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.

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.

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.

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—

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.