Home Fun

A glance at Fig. 4 will make it apparent that when H is turned, the four wings revolve also. Thus the wings for the forest scene may be suddenly switched out of sight, and those for the interior of the cottage displayed, or vice versa, at the will of the operator. To prevent the wings revolving too far, a small block of wood should be nailed to the bottom of the box at the base of the first wing, in the position shown by X, Fig. 4.

The mechanical peep-show is now finished. After the showman has grouped his audience at the peep-holes, and all is ready for the transformation, he simply turns the wire handle with one hand, and with the other simultaneously raises the clip securing the back scene. All that is heard by those at the peep-holes is a faint click as the wings revolve. Then they perceive, with no little bewilderment, that in some inexplicable manner the interior of the show has been completely changed. The showman will be wise to refrain from permitting them further to examine the apparatus, however, for when they realize the absurdly simple mechanism by which the transformation is wrought, their bewilderment will vanish even more rapidly than do the scenes themselves.

CHAPTER XLVI
HOW TO MAKE AND WORK A PUNCH AND JUDY SHOW

His Highness of the Hump

Mr. Punch and Mrs. Judy at one time held quite an exalted position among forms of entertainment dear to the heart of the British boy. As far back as the reign of Queen Anne, a well-known periodical devoted quite a considerable space to a criticism of a Punch and Judy performance!

Moreover, in England, less than fifty years ago it was no unusual occurrence for a traveling showman to hire a barn or large room and give a whole evening’s performance with his Punch and Judy.

Punch is just as amusing indoors as out, and the boy who is interested in giving different forms of home entertainment will find a Punch and Judy an excellent addition to his other shows.

The stage upon which Mr. Punch performs his amusing antics is simple of construction.

It will first be necessary to procure six uprights, each 7 feet long and 1 inch thick; and nine crosspieces each 2¹⁄₂ feet long and 1 inch thick.

Take a pair of uprights and join them together with three crosspieces—one at each end and the other in the center. The result will be a framework such as is shown in Fig. 1. The four remaining uprights must be similarly treated.

Altogether three frames will have been constructed, and they must be hinged together, as shown in Fig. 2.

This may be done with either strips of cloth or small metal hinges. The latter may be purchased from any hardware store for a few cents.

It will be noticed that the framework has only three sides. The fourth side is to be occupied by Punch’s platform, which merely consists of a small board about 6 inches wide and 2 feet 6 inches long. An oblong nick 1 inch by ¹⁄₂ inch should be cut in each side of this platform, as shown both in Fig. 3 and A, Fig. 4. A cut of similar dimensions must also be made 5 feet 6 inches from the ground in both the front uprights of the framework (B, Fig. 4). The incisions in the platform dovetail into those in the uprights. To make all quite secure two small catches (A, Fig. 4) are fitted to the ends of the platform, and these clamp round the uprights, holding everything firmly in position.

The framework is now complete, and with the exception of the small space above Punch’s platform, should be covered with dark red or green paper cambric, which may be purchased at five or six cents a yard. The width of the cloth will be found just over 2 feet 6 inches, i.e. the same width as a single frame. The best course, therefore, will be to cut the cloth into seven-foot lengths and nail it with small tacks or brads over each frame separately.

The space below Punch’s platform, however, is covered in a different manner.

A row of tacks or brads is driven into the front of the two uprights to about three-quarters of their length. A corresponding number of small curtain rings—to be obtained at any hardware store for 5 cents a dozen—are then sewn down the sides of a piece of the cambric 5 feet 6 inches long. By this means the cloth may be hooked to the front of the show, as illustrated in Fig. 5.

Packing Up the Show

When the Punch and Judy Show has to be packed away, it is merely necessary to unhook the front cloth, take out the platform, and fold the framework up as though it were a screen or a clothes’ horse.

But before this trial “pack up” is attempted, there are one or two small but important additions to be made.

First of all, the top of the opening at which Punch presents his cheery countenance must be decorated. This is easily done. Two small nails are driven perpendicularly into the top of the front uprights, and a stout piece of wire stretched between them. A frieze of cambric is then hemmed round the wire (Fig. 5). The wire should be simply hooked on the nails, so that it can easily be detached when the show is folded up.

A similar frieze must also be tacked along the edge of the platform.

With regard to the scenery! Mr. Punch is very modest in this direction, for he requires only two wings with which to garnish his abode. These generally take the form of a scene of the top window of a house, and the front of a shop or a portico.

The front and back of one of these wings are shown in Figs. 6 and 6a respectively.

It consists merely of a framework of wood, 1¹⁄₂ feet long by 9 inches wide, over which a piece of white cardboard is nailed or glued. The desired scene is then executed on the cardboard in either oil paint, water color, or crayon.

The window itself should be cut completely out and hinged back again with a strip of linen, so that Punch and the other characters may poke their heads through (Fig. 6a).

The complete wings must then be hinged one on each side of the show, as seen in Fig. 7. In this diagram the wings are illustrated as seen from the inside.

The Puppets

The “stage” is now complete, and it remains but to make the grotesque little puppets that perform upon it.

Pride of place must be given, of course, to the redoubtable Punch himself.

The most difficult part of this puppet to construct is the head. There are very few boys skillful enough to carve out the correct features from an ordinary block of wood; therefore they must find some other foundation upon which to work. A Dutch doll, to be purchased at any toyshop for a few cents, serves splendidly. Whilst the reader is in the toyshop buying the one doll, he may as well extend his order to about a dozen more; not only are they useful for making Punch, but their stony countenances can be transformed into those of Judy or any of the other characters.

The dolls should all be decapitated, and have their hands and feet removed as well. One of the heads must then be selected, and the little snub nose taken off with a sharp knife. A semicircular line should next be penciled right across the lower part of the face, and all the wood below this line cut away to the depth of ¹⁄₈ inch or so (Fig. 8). A “false” chin is to go here, whilst a “false” nose must adorn the spot whence the original member was removed.

Both nose and chin can be whittled from separate pieces of wood—the doll’s discarded body will do. Fig. 9 shows the shape they should assume. When both have been carved to the reader’s satisfaction, they must be glued firmly in their respective positions, and the joints hidden by a few judicious touches of the paint-brush.

In the case of the nose, a small tag of wood must be left, as in Fig. 9, and a hole bored in the head to receive it. This will make the joint more secure than if it were simply glued, and as Punch’s nose receives more than its fair share of knocks, the precaution of having it firmly fixed is not altogether an unwarrantable one.

The adjusting of the “false” nose and chin is by no means a simple task, requiring, as it does, considerable ingenuity. But on the whole it will be found much easier than having to carve the entire face.

The clothing of Punch is best left in the hands of the reader’s mother or sister. Although it is astonishing what a boy can do with needle and thread when necessity puts him to the trial, making the tiny suit of scarlet calls for an amount of patience and a carefulness over detail that only a lady can be relied upon to exercise.

Fig. 10 shows the pattern for Punch’s coat. The cloth selected for the garment must be folded double, cut to the pattern given, then hemmed round the edges as indicated by the dotted lines. The sleeves are made separately, being afterwards sewn into position on the jacket.

When the reader’s mother or sister has finished the little scarlet coat, Punch’s head must be glued by its neck into the collar, a lace frill being afterwards attached to finish off the joint neatly. The hands from the Dutch doll should next be glued into the sleeves, and smaller frills similarly attached.

Before the head is stuck in position, however, a hole must be bored in the base of the neck just large enough to admit the tip of the forefinger.

For Punch’s nether garments two cylinders of cloth only are necessary. The feet from the Dutch doll must be glued into one end of each cylinder, whilst the other ends should be sewn individually inside the front of the coat.

A conical hat must next be made, and either glued or tacked to the head. After the hump has been well stuffed with wadding, Punch should have assumed an appearance similar to that of the gentleman depicted in Fig. 11.

Working the Figures

To “work” the figures the performer first puts his hand up the back of the coat, and sticks the tip of his forefinger in the hole in the head. He then places his thumb and second finger in the diminutive sleeves. By this means the puppet can be made to fling his arms about, and move his head in a most grotesque fashion.

The other puppets are constructed on practically the same lines; but in the majority of cases it will be unnecessary to provide them with knickerbockers and legs, as the audience see only the upper part of the bodies above the platform. In these circumstances the attire can take the form of a simple, long, loose gown, such as that worn by the Clown in Fig. 12.

Judy’s prepossessing features may be made from another of the dolls’ heads by substituting a beaked nose for the original organ. The lady’s dress consists of a gown made from some red spotted material.

By a judicious application of paint, and by gluing on colored tufts of wood for hair, the remaining heads can be transformed into craniums suitable for the other puppets.

The Ghost

The Ghost, however, may receive a little special treatment. One of the heads should be vividly painted in black and white to represent a skull. Then attach it to a wooden stick, decorated with a series of black rings, as shown in Fig. 13.

The body consists of a long white gown similar to the other dresses, the only difference being that the head is left quite free in the collar. When the mysterious visitor makes his first appearance his head is right down upon his shoulders, as in Fig. 14.

Directly Punch becomes too familiar, however, the showman can make the Ghost suddenly shoot out his long neck, thereby giving the old gentleman a bad attack of the “nerves.”

There remains one other piece of “stage furniture” to be constructed. This is the gallows—which plays such an important part in the exciting scene where Punch turns the tables on Jack Ketch.

Take a piece of wood six inches long, half an inch wide, and an eighth of an inch thick, and nail it at right angles to the extremity of another piece the same width and thickness, only eight inches long. A third strip of wood must then be nailed diagonally between the other two. The completed article will have the appearance of Fig. 15.

The end of the longer arm must be whittled to a blunt point, and a hole bored in Punch’s platform to receive it. Two small holes should also be bored in the short arm. They must be about two and a half inches apart, and a piece of string knotted in the first, then looped down and threaded through the second, as shown in the diagram. It is into this loop that the wily Punch persuades Jack Ketch to place his head, when the old fellow gleefully gives a sharp pull to the other end and hangs him.

To those readers who do not possess a dog, at first sight Toby presents a difficulty which it seems impossible to overcome. But all that is necessary is to cut the head from a wooden toy dog and attach it to a stiff muslin gown, over which some black paint has been spotted to represent the tight skin of a mongrel terrier. By placing the hand up the gown, this “Toby” can be worked similarly to the puppets.

Many professional showmen use what is known as a “Punch squeaker” for imitating Mr. Punch’s voice. Most boys, with their well-known genius for mimicry, will find it much easier to assume the high-pitched tenor of Punch without any artificial aid. However, for the benefit of those who are anxious to cheer the neighbors with the dulcet notes of the squeaker, instructions are given for making one.

First obtain a piece of tape six or seven inches long and half an inch wide; also two pieces of tin about two inches long and half an inch wide. Both pieces of metal must then be bent slightly in the center, and a single layer of tape placed between them. The remaining tape is next bound firmly round the outside, all being held fast with thread. The finished squeaker is illustrated in Fig. 16. Before being used it should be well soaked in water.

To produce the required sound place the squeaker between the teeth, half speaking and half blowing the words through it.

The story of Punch is so well known that most boys will be able to work out a performance of their own. But those who wish to give the correct version of the adventures encountered by our Hero of the Hump will find at any theatrical publishers’ a little book giving the complete dialogue.

CHAPTER XLVII
DISSOLVING VIEWS

Without a Magic Lantern

Previous to the introduction of the cinematograph, dissolving views ranked amongst the most popular of entertainments. By means of a specially-constructed magic lantern, a painted picture from a glass slide is thrown upon a screen. Then, at the will of the operator, the picture apparently dissolves into a haze, through which a second picture gradually makes its appearance.

Subjects are usually chosen which specially adapt themselves to such an optical illusion. For instance, a picture might be shown of a small country village, which slowly dissolves into a view of the same place several years after, when it has developed into a thriving and populous town.

But the specially constructed magic lantern necessary for these dissolving views is a very costly piece of apparatus, the purchase of which would entail the careful saving of two or three years’ pocket money. However keen a boy may be to provide some form of home entertainment for the amusement of his friends, such an alarming prospect would make his keenness dissolve as completely as the pictures he hoped to display.

It is the purpose of this chapter, however, to explain how an apparatus may be constructed for a small sum that will bring about effects similar to those of the special magic lantern costing many dollars.

Fig. 1 depicts the show as seen by the audience. It consists principally of a framework not unlike that of a model stage, the dimensions of which must be left to the decision of the reader. For the sake of convenience, however, it will be advisable to explain the method of constructing apparatus capable of displaying views about the size of a picture postcard.

A stage front similar to that in Figs. 1 and 2 should first be cut from either thin wood or stout cardboard. The size of a picture postcard is usually 3¹⁄₂ inches by 5¹⁄₂ inches. Consequently the opening in the stage front must be about 6¹⁄₂ inches by 8¹⁄₂ inches. This allows for a nice margin around each dissolving view.

It will be noticed from the diagrams that both sides of the show are fitted with two small rods, bearing miniature curtains. These are to prevent the audience seeing what the showman is doing “behind the scenes.” Their mode of fixture is explained in Fig. 3. Four pins, with their heads nipped off, are bent in the shape of a horseshoe, and a pair driven into each side of the stage front (A, Fig. 3).

The two rods, which can consist of thin pieces of cane, are then pushed into the sockets thus formed, and the curtains threaded upon them by means of a wide hem sewn along the top. The advantage of this method of fixture is that when the show is packed up, the curtains can be easily removed by merely pulling the rods from their horseshoe-shaped sockets.

The floor or base of the show must next be provided. Procure a piece of wood about 10 inches long, ¹⁄₈-inch thick, and of the same width as the stage front. A block of wood is then nailed or glued along one end of this, and the stage front fixed firmly to it (Fig. 2).

Having done this, make a journey to the nearest glazier’s, and purchase a piece of glass of about the same dimensions as the wooden base. This should not cost more than ten cents. Clean the glass thoroughly, and rest it against the top of the stage-front at an angle of about 60° (Fig. 3). Next take a picture postcard, and lay it on the wooden base between the end of the glass and the stage front. (See B, Fig. 3.)

If the room now be darkened, and a bright light thrown upon the postcard, its reflection will be clearly visible on the glass, and to those looking through the stage front it will appear exactly similar to the view projected upon a screen by a small magic lantern.

Should the reflection be at all lopsided, the angle of the glass must be altered until this defect is remedied. A block of wood, or an ordinary cigar-box, must then be placed upon the wooden base with its edge along the glass, and nailed securely in position. (See A, Fig. 4.)

Three pieces of cardboard are the next requisites. One piece is to be glued to the block of wood or cigar box at the back of the show; the other along one side, and the last over the top, as depicted in Fig. 4. It is now necessary to slide out the glass and paint the whole of the interior dead black.

Exhibiting

Whilst the paint is drying the young showman can turn his attention to the lights. These merely consist of two lamps—photographic dark-room lamps are most suitable, or a wax candle will serve quite well. Each lamp is provided with a cardboard shutter serrated at the bottom, as shown in Fig. 5. It is this serration that imparts the dissolving effects to the various views.

When the paint is dry the first exhibition may be given.

The room in which the entertainment is to take place must be darkened; the glass placed in position between the cigar-box and the stage front, and the lamps lit. Two picture postcards must also be obtained; the first being placed upright upon the cigar-box at the back of the show, and the other on the wooden base between the glass and the stage front. A glance at Fig. 4 explains this.

The two lamps must now be so arranged that the light from one, whilst brightly illuminating the first postcard, leaves the portion of the show behind the glass in complete darkness; and the light from the other falls solely upon the card on the cigar box.

If the shutter of the first lamp is now closed, and that of the second opened, the audience will see only the postcard at the back, set in a frame of dead black.

The exhibitor should then slowly press down the shutter of the second lamp, and simultaneously raise that of the first. The serrations—in one case gently cutting off the light, and in the other permitting it to stream forth gradually—will have the effect of making one postcard slowly dissolve from view, and give place to the reflection of the other.

The back of the show being in complete darkness, the glass acts as a perfect mirror, and whilst the audience are gazing at the reflection of the first card, a fresh view may be substituted for that at the back, without their being aware of the change.

Having accomplished this, the showman must uncover the second lamp and push down the shutter of the first. The result will be that the reflected view fades from sight, and the fresh picture postcard is displayed.

It is then a simple matter to slip the card already used from its position between the glass and stage front, and insert another in its place.

In this manner a succession of views may be made to dissolve into one another.

As has already been mentioned, there is no limit to the dimensions of such a show—the showman being guided by the size of the pictures he is able to obtain. Picture postcards are always procurable, and no difficulty should be experienced in obtaining slightly larger views from magazines, art catalogues, &c.

Of course, in the very large shows a much brighter light is required, and four lamps must be used instead of two.

CHAPTER XLVIII
INDOOR FIREWORKS

Without the Use of Explosives

A firework display without the employment of brimstone and saltpeter is somewhat unusual. But it is quite possible to give such a display, and to do so without the heavy expense usually attending Fourth of July pyrotechnics.

It is first necessary to make a frame or “stage,” upon which to present the firework display. In appearance this frame greatly resembles a three-winged clothes-horse; in fact, one of these humble home “thoroughbreds” may, after slight alteration, be easily pressed into service.

The question of dimensions rests entirely with the exhibitor. Fig. 1 shows a diagram of the frame. As will be seen, its front is divided into two compartments, A and B. The lower compartment, B, is occupied by a scene of some Exposition Building. This must be made of cardboard, and can either be permanently nailed to the frame, or so constructed as to slide in and out between two grooves. The advantage of the latter mode of fixture is that when the owner of the firework show tires of one scene he can readily substitute another.

To represent the windows and glass domes of the Exposition Building, small squares should be cut from the cardboard scene and tissue paper pasted over them. When a light is placed behind, the effect will be very pleasing, and will considerably enhance the reality of the firework display.

After draping the two side wings (C and D, Fig. 1) with red or green cloth, the framework or “stage” may be set aside, and attention paid to the fireworks themselves. They are by no means of a character calculated to send cold shivers down the backs of timid parents. Fig. 2 shows a portion of one. It simply consists of a piece of cardboard, slightly larger than the top frame (A, Fig. 1).

A design similar to that in the diagram must be lightly penciled upon it. Then, with a rather coarse needle, prick out this design with a series of small holes, through which the light can easily penetrate. It is also necessary to make four larger holes at each corner of the card, and to drive four wooden pegs or nails into the corresponding corners of the frame. By means of these the cardboard design can be quickly removed from or fixed to the “stage.” (See D, Fig. 4.)

From another piece of cardboard cut out a wheel about 6 inches in diameter, and of the shape shown in Fig. 3. The numerous spaces between the spokes should be filled with pieces of transparent tissue paper of various colors.

A small stand upon which this wheel can revolve is the next requisite. This simply consists of a flat wooden base, with two wooden uprights glued firmly upon it. These uprights are connected at one extremity by a short piece of wire—an ordinary pin will serve the purpose excellently—forming an axle for the cardboard to revolve upon. Fig. 3 makes this quite clear.

Now to test the effect of the first firework.

Fix the cardboard design in the upper portion of the frame, and stand the whole upon a table. Then take a magic lantern (B, Fig. 4), or, failing this, a bull’s-eye lantern or cycle lamp, and focus its rays upon the cardboard design. Next place the “wheel” (C, Fig. 4) in such a position that the beam of light shines through one of the tissue paper films, and then continues its original course to the screen.

When everything is in position, the room in which the display is to take place must be darkened. Having done this, grip the edge of the “wheel” by the thumb and forefinger, and spin it sharply round.

As it swiftly revolves various colored beams of light will be thrown in rapid succession on the cardboard screen, and, penetrating the minute holes, will present the appearance of a fountain of brilliant, life-endowed sparks.

The Firework Boxers

But our firework show gives scope for far better effects even than this. Some time ago great surprise was caused at an exhibition by the production of a firework boxer. With a little care and ingenuity, the same surprising result may be produced in the following manner:—

By means of a needle prick out two boxers in a defensive position (C and D, Fig. 5). The others must then be designed; only in this case, one boxer is administering the coup de grace to his unfortunate opponent.

Two grooved strips of wood are next glued to the top and bottom, as shown at A, Fig. 5, and two pieces of cardboard slid between them (B, B). These two cards should then be connected by three pieces of wire, as shown in the diagram, and have their corners rounded off in order to insure free movement in the grooves.

By pulling the left wire one pair of figures is hidden and the other revealed. Thus we have two firework boxers, who will fight a short but decisive contest.

There is another type of “indoor firework” working on the same principle as the above. A reference to Fig. 6 will put the exhibitor in possession of all its details.

At first only the central “Catherine wheel” is seen by the audience. Then, on the wire to the left being pulled, and the cardboard to which it is attached raised, a fountain of fire shoots into the air and bursts into a number of stars. A similar occurrence takes place on the right, and by pulling the central wire the “Catherine wheel” is made suddenly to vanish and give place to the spectacle depicted at D.

Care should be taken when manipulating these “mechanical” fireworks that the hand does not come between the light and the framework.

Of course, on the above principles, numerous other designs may be made for the show, and a stock of “fireworks” manufactured that will dwarf any supply.

CHAPTER XLIX
HOW TO MAKE A TELEPHONE

For Use at Home

It is quite easy to make a telephone, which besides affording amusement, will, at times, be found extremely useful. Fitted from the ground floor to the rooms above, or from your friend’s house to your own, it is impossible to overestimate its convenience.

Of course it is quite possible to buy the parts of a telephone ready made and fitted together, but it is much more interesting to construct the apparatus yourself.

The whole affair is so easily and cheaply made that no difficulty can possibly be experienced, and you have only to exercise care in order to succeed in constructing a very handy and interesting machine.

For the apparatus to be of any practical use, a pair of receivers are required—one for the person speaking, and the other for the person listening.

First of all purchase two bar-magnets, i.e. straight and magnetized at one end only—not the ordinary horse-shoe magnets. These bar-magnets should be about four inches long, and can be bought from any electrician; at the same time obtain from him an ounce of silk-covered wire, No. 36.

Before taking the magnets from the shop it would be as well to test them. This can be done by placing the marked end of one to the unmarked end of the other, and unless the former is able to support the weight of the latter, do not take either, but insist upon the electrician giving you stronger ones.

Having made your purchase, set to work upon the actual apparatus. The first things to be made are the wooden cases for the magnets, and these require care in construction.

From a straight broom-handle cut off two lengths, each a little longer than the magnets, i.e. about 4¹⁄₂ inches long, and split them carefully down the middle with a chisel. Along the center of each of these halves cut a groove (B, Fig. 1a), in such a manner that when the two halves are put together they fit properly, and there is room for the magnet to slip backwards and forwards in the hole running through them. Now glue the parts together and you will have two short wooden tubes, or magnet cases, as shown in Fig. 1b.

Making Mouthpieces

Having made the cases for the magnets, now make the mouthpieces. Procure two wooden boxes such as boot-buttons are sold in, and glue one to the end of each of the wooden tubes you have just made, cutting a hole in the bottom of the box to correspond with the bore of the case. In Fig. 1a you will see the work, so far as you have completed it, shown in section. In the lid of the box cut a clean hole the size of a dime right in the center, but this lid must not be fastened to the box just yet.

The next things to be made are two bobbins upon which to wind the wire—one for each instrument. Cut a piece of fairly strong cardboard about ¹⁄₄-inch wide and just large enough in circumference to fit the marked end of the magnets tightly. Divide your No. 36 wire into two equal lengths, and wind each piece around the bobbins, leaving the two ends free to the length of about two inches.

Next slip the magnet, M, into the groove, and push it through so that the bobbin, L, is contained in the box C, Fig. 2. Make two holes in the bottom of this box, pass the ends of the wires through them and fasten them with binding screws, as in the illustration H, Fig. 2.

The thin plate which vibrates with the voice must next be made. Obtain a smooth piece of very thin sheet-iron—of just such a texture as is used by photographers for ferrotypes. Take the greatest care to keep this perfectly flat. Cut two round pieces large enough to cover the mouthpieces as you will see in P, Fig. 3, where it is shown in section. Take the lid in which you have already cut the circular hole and fasten it to the box in such a way that it keeps the iron plate in position (Q, Fig. 3).