG. 13.]
[Illustration: FIG. 14.]
Now for our last group. Ready for number twenty (Fig. 13). Stand erect
with bells at the side, bring them up to armpits and aloft, and holding
them high in the air together twist your body round to the left as far
as it will go, but do not move your legs. Then bring the bells to the
chest and lift them simultaneously and alternately thirty times as
before, then turn your body to the right and do likewise. In twenty-one
bring the bells to the chest, twist the body and strike out straight
with them together and separately, first twisting to the left, then
right. In twenty-two (Fig. 14) raise the bells overhead and sink to the
floor, and with knees bent go through the ten first strokes. Then rise
and down again and do the ten strokes with the left; then up and down
again for the ten with the right.
[Illustration: FIG. 15.]
[Illustration: FIG. 16.]
In twenty-three, as the body sinks the bells are brought to the chest
and the arms are extended, moving round to the front horizontally, and
brought to the chest again, much as in the act of rowing. This is a very
tiring exercise, and at first makes itself felt in every joint in the
body: ten times together is quite enough for the first day’s work.
Twenty-four (Fig. 16) is an easy exercise, but a valuable one. Swing the
bells aloft, and then bend backwards, letting the arms slowly open and
extend backwards towards the ground; then bring them back aloft from
behind without bending them, then bend in front, and lay the bells at
your toes.
[Illustration: FIG. 17.]
[Illustration: FIG. 18.]
There are other exercises, but they are all, like many we have given,
mere combinations easily invented by the proficient. The examples herein
are quite enough to bring out the full powers of the dumbbell as a
gymnastic appliance, and a steady practice of them for ten minutes a day
after the morning tub, will not only set the student well up and shape
him properly, but add an inch or so to his girth if not to his stature.
CHAPTER IV.--JUGGLING WITH BALLS.
BY A PRACTICAL GYMNAST.
Juggling with balls, a pastime as pretty as it is entertaining, has also
certain special advantages. In the first place, it is really an art,
well worthy of the name, which may be easily acquired by members of
either sex at any age, and it affords a gentle exercise which is
extremely beneficial to the health.
In illustration of this, I may mention a fact which, some years ago,
came under my personal notice. An artist friend of mine, finding that
his health was giving way under the toil and the strain it was necessary
for him to devote to his profession, asked me if I could recommend him
some not too laborious exercise to which he might betake himself in the
brief intervals of his work. Clubs and dumb-bells were too heavy, he
said, and their use moreover rendered his hand unsteady, and so
prevented his putting into his picture those delicate touches so
necessary for success.
I suggested juggling with balls, as being an exercise less violent and
equally healthy. He sprang at the idea, and after giving him some
instructions I left him, and soon forgot all about the circumstance.
Several months afterwards I called on my friend at his studio, and, to
my surprise and amusement, found him busy--not with his pencil, but with
three juggling balls. ‘I’ve done it,’ he cried with great glee, as soon
as he saw me; ‘I can shower three! Look!’ And thereupon he recommenced
his operations, and soon convinced me that he had become an adept at his
new pursuit; and he really seemed to be more pleased to have succeeded
with the ‘shower’ than with his picture, which was shortly afterwards
exhibited ‘on the line’ at the Royal Academy. That he was in good
spirits you will have gathered from what I have just said, and you will
readily believe that he could hardly have been so happy unless his
health had been re-established.
Nor is the juggling with balls simply a healthy exercise. It _must_ lead
to useful, and it may (and often does) lead to very important results.
The quickness of hand and eye acquired by the practice is not only
valuable in cricket, football, and other sports, but also can hardly
fail to prove serviceable in the sterner duties and emergencies of life.
If space permitted I could relate many stories of articles, and even
life, being saved by the dexterous catch of one who had practised
juggling. I am generally called upon, when in a gymnasium, to stand
close to any one who is about to try a new exercise, or one attended
with risk, either on the horizontal or trapeze bar, in case of a slip;
and I entirely attribute my quickness in catching to my proficiency in
juggling, the hand being taught instantly to follow any movement the eye
may detect.
This subject, useful as I have shown it to be, has, so far as I am
aware, never been treated on in any English publication, although in
France and in many other parts of the Continent juggling forms an
important branch of physical education, and is much practised in the
gymnasia.
You may very naturally suppose that it is almost impossible to teach
anything of this kind on paper, but it must not be forgotten that in
this, as in everything else in life, to ensure success it is necessary
to make a good beginning. There is no royal road to learning, and unless
a proper foundation be laid the castle will prove to be but visionary.
So even on paper I can give you many valuable hints and much practical
advice, without attention to which you will never become adepts in the
art. You must not suppose, however, that I can make practised jugglers
of you in a few lessons, nor must you be too anxious to play two or
three balls before you have a perfect command over number one.
The first object to be aimed at is to procure the best sort of balls for
your purpose. Of course, anything in the shape of a ball will
_do_--oranges, for instance, tennis or raquet-balls, etc.--but the best
are made of hollow brass, two inches in diameter, and these may be
obtained at from ten to twelve shillings per set of four. They are made
specially for the purpose, their hollowness giving them a lightness
which a solid substance obviously cannot possess. It is indispensable
that the balls should all be exactly the same weight, otherwise in the
rapid passes--such as the ‘shower’ or ‘fountain,’ about to be
described--the lighter would be thrown farther than the heavier, and the
most skilful performer would fail to accomplish the feat.
Being satisfied with regard to the balls, we will now proceed to the
First Practice, viz.,
THE VERTICAL FALL (_Fig._ 1),
that is, to throw a ball into the air so that it will descend to the
exact point from which it was projected. You will find, at first, that
when you have thrown the ball up into the air it will not drop back
again into your hand, but you will have to follow its course in order to
catch it. The first point to be gained, then, is to throw the ball so
that it will drop into the hand which is ready to receive it, and this
must be practised with both hands, as the left will have quite as much
to do as the right. When you have thoroughly mastered this art, and can
catch a ball with decision when thrown from three to four feet in
height, you may proceed to the Second Practice, which is called--
[Illustration: Fig. 1]
[Illustration: Fig. 2]
THE INSIDE AND OUTSIDE FALLS (_Fig._ 2).
What is required now is to throw the ball with the right hand so that it
will describe a curve in the air and drop towards the left hand, as
shown in Fig. 2; but, instead of catching it with the left, it must be
caught with the right. This is the Inside Fall. Now throw the ball back
in a similar way from left to right. This is called the Outside Fall.
This, of course, sounds easy enough, as it is merely playing at
catch-ball, but you will find it very difficult at first to throw the
ball several times in succession without deviating from the same course,
and this course is of the utmost importance, as, when you are playing
two or three balls, unless they follow one another in the same course,
the whole play will immediately become inextricable confusion, and they
will all fall to the ground. Do not attempt at first to throw the ball
higher than three feet, which, indeed, is the height generally required.
When you are perfect with the right hand, practise the same play-motion
with the left. Let me again impress upon you the necessity, if you would
attain proficiency in the art, of using the left hand as much as the
right in all these exercises. Without this success is impossible. We now
come to the Third Practice, or--
THE PARALLEL FALL (_Fig._ 3).
This will be found rather more difficult than either of the former,
because in this the arm, as well as the hand, will be constantly in
motion. Throw the ball with the right hand, as in the Vertical Fall,
keeping the hand in a line with the right shoulder. The moment it is
caught, bring the right hand in a line with the left shoulder, throw the
ball from that position and catch it, and _vice versâ_. Afterwards do
the same with the left hand. Fig. 3 will show you the practice, the
dotted lines representing the movements the ball should take. All these
necessary, if somewhat tedious, rudiments of the science having been
mastered, we will proceed to the Fourth Practice.
[Illustration: Fig. 3]
[Illustration: Fig. 4]
THE OUTSIDE AND INSIDE FALL FROM RIGHT HAND TO LEFT.
In this exercise both hands are brought into play. The motion of the
ball is precisely the same as in Fig. 2, but, instead of catching it
with the same hand, you must now pass it from one hand to the other.
Practise this at first with the hands a very little distance apart, and
do not throw the ball too high. As you improve, gradually increase the
height, and move your hands away until they are about three feet distant
from each other. Up to this time the ball has been forming a kind of
hyperbole or arch in its course. Now, without altering the position of
the hands, cause the ball gradually to lower its course until it is
thrown in the Fifth Practice, which is called--
THE HORIZONTAL PASS.
[Illustration: Fig. 5]
[Illustration: Fig. 6]
This you will find quick work alike for eyes and hands, for, of course,
the ball cannot be made to pass in a straight line from one hand to the
other without giving it increased impetus and a considerable accession
of speed. Gradually move your hands, at first closer to one another, and
then farther apart. In fact, continue this exercise until your hands are
as distant from each other as you can reach. This will be found
excellent practice for the ‘shower’ at which we shall soon arrive. The
Sixth Practice is
THE DOUBLE VERTICAL FALL
(as shown in Fig. 6). You will now take a ball in each hand, and
commence by throwing that in the right hand vertically (as in Fig. 1),
then that in the left in the same manner, alternately. Before the first
ball has descended into the right hand, throw the second into the air
with the left, so that the two balls shall be constantly in motion. You
will now find the advantage of being proficient in the single vertical
fall, as otherwise, your attention being distracted from the one ball to
the other, you would probably not be able to catch either. Now practise
throwing both balls up together, keeping your hands about two feet
apart, and taking care that neither ball goes higher than the other. As
the last practice was good for the ‘shower’ so you will see that the
present will prepare you for the ‘fountain,’ the description of which
will follow in due course. The Seventh Practice is termed
THE DOUBLE INSIDE FALL.
This is a repetition of the Outside and Inside Fall, but is performed
with two balls at the same time and with both hands. In this exercise
great care must be taken to avoid a collision of the balls when they
are in the act of passing. To ensure against such a calamity it is
necessary that one ball--generally that from the right hand--should be
projected slightly higher than the other (as in Fig. 7). This should be
practised at various heights until something like perfect accuracy is
arrived at, as all the following practices are founded, more or less,
upon this very important exercise.
[Illustration: Fig. 7]
[Illustration: Fig. 8]
[Illustration: Fig. 9]
[Illustration: Fig. 10]
The Eighth Practice is entitled
THE TRIPLE PASS,
which must not be attempted until you have made perfect the last
exercise. On referring to Fig. 8, you will see that this practice is
nothing more than a repetition of the last, with the addition of a third
ball. This third ball, however, will seem to you at first to be quite an
interloper, and the greatest care must be taken in throwing all the
balls regularly, otherwise they will go into a ‘confusion worse
confounded.’ The eyes and the hands, however, being by this time pretty
well trained, increased vigilance in the former and increased agility in
the latter are all that is required to enable you to master the
increased difficulty of the performance. The dotted lines indicate the
proper direction in which the balls should be thrown, showing how each
ball should cross the course of the others without any of them coming
into collision. We proceed at once to the Ninth Practice, which is
called
THE TRIPLE OVER AND UNDER PASS.
This play is almost similar to the last, differing only in this--that,
instead of the balls following each the course of the other, they are
returned from the left to the right by the course indicated in the
dotted lines in Fig. 8, forming an inner fall while the others are
passing over them. The effect of the change is very pretty, and though
it will perhaps be found somewhat more difficult, you are now becoming
so skilful that difficulties will no doubt serve only to stimulate you
to fresh exertion. The Tenth Practice is
THE SINGLE OVER AND DOUBLE UNDER PASS.
This is another variation of the same play, in which the over ball is
kept outside, whilst the under two are performing a double pass. In this
practice you must keep the outside single ball well above the two that
are passing underneath, as shown in the dotted lines in Fig. 10. Care
must be taken, in this as in every other practice, to avoid collision
between the balls. Practice, we know, makes perfect, and nothing but
patient perseverance can be recommended to ensure success.
The Eleventh Practice brings us to one of the neatest, prettiest, and
most effective feats in ball juggling. It is called
THE SHOWER.
This, undoubtedly one of the most fascinating of all juggling feats, is
an art easily acquired by so practised a juggler as you have now become.
Take two balls, one in each hand, throw the one in the right hand into
the air towards the left, as in Fig. 4, and while it is in the air,
‘pass’ the left-hand ball to the right hand, as in Fig. 5, and
immediately throw it to follow the course of the first, continuing this
play as quickly as possible, so that there may be one ball always in the
air. You will find very little difficulty in showering two balls in this
manner with one hand, as it is really nothing more than a Double Inside
Fall (Fig. 2); in fact, some expert jugglers can shower three balls with
one hand, but this is a very difficult feat, and the balls have to be
thrown very high. You can make the attempt if you please, but I do not
wish to enter upon matters which may confuse and possibly dishearten
you, and will ask you therefore to perfect yourselves in this feat
before proceeding to the Twelfth Practice, viz.,
THE TRIPLE SHOWER,
which is accomplished in the following manner. Take two balls in the
right hand and one in the left. Throw one after the other in very quick
succession in the direction of the Inside Fall (Fig. 2) with the right
hand, and as each reaches the left hand, ‘pass’ it from the left to the
right, as shown in Figs. 11 and 12, and continue the Shower as long as
you please. From the swiftness of their motion, the balls appear to
multiply, and your audience will almost be inclined to believe that you
are playing with fifty balls, instead of with only three. When you are
very expert in this you can proceed to the Thirteenth Practice,
THE QUADRUPLE SHOWER,
or Grand Shower, as it is sometimes called. This is the same play as the
last but with four balls, three of which must be held in the right and
one in the left hand. It is hardly necessary to say that the difficulty
is greatly increased, as the balls must be thrown much higher, so that
there may be more space between them in order to allow time for the
rapid passes. In all the Showers, but in this especially, it is
advisable to keep the right hand a little higher than the left, as shown
in Fig. 13. The Fourteenth Practice, which is the last of the present
series, is
THE FOUNTAIN.
[Illustration: Fig. 11]
[Illustration: Fig. 12]
[Illustration: Fig. 13]
[Illustration: Fig. 14]
This is the most difficult feat of all, as so much depends upon the
precision with which the balls are delivered. Commence practising with
two balls, and perform a Double Outside Fall with both hands (Fig. 14).
You will find this sharp work for the eyes, as you will have to be
looking at two places simultaneously as the balls descend. When you can
play two balls well in this manner, you will find that
THE DOUBLE FOUNTAIN,
as described in Fig. 15, will not be difficult, as it is done in a
‘swing,’ as it is called, a motion of the body and arms which it is not
possible to describe, but which will come naturally to you as you
acquire the art of juggling. The Fountain may be varied by a motion
which is known as
THE DOUBLE FOUNTAIN CHANGE.
Instead of throwing up the balls together, present them alternately, as
shown in Fig. 16. This has a very pretty effect, and exactly represents
the name given it.
[Illustration: Fig. 15]
[Illustration: Fig. 16]
Having now given you all the instruction in my power, it only remains
for me to make one or two suggestions which I think will commend
themselves to your intelligence. In the first place, I would advise you
to practise over some soft material, on the lawn if possible, where the
dropping of the balls can annoy no one; but if a lawn be not available,
then over a sofa, or a bed, or a very soft rug or mat. You are certain
to have many a mishap at starting, and I can conceive nothing in a small
way more irritating than for a person seated in a room to be perpetually
startled by the noise of balls falling overhead. Finally, let me impress
upon you the fact that your success depends entirely upon yourselves.
The teacher may show _how_ the thing is to be done, but it is for the
pupil to do it. Remember that ‘whatever is worth doing is worth doing
well,’ and if you think it worth your while to learn the art of
juggling, you must devote to it patience, perseverance, and practice.
Without these you will never succeed. With them success is certain.
[Illustration: A PICTURESQUE MODEL.--_See p. 97_.]
SECTION II.
MODEL-MAKING--MOVING AND OTHERWISE.
[Illustration]
CHAPTER V.--SOME SIMPLE MODELS FOR BEGINNERS.
I. HOW TO MAKE A BOAT WITH A SCREW PROPELLER.
BY F. CHASEMORE.
To make a model steamboat that will go is the ambition of most boys, but
the high price of engine and boiler deters many from doing so. In this
chapter instructions are given for making a model screw steamboat, the
machinery for which every boy can make for himself, by the exercise of a
little ingenuity, at a very trifling cost--which machinery, too, may be
fitted into any boat, the rigging of which may have gone by the board
off the dangerous coast of the duck-pond.
[Illustration: _Fig. 1_]
First you must procure your boat; but if you should wish to make the
boat yourself you will need no instructions from me, as several capital
chapters on boat-building appear in another part of this volume. The
only directions I need give are, that your craft shall be very light,
and hollowed out as thin as possible, be twenty-four inches long, four
inches wide at midships, and three and a half inches deep; the sternpost
to be about an inch and a half within the stern, to be raking, and two
and a half inches high, as marked in Fig. 1; a strip of lead one-eighth
of an inch thick to be fastened along the bottom of the keel; the bows
to be sharp, and the boat to have a clean run aft. When the boat is
finished paint it, and when dry put it into water, and mark on the
sternpost the height the water comes. Now you must bore a hole in the
sternpost right through into the boat, in the direction of the top of
the stem. This must be done with a red-hot wire; the hole is to be
three-eighths of an inch across.
[Illustration: _Fig. 2_]
The next thing to do is to get a brass tube from the gasfitter’s, or get
a tinman to make you one of tin three-eighths of an inch inside
measurement. This tube must be long enough to reach from the sternpost
to three and a half inches beyond the top of the stem. Four inches from
one end of this tube solder a strip half an inch wide and one and
three-quarter inches along, bending the middle of it half round the
tube, and bending the ends outwards; punch a hole in each end of this
strip; in this end of the tube cut four teeth like saw-teeth, one-eighth
of an inch deep, like Fig. 2. Put this tube in the boat thus. Push the
end, without the tin strip, through the hole in the sternpost from the
inside of the boat, so that the tube is flush with the wood, and fasten
the other end by driving tacks through the holes in the tin strip into
the boat. Put some putty round the tube where it goes through the wood,
to keep the water out. Now make the deck of board one-eighth of an inch
thick, plane it, and fix it in its place by pins, leaving a gunwale of
half an inch all round. Stop up with putty, and mark with a pencil the
boards on the deck. Bore a hole near the stern one-sixteenth of an inch
wide right through the deck and boat, coming out under the counter one
inch from the sternpost. This is the rudder-hole. To make the rudder get
a piece of brass wire one-sixteenth of an inch in diameter, and six
inches long; cut your rudder out of tin, and solder it on to the wire,
so that the heel of the rudder is flush with one end of the wire. Now
push the other end up through the hole in the counter, and bend it down
on to the deck; this will form the tiller, and, by pressing tightly on
to the deck, will keep the rudder firm and in its place for steering.
Two inches abaft the middle of the deck cut a hole three-quarters of an
inch in diameter for the chimney, which is a tube of tin three-quarters
of an inch in diameter and four inches long. Bore two more holes in the
deck three-eighths of an inch in diameter, one halfway between the stem
and chimney, the other halfway between the rudder and chimney; these are
for the masts, which are made of wood, and should stand about nine
inches above deck; put a pin into the end of each mast, and cut the
head off, leaving about half an inch of the pin projecting; put the
masts in their places, and the pins will keep them firm by being pushed
into the bottom of the boat.
[Illustration: _Fig. 3_]
[Illustration: _Fig. 4_]
[Illustration: _Fig. 5_]
Make the propeller out of a circular piece of stout tin two inches in
diameter, cut as in Fig. 3. The dark parts are to be cut away. The
projections are to be three-quarters of an inch long. Punch a hole
one-sixteenth of an inch in the centre, and fix a piece of brass wire
one-sixteenth of an inch, two inches long, in the hole, to form an axle
for the propeller. Twist each of the fans of the screw out of the plane
of the circle about a quarter of an inch, in the manner of the sails of
a windmill, as in Fig. 4. Now make two little wooden plugs
three-quarters of an inch long, and half an inch wide at one end,
tapering to a quarter of an inch at the other. Bore a hole through each
from end to end one-sixteenth of an inch wide. Take the propeller, and
put a glass bead, that will fit easily, on the wire, and push the wire
through one of the wooden plugs from the large end; bend the wire into a
loop at the small end. Next take another piece of wire, two and a half
inches long, and make a similar loop at one end, and put the other end
through the other little plug, from the small end, and bend the wire
into a handle (Fig. 5). Now the only thing we want is the power. This is
a strip of strong elastic about three and a half feet long and a quarter
of an inch wide; tie the ends together to make a band--a large stout
elastic ring will do, or two smaller rings looped together. Fasten a
string to the elastic, and pass the string through the tube in the boat,
from the stern end; hook the loop on the propeller-wire into the
elastic, and push the wooden plug into the tube so that the screw is
clear of the rudder; draw the elastic, by the string, through the other
end of the tube, and hook the wire in the other plug into it; take off
the string and push the plug into its place. You must cut the plug away
so that the handle can catch in the teeth cut in the tube. Now the boat
is ready for use.
To use it wind up the elastic by the handle at the end of the tube,
holding the screw firmly with the other hand. As soon as wound up enough
set the rudder and put the boat into the water; release the screw, and
the boat will go till the elastic is quite unwound. The distance it will
travel will be regulated by the extent to which the elastic is wound up.
II. HOW TO MAKE A SMALL MARINE ENGINE FOR A BOAT FOUR OR FIVE FT. LONG.
BY FRANK CHASEMORE.
I have already described the method of making a small boat move through
the water by means of an elastic band, which is simply twisted up and
then released, but I have no doubt that many readers would like to
possess a simple model boat to work by steam.
Such models can now be purchased at all shops where mechanical toys are
sold, at prices varying from one shilling, the smallest, eight inches in
length, to about twenty pounds, the largest, five feet in length.
Although all these boats really go by steam, the application of the
power is different in the different sizes.
The small boats are of course the simplest. In these the steam from the
boiler is conducted through a short pipe to the sternpost of the boat,
where by its pressure on the water in escaping it forces the boat
along.
The next class have a further development of the application of
steam-power. In the centre of the boat, close behind the boiler, is a
fan-wheel, turning on an axle, which in the case of a paddle-boat
carries the paddles, and in the case of a screw carries the propeller.
The steam is conducted from the boiler through a short pipe to the front
of the fan-wheel, which it blows round as it escapes.
The third class are the steamboats proper, varying in price from five
shillings upwards. In these the steam-power is applied as in ordinary
engines. The cheapest have one single-action oscillating cylinder, and
the better sorts two double-action cylinders.
As the two first-mentioned classes are, after all, only imitations, I do
not think it worth while to describe them; and of the third class I have
chosen the largest to describe, as I think that if it is worth while
making a model at all, it is worth while to make a good one, and the
small engines take almost as much time to make, and quite as much care
to fit, as the large ones, and unless they are well fitted the loss of
power by friction and waste of steam is very great.
The engine here described is a model of a real screw-engine, with a pair
of double-action oscillating cylinders, having reversing gear and boiler
complete, ready to be put into the boat. It will be capable of driving a
boat from four to five feet long, provided it is well hollowed out and
that the engine is made and fitted with care, to reduce friction and
waste of steam as much as possible.
In this section the exact dimensions of the several parts are given when
possible, but, owing to small differences in the size of the cylinders,
I am only able to approximate in some cases--in which cases, however, I
have used the word ‘about,’ at the same time explaining how to obtain
the exact measurements.
In all engines the most important parts are the cylinders, which must be
well fitted. Boys who have a turning-lathe and the requisite practice in
metal-turning can buy rough castings of all the parts of the engine for
a few shillings and finish them up themselves. But as only a few of my
readers may be so favoured, I will suppose that the cylinders are
purchased ready for use. For these cylinders there is a great range in
the prices quoted by different firms, the prices varying for the No. 4
cylinder from eight shillings at one firm to twelve shillings and
sixpence at another. Messrs. Theobald and Co., of 20, Church Street,
Kensington, quote the lowest prices to me, and have further consented to
supply the No. 4 double-action oscillating cylinders for this engine at
seven shillings each to any one mentioning this section.
The dimensions of these cylinders are three quarters of an inch in the
diameter of the bore, and an inch and a half in the length of
stroke--_i.e._, an inch and a half difference in the length the
piston-rod projects from the top of the cylinder when in and out to its
fullest.
Get a pair of these cylinders which have the steam-blocks,
pivot-pillars, and screw-crossheads complete. Ask for the No. 4
double-action oscillating cylinders. When buying them see that the
piston-rods work true, and not to one side; see also that the small
indentations on the opposite sides to the steam ports are correctly
drilled, so that when the cylinders are swung between the blocks and
pivots they work true. To test this, place the block on its back on the
table, and put the cylinder on it, with the pivot in the proper hole for
it. Now turn the cylinder round on the block and place a pin in the
indentation, and if it is truly drilled the pin will not move; but if
not, the point of the pin will describe a small circle. You can find out
by this pin the exact spot where the pivot-hole ought to be drilled.
[Illustration: Fig. 1]
We will now set to work at the construction of the engine, and the first
thing to be done is to make the top plate (Fig. 1). For this get a small
brass plate four inches long and three inches wide, and an eighth of an
inch thick, with a projecting piece an inch and a quarter square at one
end of it, as in the figure. Get two of these plates, as the second will
be required for the bed-plate, but will not have the square projecting
piece. Take the first of these plates and square it up, so that each
corner is a right angle. Now proceed to mark it as in Fig. 1. Divide the
large part lengthwise into two equal parts by the line C D, and
crosswise, also into two equal parts by the line A B, these two lines
intersecting in the point O. From this point mark off, each way along
the lines O C and O D, the following distances. O to _x_ a quarter of an
inch, and _x_ to _y_ an inch and a quarter; and through these four
points draw the lines _e-g_, _f-h_, _k-m_, and _l-n_, making them two
inches long each, and projecting one inch on each side of the line C D.
Join the points _e-f_, _g-h_, _k-l_, and _m-n_.
Cut out the two rectangles so formed carefully, so as not to injure the
lines. This can be done easily by first drilling a small hole, about an
eighth of an inch in diameter, near one corner, and then putting a
fretwork saw through it and fixing it in the frame, and sawing the metal
away just inside the lines. The saw must be kept well moistened with
water. The corners can be left circular, which will add to the finish of
the plate, and make the cutting with the saw easier.
After the holes are cut they must be finished quite up to the lines, but
without injuring them, with a fine-cut flat file. Through each corner of
the plate a hole must be drilled an eighth of an inch in diameter, and
about an eighth of an inch from the edges, as in Fig. 1. The top plate
is now ready for mounting the cylinders on, which we will set about
doing.
[Illustration: Fig. 2]
Take the two steam-blocks (Fig. 2) and draw a pencil mark on each from
the centre hole to the bottom, and at right angles to it (Fig. 2). Next
place the two blocks back to back on the middle of the top plate,
between the two large holes, so that the pencil marks coincide with the
line C D, and so that the bottom edges of the faces coincide with the
lines _f-h_ and _k-m_. Be very careful in setting these blocks right.
When in their places mark the top plate through the screw-holes in the
projecting bases of each, and drill four holes straight down through the
plate, making them a little smaller than the holes in the bases of the
blocks. Now replace the blocks and fasten them there with two small
screws each. These screws correspond with the size of the cylinders, and
can be purchased by the dozen, together with taps, for each size, to
make the thread in the holes with.
Next take the pivot-blocks and mark them with pencil, as the
steam-blocks were marked, and put them on the line C D on the outer
sides of the large holes, using the same care to get them properly
centred along the line C D, and at right angles to it, and about an
eighth of an inch from the lines _e-g_ and _l-n_. Mark the screw-holes
and drill them as before, and fasten the pillars in their places.
Now the cylinders can be hung. Unscrew the pivots about a quarter of an
inch and place the cylinders in their places, with the spindles in the
proper holes for them in the blocks. Now screw in the wire pivots till
they catch in the indentations drilled for them in the sides of the
cylinders. They will now swing freely between the blocks and pivots.
[Illustration: Fig. 3]
Now to cut the bed-plate (Fig. 3). Take your second brass plate and
divide it by the lines A B and C D as before. From the point O mark off
each way along the line C D the distances five-eighths of an inch from O
to _x_, and three-quarters of an inch from _x_ to _y_. Through these
points draw four lines two inches long, and projecting one inch on each
side of the line C D, and parallel to the line A B. Join the lines in
pairs as before, and cut out the rectangles so formed. Finish up the
edges, and bore a hole in each corner, as in the top plate. On the line
A B, and half an inch from each end, bore two holes an eighth of an inch
in diameter, and countersink them at the top, as in the figure.
[Illustration: Fig. 4]
[Illustration: Fig. 5]
[Illustration: Fig. 6]
Now the bearings for the crank-shaft must be made. Fig. 4 is a
perspective view of one of these. Get two pieces of brass one inch long,
half an inch wide, and a quarter of an inch thick, as Fig. 5. Along the
face of each block draw a line, dividing it lengthwise into two equal
parts, and in the centre of these lines drill a hole right through the
brass one-eighth of an inch in diameter. Cut the brass away at the ends
(as in Figs. 4 and 5), leaving the projecting pieces a quarter of an
inch long and a little more than one-sixteenth of an inch thick. Through
each of these flanges drill a hole, to screw the bearings to the
bed-plate by. Drill two holes down through the top of the block, passing
one on each side of the bearing-hole (as in Fig. 5, the dotted lines
showing the positions of the holes). Drill a small hole through the top
of the cap into the bearing-hole, for oiling purposes. Cut the block in
two along the line passing through the middle of the bearing-hole with a
stiff-backed saw. This will make the block as in Fig. 6, having a
movable cap which can be fastened in its place with two screws. Screw
these bearing-blocks in their places, one at each end of the bed-plate,
using the same care to get them properly centred along the line C D and
at right angles to it.
[Illustration: Fig. 7]
[Illustration: Fig. 8]
We must now make the crank-shaft. This can be made with bent wire
one-eighth of an inch thick. But when made in this way it very seldom
works steadily and true. The best way is to build it up. You must get a
piece of iron wire a quarter of an inch in diameter and about two feet
long. Part of this will be required for the screw-shaft; straighten and
smooth the wire and polish it up. Cut from the end three pieces, one an
inch long, the second two inches long, and the third one and
seven-eighths of an inch long. Next get four pieces of flat iron plate
one-eighth of an inch thick, one inch long, and half an inch wide. Cut
them into the shape shown in Fig. 7. The distance between the centres of
the holes is to be a little less than three-quarters of an inch. The
largest hole is one-eighth of an inch square, and the smallest hole a
little less. The metal is to be left one-eighth of an inch wide round
the holes. Take the shortest piece of iron wire and cut one end of it
away, leaving a square pin and shoulder; the pin is to be
three-sixteenths of an inch long, and one-eighth of an inch square (Fig.
8). Cut both ends of the two-inch piece and one end of the remaining
piece in the same way. Counter-sink the largest holes in the plates
(Fig. 7) and rivet them on the pins of the portions of the shaft, being
careful that they are at right angles to the rods. The plates on the
two-inch piece must be at right angles to each other. The pins should
fit very tightly in the holes, to make them firm when riveted.
[Illustration: Fig. 9]
Cut two pieces of iron wire one-eighth of an inch in diameter and
five-eighths of an inch long, and at each end of each piece make a pin
and shoulder to fit the small holes in the plates, leaving a full
quarter of an inch of the wire between the pins untouched. Join the
cranks together in pairs by riveting in these wires, being careful to
keep the cranks at right angles to the shaft, and also to keep the
several pieces of the shaft in the same straight line. Place the shaft
on the bearing-blocks in the position it will occupy, with the cranks
over the holes in the bed-plate and with the longest end to the after
end of it. Mark on the shaft the position and thickness of the
bearing-blocks, and cut the metal of the rods away in these places till
it is reduced to one-eighth of an inch in thickness, so that it will
work freely in the bearing-holes. The crank will now look like Fig. 9.
[Illustration: Fig. 10]
The next step is to connect the top and bed-plates by four pillars. The
length of these will depend on the length of the piston-rod. They must
be made of four pieces of brass wire a quarter of an inch thick. Take
one of the cylinders and a sheet of paper; on this paper draw a line
about six inches long, and at one end mark the point A (Fig. 10). Push
the piston-rod in as far as it will go, and push the pivot of the
cylinder through the point A, and mark on the line the point B, exactly
under the hole in the crosshead of the piston-rod. Now draw out the
piston-rod as far as it will go, and mark the point C exactly under the
hole as before. Bisect the portion of the line between B C in the point
D, and measure the distance between A and D. Reduce this length by the
distance the centre hole in the steam-blocks is from the lower edge, and
add to it a quarter of an inch for the height of the centre of the
bearing-block from the upper surface of the bed-plates, one-eighth of an
inch for the thickness of the bed-plate, and a quarter of an inch for
riveting.
[Illustration: Fig. 11]
This will give you the length of the pillars including the pins. File a
pin and shoulder at each end, as in Fig. 11, making the pins one-eighth
of an inch in diameter and a quarter of an inch long. Rivet a pillar
firmly in each corner hole of the bed-plate, and put the top plate on
the top ends of the pillars, and rivet them firmly in. Be careful that
the pillars are upright. Rehang the cylinders and unscrew the caps of
the crossheads. Fit the cranks into the holes in them and screw on the
caps.
If the cylinders are made without screw-crossheads the pin of the cranks
must be placed through the hole in the heads before riveting the cranks
together. Unscrew the caps of the bearing-blocks, and put the
crank-shaft into the bearing-holes, and screw on the caps again. Oil all
bearings and parts that work together. Now you must get a heavy brass
fly-wheel three inches in diameter, which can be purchased with the
other things, and costs about two shillings. This wheel has a screw-bolt
through one side of the centre block to fix it to the shaft by. Fix this
wheel on the long end of the shaft by tightening the screw. It would be
better to make a small hole in the shaft for the point of the screw to
enter. The wheel must have two iron pins, about one inch long, in the
face of it.
Now if all the fittings are well made and oiled, the engine ought to
work easily and smoothly without noise if the fly-wheel is spun round.
Fig. 26 at the end of this section represents the engine as finished.
[Illustration: Fig. 12]
We must now turn our attention to the boiler. For this you must obtain
some sheet copper; get the size known as 12-lb. copper--that is, the
sheet two feet by eight feet weighs 12 lb. You must also procure some
copper tubing one-third of an inch in diameter. Get also the following
articles; two brass gauge-taps, 1s. 3d. each; one steam-tap with union,
1s. 6d.; man-hole or water-filler, 1s. 6d.; spring safety-valve set to
30 lb. the inch, 1s. 4d. If these are not already fitted with
screw-blocks get them so fitted when buying them. Fig. 12 represents the
safety-valve with the screw-block.
[Illustration: Fig. 13]
[Illustration: Fig. 14]
[Illustration: Fig. 15]
[Illustration: Fig. 16]
[Illustration: Fig. 17]
Cut out of your copper a piece (Fig. 13) eighteen inches and
three-quarters long and nine inches wide. Draw a line A B at right
angles to the two long sides, and bisecting them. From A and B mark off
the distances shown in the figure. Bore the holes, C, D, E, and F, the
sizes marked, and in the places indicated. Bend the plate so that the
middle eight inches form a semicircle with a radius of two and a half
inches, and the five-inch parts are straight and five inches apart. Turn
in the remaining half inch at each side to form a foot for the boiler to
stand on. The copper will now be like Fig. 14, and will form the body of
the boiler. Take two small sheets of copper eight inches long by six
inches wide, and mark one as in Fig. 15 and the other as in Fig. 16. Cut
them out carefully, and in Fig. 15 bore two holes one-eighth of an inch
in diameter in the places marked. Turn up the edge all round the sides
and circular portions of both plates, a quarter of an inch wide, till
it is at right angles to the other part of the plate, as in Fig. 17. Fit
one of these pieces on each end of the boiler body, so that the
turned-up edges of the ends fit outside the boiler body. The Fig. 16 is
to fit over the end of the boiler that has the two holes in the top.
Solder or braze the ends to the boiler body.
I should strongly recommend all the joints of the boiler being brazed,
as in the event of the vessel steaming far from shore, the water running
short, and the lamp still burning, it would melt the solder, and the
boiler would fall to pieces, but if brazed it would not be injured if
made red-hot. If you solder the parts together you can do it yourself
from directions given in the section on the magic-lantern, but in
soldering copper or brass together both surfaces of the joint must be
first tinned over.
[Illustration: Fig. 18]
[Illustration: Fig. 19]
If you decide to have the joints brazed you can get it done at the
ironmonger’s, if you first cut out and fit the parts together and
explain what you require. The floor of the boiler is made out of a piece
of sheet copper nine inches long and seven and a half inches wide. Mark
it as in Fig. 18. Bend it along the lines into the shape shown in Fig.
19. In the middle of the top make a hole one-third of an inch in
diameter. Bore seven holes one-third of an inch in diameter along each
of the sides and half way up. Cut a piece of the brass tube six and a
half inches long, and braze one end of it into the hole in the top, as
in Fig. 19. Cut seven pieces of the tube four and a half inches long
each, and connect the holes on opposite sides by brazing the tubes
across into the holes, as in the figure. Take the screw-block off the
safety-valve and solder it over the hole marked D in Fig. 13 on the
inside of the boiler. Solder the screw-block of the steam-tap inside
over the hole marked F, and solder on the inside the two blocks of the
gauge-taps over the holes in the end of the boiler. The block of the
man-hole must be brazed on the outside over the hole C, Fig. 13.
[Illustration: Fig. 20]
Now fit the floor of the boiler in its place, passing the end of the
tube, fastened to the top of it, through the hole marked E in the top of
the boiler, and projecting about half an inch, and braze it in. Fig. 20
will show the position of the boiler floor. The top of it is to be two
inches from the bottom of the sides. Braze it in firmly, being very
careful to make all the joints steam-tight. Screw in the man-hole cover,
safety-valve, steam-tap, and gauge-taps. On the top of the boiler and
over the projecting pipe solder a piece of brass tube seven inches long
and an inch and a quarter in diameter, raking aft a little, for the
funnel. Now the boiler is finished and ready to be connected with the
engine. But before this can be done we must make the reversing-gear.
Procure a block of brass, three-quarters of an inch wide, one inch long,
and half an inch high. Square this up true, and bore a hole right
through it from top to bottom, three-sixteenths of an inch in diameter.
With the end of a rat-tailed file taper the hole to a little more than a
quarter of an inch at the top. Get a piece of brass rod a little more
than a quarter of an inch thick, and file one end of it taper to fit the
hole, and square off the bottom end of it, making the taper portion half
an inch long. Smoothen this with fine glasspaper, and then oil it and
dust over it some fine emery-powder, and put it in the hole in the block
and grind the two together till they fit perfectly. Cut the taper
portion off exactly the length of the depth of the block.
[Illustration: Fig. 21]
Cut the brass away at the ends of the block, leaving a flange at the
bottom, at each end, a quarter of an inch long and one-sixteenth of an
inch thick, as in Fig. 21. In each flange bore two small holes, to screw
it to the top plate by. Drill four holes, one through each side of the
block one-eighth of an inch in diameter, right into the centre hole and
at right angles to each other, as in Fig. 21. Wipe the plug and hole
quite clean from the oil and emery, and replace the plug. Put a
needle-point into one of the side holes, and lying on the bottom of it
and pressing against the plug. Turn the plug round in the socket. Now
move the needle-point to the top of the hole and turn the plug round
again.
[Illustration: Fig. 22]
Take out the plug, and there will be two lines one-eighth of an inch
apart scratched all round it, as in Fig. 22. With a small round file cut
two grooves opposite each other in the plug, by filing between the
scratched lines, leaving the brass between them one-sixteenth of an inch
or less thick, as seen in Fig. 22. Drill a hole one-eighth of an inch in
diameter and a quarter of an inch deep down the top end of the plug, and
another up the lower end, to fit one of your small screws. Be careful
that neither of these holes enters the grooves.
Cut a small circular plate of copper seven-sixteenths of an inch in
diameter, and drill a small hole in the middle of it. Give this plate
two or three taps with a small hammer in the middle to hollow it a
little. Put the plug in its place in the block, and turn it over and
place the circular plate on the bottom, with the concave side to the
plug, and fix it there with a screw. This will keep the plug from coming
out of the block. Solder an iron wire one-eighth of an inch thick and
six inches long into the hole in the top of the plug. Fasten the block
on to the square projecting piece of the top plate, first cutting out of
it a circular hole half an inch in diameter, to let the circular plate
at the bottom of the plug drop into. The valve must now be connected
with the steam-blocks. Take two pieces of steam-pipe three-sixteenths of
an inch in diameter and an inch and a quarter long, and bend them the
shape of Fig. 23, so that the distance apart of the ends is the same as
from one hole in the top of one block to the corresponding hole in the
other.
[Illustration: Fig. 23]
Cut a hole in one side of the bent piece, as in Fig. 23, large enough
for the end of another piece of the pipe to fit into when tapered a
little. This piece is to be about three and a quarter inches long, and
bent so as to pass from the steam-blocks round the cylinder to the hole
in that side of the reversing-valve block. Fit the end of this pipe into
the hole in the bent tube and braze it in the following way. Rub a small
lump of borax on a moistened tile and rub the joint to be brazed with
the mixture of borax and water. Cut a small piece of silver off a
threepenny-piece about the size of a large pin-head, and put it on the
joint. Now hold the end of the tube in the left hand, covered with a
cloth, and with a blow-pipe direct the flame of a spirit-lamp or gas-jet
on to the joint till it is red-hot, when the silver will melt and flow
round the joint and fix it. If you cannot do this yourself a jeweller
or watchmaker will do it for you. Make two of these bent tubes with
double ends, and solder them in their places, connecting the
steam-blocks with the reversing-valve. You must enlarge the holes, to
let the ends of the pipe in before soldering.
Bend a piece of steam-pipe, a quarter of an inch in diameter and eight
inches long, so that about two inches of one end stands at right angles
to the other part. The bend must be circular, or it will compress the
pipe. Solder this end firmly into the front hole in the reversing-valve.
Bend another piece of the pipe about the same length so as to go into
the after hole of the valve and be parallel with the other pipe. On the
top of the boiler solder a piece of pipe about six inches long; one end
is to be bent up about one inch and inserted through a hole in the
bottom of the funnel, and directed upwards inside, the other end is to
project about one inch from the end of the boiler.
In the end of the steam-pipe solder the union of the steam-tap. Next
make the stand for the engine and boiler. Make it out of a piece of deal
eighteen inches long, five inches wide, and half an inch thick. Screw
the bed-plate of the engine on one end of it, so that the after end of
the plate is flush with the stand. The wood must be cut away under the
square holes, to let the cranks work in. Screw two strips of copper at
the other end, for the turned-in feet of the boiler to slide under. Put
them so that the end of the boiler will be about three and a half inches
from the fore end of the bed-plate. Put the boiler in its place, and
bend the steam-pipe so that the union can be screwed to the steam-tap
and the exhaust-pipe so that the end of it is opposite the projecting
pipe from the boiler, and connect these two ends with a piece of
indiarubber tubing.
[Illustration: Fig. 24]
The spirit-lamp must be in the shape of a closed box, made of sheet
copper, four inches wide, eight inches long, and three quarters of an
inch deep. In the top cut five holes, as in Fig. 24, a quarter of an
inch in diameter. In these holes solder five tubes half an inch long,
and projecting from the top a quarter of an inch. These are for the
wicks. At the front end of the top solder a screw filling-tap. At this
end solder also a piece of small pipe four inches long. This is to be
bent so that it will stand upright outside the end of the boiler, and is
to act as a vent, to prevent the spirit being forced too freely up the
wicks. Fill the wick-holes tightly with cotton. Now fill the lamp half
full of spirit. Pour hot water into the boiler till it just flows out of
the top gauge-tap. See that all the taps are turned off. Light the lamp
and put it under the boiler, and while steam is getting up oil the
engine well with sewing-machine oil. In a short time the steam ought to
be up and the engine at work. Try the reversing-gear and see if it acts
properly. The engine ought to work smoothly and without noise, and the
frame ought not to jar.
We must now make the screw propeller. The boat, which I suppose already
made, is to be five feet long, ten inches wide, and eight inches deep,
without the keel, and hollowed out to about a quarter of an inch thick
at the gunwales and three-quarters of an inch thick at the bottom, and
must be rather flat-bottomed, as steamships are, so that the inside at
the bottom is five inches wide.
[Illustration: Fig. 25]
Put the engine and boiler in the boat so that the boiler is a little
abaft the middle. Cut away the dead wood of the stern to make a hole
four inches high and two inches wide, as in Fig. 25. Bore a hole from
the hole in the dead wood right through into the interior of the boat,
as shown by the dotted lines in Fig. 25. This hole is to be directed to
the centre of the fly-wheel of the engine. The shaft is made out of the
quarter-inch wire. Cut a square pin and shoulder three-eighths of an
inch long and an eighth of an inch square at one end of the shaft. Cut a
piece of the same wire three and a half inches long and drill a square
hole in the middle, and rivet it on the end of the shaft crosswise. In
the hole in the stern of the boat you must fix a tube and stuffing-box,
which may be got--together with the screw, which is to be a three-fanned
one, measuring three inches across the fans--with the other things, of
Messrs. Theobald and Co., and similar houses.
Put the shaft in its place inside the boat, with the cross-piece resting
across the pins in the fly-wheel, about half way. Mark the end of the
shaft so that it will project an inch and three-quarters, and cut it off
there. The bearing must now be made out of a strip of brass
one-sixteenth of an inch thick, three quarters of an inch wide, and two
inches longer than the width of the inside of the boat. In the middle of
this bore a hole a quarter of an inch in diameter, and bend one inch of
each end at right angles to the other part. In each bent piece drill two
small holes, to screw them to the sides of the boat by. Slip a piece of
tubing, one inch long and of a size to fit tightly on the shaft, close
up against the cross-piece. Put the shaft through the bearing and
stuffing-box tube, and put the cross-piece on the pins in the fly-wheel,
and screw the bearing to the boat, so that it is close against the tube
on the shaft. The screw has a screw-bolt like the fly-wheel to fix it to
the shaft by. Drill a small hole in the shaft for it, and put the screw
on the end of the shaft and fix it by tightening the screw.
The deck of the boat must be cut the shape of the inside of the
gunwales, out of quarter-inch board, and is to be fixed so that the
gunwales are one inch high. It must have a hole cut in the middle to go
over the boiler and pipes. A hole must also be cut over the engine, and
one also in the front part of the deck large enough to admit your hand,
to allow of your removing and lighting the lamp. These two holes ought
to be covered by movable skylights. A hole must be bored in the deck
just in front of the after-skylight for the wire from the
reversing-valve to project about half an inch. A wire handle must be
fixed by riveting to the end of this, and two pegs driven into the deck,
one on each side, in front, to prevent the handle being turned too far
to either side. It should only turn one quarter of the way round.
If you have followed these directions your boat ought to steam for two
hours and a half without refilling the boiler; though the lamp would not
burn all that time. But if you solder a short piece of tube a quarter of
an inch in diameter into the front end of the lamp and quite at the
bottom edge of it, and have a closed tin tank with a like tube to it in
the front part of the boat, and this tank is filled with spirits, and
connected to the lamp by a piece of india-rubber tubing joining the two
tubes, the lamp will supply itself from the tank as it gets low. The
spirit from the tank will not fill the lamp, but will just cover the
hole of the tube and keep at that height so long as there is any spirit
in the tank. Such an engine as here described would cost to purchase
about £7 10_s._, and the boat with engine complete, quite double that
sum.
[Illustration: Fig. 26]
CHAPTER VI.--THE AMERICAN DANCING ‘NIGGER.’
BY C. STANSFELD-HICKS.
[Illustration: Fig. 1.]
It is now some years since one evening at Christmas time I made one of a
large family party assembled at the house of a relative. The evening had
passed very pleasantly, and we were chatting together, and watching an
arrangement which was being made in a recess behind a pair of curtains,
before which was a small table. After some little time waiting in
expectation, there suddenly appeared from between the curtains the agile
gentleman who is portrayed at the head of this chapter. The operator,
concealed (all but a portion of his arm) behind the curtains, placing
the stand on the table, and cleverly manipulating the wire, caused the
figure to dance in the most amusing and ridiculous manner, creating the
greatest merriment. Afterwards, some lively jigs and reels being played
on the piano, the figure footed it away, cleverly keeping time to the
music.
Coming across the stand of the figure brought the memory of it to my
mind, and I thought that making and working such a figure would be an
amusing occupation for boys in the long winter evenings.
The nigger, when he first came out, was rather an expensive toy, and I
have not latterly seen anything quite like it, but it is within the
capabilities of any ingenious lad to make one for himself at a very
small expense. The one I have described was about eight inches high, and
had a proportionately-sized stand; but of course it can be made of any
size, though a smaller one would be quite as troublesome to make, and
not so funny. We will take the figure as being about the height
described.
[Illustration: Fig. 2.]
[Illustration: Fig. 3.]
[Illustration: Fig. 4.--A Screw. B B Button. C Wire spring. D
Spring-board. E E Stand.]
The stand (A) is a piece of common deal about 13 in. long (for the
figure eight inches high; if the figure is made larger or smaller all
details will of course also be proportionately more or less). The width
of the stand is 2-3/4 in., and it is shaped as in the sketch. On top of
the stand is a spring-board; this board is shaped as Fig. 2, rather less
than 1/8 in. thick. From A to the shoulder at B is 6 in., and from B to
the centre of the hole at D is 9 in., the whole length being therefore
15 in., and the spring-board in consequence projecting 4 in. beyond the
end of the stand. At D on the stand is a button screwed to the stand,
the screw passing through the hole in the spring-broad, and by
tightening up the screw the spring-board can be made more or less rigid
as required. The spring marked C C (which can be put in either way; the
dotted line is perhaps the least effective way, as the greater the
spring--within limits--the better) is made of steel or iron wire, one
end being stuck into the back of the figure and the other being bent as
in Fig. 3, and put under the button, the screw passing through all, as
shown in Fig. 4.
The next thing is the figure. The head you must shape as fancy dictates,
and the result will be the criterion of your cleverness as a
wood-carver. If you cannot manage to carve a head, you might buy one and
stick it on, or make your figure out of a large Dutch doll.
[Illustration: Fig. 5.]
[Illustration: Fig. 6.]
[Illustration: Fig. 7.]
The head and body must be in one piece; the hat may be separate and
glued on, or carved with the head, as you prefer. The trunk must
terminate as in Fig. 5, to allow the legs to fit in and swing easily.
The legs must be made in two pieces (Figs. 6 and 7).
[Illustration: Fig. 8.]
[Illustration: Fig. 9.]
Figures 8 and 9 speak for themselves. The flanges must correspond of
course with the slots, and a pin is run through to keep the leg in its
place, while it is fitted loosely so as to swing. The lower part of the
leg and boot should be made rather heavy, so as to come down with some
force on the spring-board.
When you have made your figure you can dress him if you like, but the
legs must be left free at the joints. Loose trousers of very light
striped stuff can be fitted, but they must not come much below the knee.
The figure may be painted a dark brown, the hat red or white, the boots
of course black, and the stand green or blue picked out with black, but
you must use your taste in these matters. When all is finished it is not
difficult to make the gentleman dance; but still your spring-board must
be tightened to the right pitch, and the spring wire bent so that the
feet of the figure are just off the spring-board; then by slightly
agitating the wire the nigger will commence to dance; and it will
entirely depend on its owner’s tuneful ear whether he dances in time to
the music or not.
CHAPTER VII.--MOVING MODELS, AND HOW TO MAKE THEM; OR, ‘DROP A PENNY IN
THE BOX AND THE MODEL WILL WORK.’
BY FRANK CHASEMORE.
Many a penny have I invested when, as a lad, visiting such places of
amusement as the Crystal Palace, Polytechnic, London Crystal Palace, and
Pantechnicon, in obedience to the entreaty forming the sub-title of this
chapter, placed on the cases containing models and figures; and I yet
very vividly remember the delight experienced from seeing the models
start into motion. Indeed, even now, though arrived at man’s estate, I
rarely miss dropping a penny into the coffer of any case containing a
moving model when I chance to come across one.
Now these models, complicated as they may sometimes seem, can be easily
made by any boy who can use his tools, and, as the construction and
exhibition of them will afford great amusement, I propose in this
chapter to give detailed practical instructions for making them.
The subjects I have chosen are a windmill, a yacht in full sail, a
watermill with real water, dancing niggers, etc., so that there should
be sufficient variety to suit all tastes and skill.
A MODEL WINDMILL.
The windmill being the simplest in construction of the working models,
we will take it first. The model, with the necessary pictorial
background, is to be enclosed in a case, which will bear somewhere on
the front of it the legend forming the title of this chapter, and the
sails will go merrily round on dropping a penny into the box, thus
practically illustrating the old song, ‘Money makes the mill to go.’ The
cost of the whole model and case will be something under 8_s._ Now for
the construction.
We will make the case first. For this get some half-inch deal board, 12
in. wide, and plane it smooth on both sides. Cut the pieces for the
back, top, bottom, and sides, and square them up true. The dimensions of
these pieces are as follows: the back, 20 in. long and 12 in. wide; the
top and bottom pieces, 12 in. long and 10 in. wide; and the two side
pieces are each 20 in. long and 10 in. wide.
Having cut and trued up these pieces, proceed to form them into a box by
joining the edges by dovetailing, if you are skilful at cabinet-making,
or get some friendly carpenter to do it for you, if you are not up to
the work. If you cannot manage either to do it yourself or to get it
done for you, the parts can be joined with glue and screws, but the side
pieces will have to be cut one inch shorter than for dovetailing, in
order that the top and bottom pieces may fit in flush with the back
piece.
The front of the box is to be closed by a door, of which the upper 12
in. is of glass. Make the door out of a piece of half-inch board, 8 in.
by 11 in. for the bottom piece, and fasten to each end a strip of wood
20 in. long and 1/2 in. square, so that one end of each strip is flush
with the lower edge of the board, leaving 12 in of each strip projecting
beyond the upper edge.
These strips should have a groove 1/8 in. deep cut in them to hold the
glass. This you had better get cut for you. Put your glass, which must
be about 11-1/4 in. wide and 11 in. long, into the grooves, and the
upper edge of it will be half an inch from the ends of the strips.
Fasten it in by a cross-piece of wood 1/2 in. square and 11 in. long,
glued and screwed to the two side strips.
If you prefer it, the glass can be put in the door after the manner of
window-panes. In this case the side and top strips must have a rebate
cut in them, and the top edge of the wooden portion served in the same
way. You must choose for yourself which method you will adopt. Either
will do, but the latter is perhaps the neater.
In the top of the right-hand end of the wooden portion cut a slot large
enough to allow the necessary penny to pass freely. The door you will
fasten to the box with two small brass hinges, and you must put a small
brass hook on the other side of the box to keep it fastened. But it will
be better if you do not hang the door till the inside arrangements are
completed, for fear of breaking the glass.
[Illustration: Fig. 1.]
Fig. 1 represents the case and model complete. Divide the interior of
the box into two portions by a horizontal partition, fastened to the
back and sides by glue and screws. The space below the partition is to
be 7 in. deep. In the right of this space fit a cash drawer 9 in. long,
3 in. deep, and 3 in. wide, to hold the pennies. The side of this drawer
nearest the machinery must have a slot cut in it for the starting lever
(A, Fig. 3) to work in. The sides of the case are made of wood, so that
the working of the model can only be seen from the front and so that the
flow of pennies will be larger.
Paint the back of the inside of the case to represent a landscape, or a
suitably coloured picture can be pasted in, and serve the horizontal
partition in the same manner to represent ground, blending the back and
ground together in a natural manner. Paint also the top board to
represent sky.
Make the mill out of wood or cardboard. It is to be 7-3/4 in. high, and
the holes for the spindle carrying the sails 5-3/4 in. from the bottom.
The sails are to be 9-1/2 in. across, and can be made of wood or
cardboard, or, better still, wood cross-pieces with cardboard sails.
Make the spindle of iron wire 1/8 in. in thickness. It should be about
3-1/2 in. long. Flatten one end of the wire and drive it into the centre
point of the cross-pieces of the sails, being careful to keep it quite
square and upright.
Pass the spindle through the holes in the back and front of the mill,
and put a knob of sealing-wax on the end, to prevent it working out when
the mill is at work. If the mill is made of cardboard, the inside must
be strengthened with wood to support the spindle.
We will next turn our attention to the mechanism to set the mill in
motion. Very few of my readers possess the tools and skill to use them
necessary to cut and fit the wheels, and, as it would come very
expensive to get them made specially, it will come very much cheaper to
buy one of the cheap eight-day clocks, which will suit our purpose
admirably. These can be procured at most of the suitable shops, and will
cost about 5_s._ 6_d._
Take the frame and works out of the clock case, and remove the pendulum
and hands, as you will not require them. If you now turn round the
spindle on which the minute hand fits, you will notice that, although
the parts that carry the hands are in motion, the rest of the wheels are
stationary. On examining these hand-turning wheels carefully, you will
notice that the one carrying the minute hand is fixed on the central
spindle by jambing only, and that it turns a small flat wheel which, in
turn, gives motion to the wheel carrying the hour hand. This wheel is
fixed to a tubular spindle, which fits over the spindle of the
minute-hand wheel, which itself is tubular and jambs on the central
spindle. Now, as you will not require this movement, take off the
hour-hand wheel, and after removing the small flat wheel, replace it
and fasten it, together with the minute-hand wheel, to the central
spindle with solder.
Some of the cheap clocks have the minute hand fixed direct to the
central spindle, the hour wheel only being tubular. In this case the
hour wheel and the spindle must be soldered together after the small
flat wheel has been removed. As you will not require the escapement
wheel, push on one side the small spring clip that presses on the end of
the spindle, and it will drop out.
[Illustration: Fig. 2.]
[Illustration: Fig. 3.]
You will now want a pulley wheel (B, Fig. 3). One of the wooden sheaves
used in Venetian blinds for the cords to run over will do very well
indeed, or if you possess a lathe you can turn one for yourself. It
should be 1-1/2 in. in diameter and 1/4 in. thick, having a small hole
right through the centre, of a size to fit tightly on the hour spindle
of your works. Fig. 2 represents the frame after the wheels not required
have been removed. Fig. 3 represents the starting lever and pulley. This
pulley must have a notch 1/4 in. deep cut in one rim, for the hook of
the lever to fall into and stop the machinery. This pulley must not be
more than 1-1/2 in. in diameter, or you will not be able to get at the
winding-up pin.
The frame carrying the wheels must now be mounted in its place under the
horizontal partition. For this purpose fasten with screws a block of
wood to the floor board, or back of the case, in such a position that
the front of the frame is about 5-1/2 in. from the front of the case,
and so that the centre of the wooden wheel is about 4 in. from the
horizontal partition, and immediately under the spindle carrying the
sails of the mill. The horizontal partition must have a slot cut in it,
inside the mill, for the connecting cord to pass. The frame is to be
fastened to the supporting block by screws, but before doing this you
must make the all-important starting and stopping lever.
Get a piece of iron wire 1/8 in. thick, and about 10 in. long. Flatten
one end and bend down about half an inch of this end to form a hook,
standing about at right angles to the length; place this hook in the
notch of the wheel when it is a little beyond the centre of the pulley,
as seen in the cut, and cut the wire to such a length that the other end
of it will be about 1 in. from the side of the case, when the gear is in
position. Drill a hole crosswise through the wire about 3 in. from the
hook, and fasten a small wire to the gear-frame, standing at right
angles to it, about 2-1/2 in., measured horizontally from the spindle of
the pulley, and near the top. This is for the lever to turn on, as shown
in the cut. At the free end of the lever solder a piece of tin bent up
on three sides like a small tray, with the edge not bent at the extreme
end. This tray or scoop should be about 1-1/2 in. square, and is to
catch the penny as it is dropped in.
The hooked end of the lever must be weighted, to slightly outbalance the
other part, so that the hook will drop into the notch in the pulley. The
frame can now be put in its place and fixed to the block with screws.
Bend the long end of the lever till the scoop is 3-1/2 in. from the
under side of the partition. In bending the lever you must also see that
the scoop is horizontal, or the penny will not remain in it long enough
to start the gear. Now connect the spindle of the sails and the wooden
pulley-wheel by passing a silk cord or fine string round both tightly,
and knotting the ends together.
Now on winding up the spring and pressing down the lever the works will
start into motion and the sails will revolve. The speed can be
regulated by placing the sails at such an angle that they will offer
more or less resistance to the air.
The slot in the door for the insertion of the penny must be cut
three-quarters of an inch below the upper edge of the wooden partition,
and inside you must fasten a tin trough to conduct the penny to the
scoop at the end of the lever. This trough must slope downwards to the
edge of the scoop, or the penny will not fall into it, but remain just
inside the hole.
The model is now complete, and works as follows: The spring having been
wound up and the door closed, the works are kept from moving by the hook
of the lever catching in the notch of the pulley, but on a penny being
put into the hole, and sliding into the scoop at the other end of the
lever, its weight presses down the scoop end and lifts the hooked end
out of the notch in the pulley, which turns round, and continues to do
so, carrying the sails of the mill round with it till the notch again
comes under the hook, which (the penny having fallen out of the scoop
into the drawer) falls into it and stops the machinery, giving one
revolution of the pulley for a penny. The pulley being twelve times
larger than the spindle of the sails, these will revolve twelve times
each time the model is started. The model will work about 204 times each
time it is wound up.
A MODEL CUTTER YACHT.
Having finished the windmill to your satisfaction, we will now turn our
attention to the construction of a model requiring rather more complex
machinery. This is shown at Fig. 4, and represents a cutter-yacht
sailing on the port tack, on a lee shore; which, if carefully made, so
as to produce the effect of the rolling and pitching of a real yacht
upon a real sea, will catch many a penny.
[Illustration: Fig. 4.]
The case is made exactly in the same manner as the former one, and has
the same dimensions, but has no horizontal partition, only a cross-piece
in the front, half an inch square.
The inside of the back you must paint to represent a cliff and sky, or
you can paste a coloured picture of the same on it.
The yacht is to be 5 in. long, and is to be set in a sea of silk, which
will be described further on. If you prefer it, a full-rigged ship can
be substituted for the yacht. For the machinery you will require, as
before, an eight-day clock movement, some brass wire, and three or four
pulley-wheels. Fig. 5 shows the front view of the mechanism when
complete, and Fig. 6 the end view of the same.
[Illustration: Fig. 5.]
[Illustration: Fig. 6.]
As was the case in preparing the works for the windmill, you will
require to make some alteration in the wheels, but in this case, as the
hour and minute movement will be required for the starting gear, the
minute spindle only is to be soldered to the central spindle, and the
small flat wheel retained in its place. The escapement wheel must also
be retained. B (Fig. 5) is one of the wooden pulleys, 1 in. in diameter,
fixed to the minute-hand spindle, and is in connection with another
pulley-wheel of the same size (B), turning on a screw fixed in a block
of wood fastened to the floor-board in such a position that the centres
of the two pulleys are the same height from the floor and 4-1/2 in.
apart. O is a lever of wire about 7 in. long, working on a pivot passing
through it about 2-1/2 in. from the end C. This end is connected with
the keel of the boat, and the other end is weighted, to balance the
boat.
Now take your boat, and at each end of the keel fix a small brass plate
having a hole drilled in it (FF, Fig. 5), 4-1/2 in. apart, and fix
another plate drilled in the same way at C, about 2-3/4 in. from the
stem of the boat. Take two pieces of wire 5 in. long and bend one end of
each into an eye and the other end into a hook, crosswise with regard to
the eye, and hook a wire into each of the plates FF, on the keel of the
boat, and connect the other ends with the pulleys B and B by two small
brass screws passing into the fronts of BB, as shown in Fig. 5, and
arrange the pulleys so that one of the pivots shall be up while the
other is down.
[Illustration: Fig. 7.]
All these joints and connections must work freely, although not loosely.
The two pulleys, BB, you must connect with a cord passing round both.
The pitch of the vessel is regulated by the distance the pivot screws
are from the centres of the pulleys, which should be about half an inch.
You must next make the regulating gear or fly E (Fig. 5). To do this you
must take out the pin from the left-hand lower corner of the frame-plate
and prise up the plate and take out the fourth wheel near R (Fig. 5),
and on the spindle of it fix a pulley, which can be readily done in the
following manner. Cut a small notch in one side of the hole in the
centre of the pulley just large enough to admit a piece of your wire.
Solder about half an inch of this wire along one side of the spindle
about the middle of it, and force the pulley on to the spindle over this
piece, and it will jamb lightly and be keyed to it. Fig. 7 will show you
how to cut the hole in the pulley.
Now return the wheel to its place and re-fasten the frame-plate. Next
you must make the fly E. Get a small brass pulley about 1/4 in. in
diameter, and to it solder a strip of tin cut to the shape shown, but
being wider in proportion at the ends, say 1 in. wide and 4 in. long.
Twist the ends of this fly askew like the fans of a screw propeller, so
that it will catch the wind in revolving. Now fix a block of wood to the
bottom of the case and fix the fly to it by a small brass screw passing
through its centre, so that it works freely and is 3-1/2 in. from the
centre of the driving pulley R and level with it. Fasten a block of wood
to the back of the case, in which you must fix the screw N (Fig. 5) for
the lever O to pivot on. You must next make the starting gear. This is
shown in Fig. 8.
[Illustration: Fig. 8.]
As we require the pulleys BB to revolve about twelve times, and as they
are attached to the minute-hand spindle, the hour-hand spindle will
revolve once. Therefore, on this spindle fix behind the pulley B, by
soldering, a circular plate of tin or brass, a little larger than the
pulley, and cut in one edge of it a slot a quarter-inch deep and
one-eighth of an inch wide. Make your lever as before, but long enough
for the hook to catch in the teeth of the wheel C, Fig. 8; and solder a
piece of tin to the lever, to fall at the same time into the slot in the
disc A, Fig. 8. This piece of tin must be long enough to keep the hook
free of the teeth of the wheel C during the revolution of the disc A.
The length of the other part of the lever is to be the same as for the
windmill. Fig. 6 shows an end view of the machinery. K is a wire
connecting the keel with the lever Q, and helps to give the rolling
motion so suggestive to voyagers.
Fix your gear into the case in such a position that the keel of the boat
will be 7 in. above the floor of the box, and bend the starting lever so
that the scoop will be the same distance from the floor and front of the
box as in the former case. You have now to make the sea. Get a piece of
silk of the kind called Persian, dark green or ‘undecided’ blue, about
18 in. square, and in the middle of it cut a slit 6 in. long, and in
this slit fasten the hull of the boat with glue, puckering up the silk,
to form the waves on the sides of the vessel. Crumple the whole of the
silk into miniature waves, and glue the edges round the edges of the
case and to the strip of wood fastened across the front 7 in. from the
floor. Touch the crests of the waves with white paint. The silk waves
will rise and fall with the motion of the vessel, and appear themselves
to be the cause of that motion. If the silk has a tendency to drop in,
it can be supported by a floor-board, 7 in. from the bottom, with a hole
cut in the centre 5 in. long and 2 in. wide for the boat to work in, and
a slot cut for the wire K, Fig. 6. Be very careful that all the joints
and connections work easily, or a jerky motion will be the result.
Wind up the works and drop in a penny, and the lever hook will be lifted
out of the escapement wheel, and round will go the pulleys, causing the
little ship to pitch and roll till the slot A comes round again, when
down falls the lever hook and stops the movement. The pace of the
movement can be regulated by the angle of the fans of the fly catching
more or less air.
As the minute spindle revolves twelve times, the pulleys will revolve
only once, which will give about seventeen revolutions each time of
winding.
DANCING ‘NIGGERS.’
Fig. 9 is a view of a case of dancing ‘niggers,’ and is easily made. In
the sketch the figures are one-third the real size.
[Illustration: Fig. 9.]
The case measures 9 in. high, 7 in. wide, and 7 in. deep. The back forms
a hinged door by which you can get at the gear. The slit for the penny
is in the top, and near the right-hand back corner. The legs of the
right-hand figure are both made separate from the body and jointed at
the knees. They are fastened to the body by small pins, to allow of free
working. This figure you must strengthen by glueing a piece of wood
behind it 1 in. long, 1/2 in. wide, and 1/4 in. thick. The other figure
has only the left leg moveable, and must not be jointed at the knee.
Glue a strip of wood about 1/2 in. wide and 1/4 in. thick right up the
back of this figure, and glue it to the floor board. The left leg must
have a similar piece of wood glued behind it, and projecting 1/2 in.
longer at the thigh end. Fix the leg to the body by a small pin, for it
to work freely on, and in the piece of wood projecting fix, at right
angles, a piece of wire about 2 in. long, and cut a curved slit in the
background for this to work in, when the figure is about 1 in. from it.
This background you must make out of cardboard, and fix about 3 in. from
the front of the case, which is glass. The background you can paint to
any design you please, such as a street scene, or on the sands, and the
floor to correspond.
Behind the right-hand figure cut a vertical slit in the background about
1/8 in. wide and 2 in. long, so that the centre of it comes opposite the
centre of the figure when the feet are just touching the floor. Fix a
piece of wire about 7 in. long into the centre of the figure behind, and
at right angles to it, and bend this wire downwards at right angles
about 2 in. from the figure. About 1 in. behind the background fix an
upright block of wood, to come as high as the centre of the figure, and
in front of it fix two small staples, one near the top, and the other
about 2 in. lower, but directly under it. Into these slip the end of the
wire attached to the figure, after passing it through the slot in the
background. This will keep the figure in its place and allow of its
moving up and down.
[Illustration: Fig. 10.]
[Illustration: Fig. 11.]
Prepare the works as for the yacht model, and also insert a pulley (A),
as shown in Figs. 10 and 5. This is connected with another pulley (B,
Fig. 10), which is fixed to a block by a screw that is countersunk
below the face of it, and to which is fastened by a small screw two
wires working freely and passing one to the wire from the left-hand
figure, and the other to the cross-piece of the wire from the right-hand
one, and connected with them by the ends being bent into rings. From the
cross wire to the figure to the right is also hung a drop wire with a
small weight at the end, to help to pull it down. Fig. 11 will explain
the fixing of this gear. A fly must be also fitted to the movement, to
check the pace. This can be fixed to the pulley (B) or in front of the
escapement wheel. The stopping motion is the same as in Fig. 8, but more
slots may be cut in the disc, to regulate the length of time allowed for
a penny.
The works you must fix behind the background so that the starting lever
comes conveniently for the penny in its fall.
With these three examples of the necessary clockwork you will be able by
the exercise of a little ingenuity and the power of contriving to make
moving models of any subjects that may suggest themselves to you, such
as the following: a steamboat with revolving paddle-wheels, cobbler
mending shoes, soldiers marching, etc., etc.
A REAL WATER-WHEEL.
I will now tell you how to make the model shown in Fig. 12, consisting
of a water-mill working
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