The modern stereopticon has almost entirely superseded the old-fashioned panorama, so popular a quarter of a century ago.
Your parents will probably remember with what delight those itinerant exhibitions were greeted by the young people of those days; how the very handbills, those wonderful precursors of so many entertaining spectacles, were studied and commented upon, and when the happy day came, how we all rejoiced to see the manager enter the school-house door, and after a few words with the teacher, address the school, and offer to us children an afternoon exhibition, for the trifling sum of ten cents apiece, if enough could be induced to attend.
The panoramas the writer remembers most vividly occurred during the war of the Rebellion, and as the subjects of the paintings were of a very patriotic character, we had little difficulty in urging our parents to permit us to go; and the afternoon session of the school was gladly sacrificed for so good a cause.
The battle of the Monitor and Merrimac, was a favorite subject, and, as the vessels moved to and fro, and sent forth from their tiny port-holes volleys of real fire and smoke, while a big drum, out of sight, gave forth the answering boom, the scene was very impressive, and struck a kind of fascinating terror to our childish hearts.
After the many accounts and fine illustrations which subsequent readings have given, at the simple mention of that famous battle, my mind instantly wanders back to the darkened hall, filled with boys and girls, all intently gazing at the sham battle in progress before them; while far back in the rear end of the hall stood the two brass field-pieces, captured from Burgoyne at the battle of Saratoga, nearly a hundred years before, grim and awful, and silently waiting for the time when they should be called to take their place in the mighty conflict then so fiercely raging in our land.[1]
1. This building was erected for an armory, but served the purpose of town-hall as well.
But finally the war ceased; and after all, the only part the old cannon played was to thunder forth resoundings of joy, which shook our old town to its very foundations, when peace was again restored.
Although children’s hearts will never again be gladdened by these great, clumsy shows, there is no reason why the little toy panorama should also be banished from among us. The mere delight of making it is sufficient reason for its existence, and when it is once finished it will continue to be a source of enjoyment to each little member of the household in turn.
The simplest form this can have is represented in Fig. 1, the foundation being a small soap-box, the rollers, sections of a broomstick, with small wooden pins glued into each end, which extend through holes made in the box for that purpose. The pictures, taken from any illustrated paper, are all cut the same width, about an inch narrower than the length of the rollers, and pasted together at their ends, the only limit to the length of this strip being the capacity of the box.
When the paste is dry, attach an end to each roller. It is necessary that the upper peg of each roller be also fitted with a strong crank, as an even motion is requisite for the proper display of the pictures; and this crank can be made in two ways: first, like Fig. 2, where a piece of wood is nicely fitted and glued on the pin, or like Fig. 3, which is the better arrangement, where a stiff wire is bent into the shape a, and then passed through two holes pierced through the crank-pin as shown at b; this arrangement securing the needful firmness, the projecting ends of the wire are then bent, the upper one upward, the lower downward, so completing the crank.
After the mechanical part of the panorama is finished so that it runs smoothly, two strips of stiff pasteboard can be fastened over the front, corresponding to the dotted lines a and b in Fig. 1, which will hide the rollers and give a neater appearance to the whole. If liked, a second piece of the pasteboard can be cut, in length corresponding to the width of the box, and wide enough to cover the cranks, and extend down to the top of the pictures.
When exhibiting the pictures, place the box on a table with its front well lighted, turned toward the audience, and turn the pictures slowly, by an even motion of the cranks, pausing slightly at each scene, at the same time giving, if possible, a brief description of the thing illustrated, as this will add considerably to the enjoyment of the little folks. I forgot to add, in its proper place, that for a final finish the whole thing should be covered with any pretty paper at hand. Nice wall-paper or even common brown wrapping-paper gives it a neat appearance.
Having thoroughly mastered the construction of the simpler form of the panorama, a more elaborate one can be made by simply devoting to it considerably more time and attention; but as this is greatly superior to the other in every respect, it is well worth the extra trouble.
This will necessarily require a much larger box than the one previously described. For convenience in description, suppose we have a soap-box two feet long, twelve inches high, and eighteen inches wide. We shall first take away both top and bottom, then standing it upon its side, we have the frame-work of our structure, which is still two feet long, but now eighteen inches high, and twelve inches deep, that is from front to back; next, we cut from the discarded top a false bottom, or shelf, like Fig. 2, which, if your box is of seven-eighths inch material, will measure twenty-two and a quarter, by eight inches. Mark the point a, four inches from one side of the board, and equidistant from the ends; through this draw the line b c, five inches long on each side of a, or ten inches in all; mark at three and one-half inches from the ends of the board the points d and e, and draw the lines b d and c e; then cut out the piece thus marked off.
The holes at the bottom for the rollers are four and one-half inches from the back f g, in order to insure that the line of pictures when in motion shall not fall back from the line b c, and are equidistant from the ends of the board and the oblique lines b d and c e, to secure as much room as possible for the roll. Make corresponding holes in the top of the box, taking particular care that they are exactly above those in the shelf, when that is in position. The rollers are made from sections of broomstick, with holes bored in the ends, and the wooden pins glued firmly in place. Remember that the upper set of pins are to be much longer than the lower to allow for the insertion of the crank. These rollers are about eleven and one-half inches long, and when the glue has thoroughly dried, should be put in place and kept there by inserting the shelf, and fastening it in place by nails driven through the sides as at i i, in Fig. 3.
Fig. 3 represents what is called a horizontal section; that is, the work is supposed to be cut across from front to back, a little way above the shelf just mentioned, and the observer is supposed to be looking downward at it. Fig. 4 represents the work in an upright position, and the observer sees the front of it.
From the top of the shelf to the lower outside edge of the box should be just five and one-half inches. Next come the two uprights, a b, c d, Fig. 3, and A A, Fig. 4. They may be made from the bottom of the box, which was taken out, it will be remembered, and let their width correspond to a b and c d, Fig. 3. Round off the edges at a and c, and smooth it with sand-paper, as it would soon tear the pictures if left in a rough state; place these two boards in position, and secure them by nails at the top and bottom. Now cut two oblong pieces from stiff cardboard, as long as these wooden uprights, and wide enough to cover the spaces left at e b and d f, and tack these in position; they are shown by dotted lines in Fig. 4.
From a thin board cut two other strips to cover the spaces g h, but leave the placing of these till the work is nearly finished. A board two feet long and about three inches high is also necessary for the lower edge of the front, and should be put on after the other parts are in position, to hide the flame of the foot-lights (consisting of a row of short candles) from the spectator. The two pieces like Fig. 5 are made of pasteboard and are designed to furnish the upper and lower portions of the frame for the pictures. Their position is indicated by dotted lines in Fig. 4. As it is somewhat difficult to arrive at the exact proportions of these irregular pieces, without the actual box before one, it will be easier to leave this to the maker, as it is simply necessary to take a stiff piece of paper and place it in the position desired; then crease the lines so that they shall meet the proper points on the uprights; the lower piece comes up to the top of the shelf, and the upper piece comes down just below the top of the picture. After fitting this paper, it is an easy matter to trace the form on the pasteboard, taking care that all the lines are perfectly straight. The curtain should be next adjusted, and a piece of dark blue or green cambric is best suited for this purpose.
Cut (do not tear) from your cloth a piece of the required size, making sure that the sides are at right angles to each other, and prepare another roller from your broomstick twenty-one and one-half inches long. This roller is seen between e and f in Fig. 3. Paste or glue one of the ends of the cloth, which corresponds to the length of the roller, smoothly around it; now letting this roll just touch the floor, draw the other end up evenly, and tack it along the under-side of the top of the box, on a line three inches from the edge. In order that the curtain may roll up smoothly, it is best to mark straight lines with a pencil and ruler, on both roller and box, and adjust its edges carefully to these lines.
Just in front of this line, and at two inches from either end, tack to the box the ends of two pieces of fish-line, and, carrying the strings down the front of the curtain, bring them under the roller, up on the other side, and through two small holes bored for the purpose in the top of the box, about three and one-half inches from the ends; next bring the two strings together, and pass them through a screw-eye placed at the middle and back edge of the top to receive them. At one side of the back, in any convenient place, drive a small nail to wind the strings upon when the curtain is up. By simply undoing this, the curtain can at any moment be made to fall. It is also well to tie the two strings together, and fasten a button to them just back of the point where they pass through the screw-eye, when the curtain is down, and they are evenly drawn, as this prevents an extra play of the cord, and obviates entirely the danger of their slipping. Before the curtain is nailed on, it is best to paper the whole beveled surface picture frame with some neat plain paper; very dark red or green “velvet” house-paper being preferable to all others.
After the curtain is in a good working condition, fasten on the two uprights, g and h, indicated in Fig. 3, and the long piece across the front which you have already prepared; make a fancy design for the top out of stiff cardboard, taking especial care that it is wide enough to cover the cranks on the top, while at the same time it extends low enough to cover the upper edges of the curtain and the rough unfinished wood in front.
Cover the outside and edges of the box with fancy wall-paper, letting it extend well over on the inside, wherever there is the slightest danger of that surface being exposed to view; and lastly, fasten the long strip of pictures on the rollers, and nothing is wanting but posters and tickets, to insure a first-class show, of the best approved, old-fashioned style.
The term Repoussé is applied to any sheet-metal in which a pattern is hammered out or left in relief, by means of a hammer and common nail, or a regular tool made for the purpose. It does not simply refer to brass-work, but applies equally to work of like character either on silver or gold.
If you have friends who have made the voyage of the Nile, you have probably seen the beautiful silver bracelets bought by them of the Nubian workmen as souvenirs of their Eastern travels. These bracelets are made, I was told, by the natives of the interior, with simply a nail and a stone, but the effect is very artistic and pretty. So, if ignorant Nubians can make these beautiful things with such primitive tools, certainly an intelligent American lad can do equally good work, with a little instruction and better materials.
This work is chiefly produced by means of a punch and hammer. An ordinary tack-hammer can be used, but that generally in use by most workers is of rather peculiar shape, like that in Fig. 1.
The round end will be found very useful in working from the inside of the pattern, which will be explained hereafter. The punches are of various forms; but a set of common board nails of different sizes, and varying shaped ends, make good tools for beginners. A very nice piece of work can be done with a common French nail whose end has been ground flat.
It is desirable that a beginner should practice upon the thinnest sheet-brass until he becomes perfectly acquainted with the use of his tools. Brass can be obtained for about twenty-five cents a pound, and one-quarter of a pound of No. 25 will be amply sufficient for this practice.
A tool which is of great assistance in all brass work is a dull chisel or screw-driver, with a serrated edge, so that a dotted line is left when it is pressed upon the metal; however, if this is not readily procurable, a common screw-driver will answer the same purpose in most instances. In this practice, the first thing to be done is to draw a line of some design upon the brass with a soft lead-pencil or with impression-paper, taking extreme care that this line is precisely like that in the copy, as all irregularities should be corrected in the drawing, and none left for the punch. It is, indeed, very difficult to make the proper corrections after the work is commenced. Then having traced your line as perfectly as you can do it, lay the brass upon a piece of soft wood, and with the end of the screw-driver pressed evenly upon the line, give the head a light blow with the hammer; then move the blade along the penciled line, so that its edge shall just touch the end of the last indentation, and give it another slight tap with the hammer. If you strike with too much force your line will be unequally deep in some places, and your work will not present as good an appearance when finished. This process should be repeated along the entire design, and a perfect unbroken line should be the result. Until this is accomplished it is best to attempt nothing further. After you have succeeded in making one unbroken even line, mark two parallel lines upon the metal, and do them in the same manner. When these present a satisfactory appearance, trace some very simple design upon the same thin sheet, and after nailing the sheet at each corner to the block, commence with the chisel and mark lightly around the figure. It is often necessary to do this tracing over two or three times during the process of working, as too deep denting at first warps, or, as the regular brass-worker would say, “buckles” your pattern. Now commence at the outside edge of your design, with your nail placed near the line, strike upon it with a light blow, and continue this operation until your whole background is covered with little dents, and presents a thickly mottled appearance. When this is removed from the block, the pattern will seem to stand out from the rest of the surface.
Care must be taken at first not to crack or break holes in the brass, but after a little practice, and a thicker quality of brass is used, you will learn to avoid this danger.
When quite confident in the use of your tools, you can proceed to make a card-receiver decorated with an antique head, as in the figure; or by enlarging the design, and making the background circular, a plaque will be the result, which will be useful for holding fruit, or, set in a velvet frame, will make an ornament for your walls. A sheet of brass nearly one-eighth of an inch in thickness, and at least seventeen inches square will be required.
As in work of this character a deeper relief is desirable, you will find it more agreeable to work over a bed of composition, which is more yielding than wood, and can be made with but little trouble; this composition can be obtained in small cakes at any store where jewelers’ tools are for sale; but you can easily make it yourself by thoroughly mixing fine sand, well-sifted wood ashes, or even brick-dust, with equal parts of pitch or resin; a tiny bit of tallow improves it considerably. This pitch bed, as it is called, can be spread on a flat table or board, and the sheet of brass, after the design has been carefully traced thereon, fastened down upon it by means of four screws at the corners. To draw the design for the plaque, with a strong pair of carpenter’s dividers describe a circle whose diameter shall be sixteen and one-half inches, and within this draw a second circle, with a diameter of fifteen inches. The space between these two circles is to be left untouched, as it will be turned over to inclose the wire which forms the edge, if for a platter; or will extend under the edge of the velvet, if intended to be framed. Be sure and put your screws outside the large circle, as holes in the body of the plaque would ruin its effect. In this work heavier blows with the hammer will be needed; and a large, well-shaped nail used for the background. Work around the pattern until it stands out in line relief.
The brass will become discolored and black during the process of hammering; but, when done, it can be readily cleaned, at first with oxalic acid and rotten-stone, then a final polishing with chamois-skin.
When well polished, take it to a tinsmith and he will make it up for you as a platter, or trim and bend the edges for a plaque.
In making the card-receiver, take the design off on tracing-paper, and then carefully trace it with a sharpened stick or end of a bone crochet-hook, over the impression-leaf on the sheet of brass. In this also the relief should be high, thus rendering it necessary that it should be hammered on the composition-bed. Polish and finish this in the same manner as the plaque.
Foxing, or sticking the metal to be embossed upon a block covered with pitch, is a favorite method with many workers. The block can be of iron or wood, and should measure eight or nine inches across; this rests upon a deep ring of straw, which is readily made by an ingenious boy, as it simply consists of the twisting several wisps of rye straw in the form of a large cable, and then bending them into a small ring of even thickness. Catch them in place with a large darning-needle filled with wrapping-twine. Nice rings, made of leather, and designed expressly for this purpose, can be obtained in the trade, but the home-made ones answer as well for any work a novice would be competent or even desirous of undertaking. The top of the block is covered with pitch, which should be warmed, and then given the slightest possible coating of oil, whenever a new object is to be placed upon it. Care must be taken that too much oil is not used, as in that case it will be impossible to make the surface of the brass adhere to the bed. In work of a nice nature, where the lines are many and fine, and the background complicated, this is by far the most satisfactory bed to use, and when the metal is “annealed” it will be found invaluable.
When working in very heavy metal, it is often necessary to soften it somewhat, especially if a deep relief is desired. This is accomplished by placing the plate upon a bed of glowing coals, and allowing it to remain there till it becomes soft, but not in the least melted, and then removing it with pincers. Hammering upon the cold metal is inclined to make it brittle, and at times slightly unmanageable, and this unpleasant quality can be overcome by annealing; but so much care and patience are required to accomplish this process successfully, that it is not very popular with young workers. In many larger designs, a very high relief is obtained by turning the brass after the plaque has been hammered upon the right side as much as seems necessary, and with the round end of the hammer sending strong, even blows into the figure, at whatever points the highest work is desired. By annealing the metal, and working the pattern from the inside after the background is finished, a very fine bunch of well-rounded grapes is easily formed, and makes a very nice subject for a fruit-dish or dining-room plaque. A dragon, and the emblem of St. Mark, both make unusually fine designs for a mediæval plaque.
As you become more expert in this art you will constantly desire new punches. Designs will suggest themselves to you, and it will be impossible to obtain them ready-made, so it is well for a boy to learn to make his own tools. A kind of square steel wire about one-eighth of an inch thick is made for this purpose, and can be bought in any quantity; this can be cut with a file, and the ends formed into the desired shapes.
A very beautiful salver, which will not only be ornamental but exceedingly useful, can be easily made by one accustomed to work upon sheet-brass. A piece twenty by fifteen inches in size, and about one-eighth of an inch thick, will be required for one of medium size. Strike off with the dividers a quarter circle in each corner, to give it a slightly oval effect, and draw a line around the salver parallel to the intended edge, and one and three-fourths inches from it. The entire central surface can be hammered in the honey-comb pattern, which is so popular just now, and is done with a perfectly straight-edged punch, its length determining the side of the hexagon, or if preferred the pentagon, as both forms are equally attractive; or it may contain some graceful design done in low relief. The more original the design the more unique the salver, provided it is artistic and in harmony with the object and use for which it is intended.
It would be well for all young workers in brass to examine carefully any work of that nature which comes within their field of view, especially any antique or foreign brasses, with a view toward perfecting their own designs, or gaining ideas for others.
When the work on this salver is completed, take it to the tinman, and tell him how you wish it made up, and he will do it for you for a very small sum.
For the past few years there has been an increasing passion among young girls for the little round bangles, which tinkle so musically with every movement of the slender white wrist, that we are forcibly reminded of the old nursery rhyme:
And as it has long been a matter of rivalry, as to who should display the greatest number of these resonant favors, it is quite certain that one of the pretty trifles will make a very acceptable present to any of your sisters or girl friends you may desire to please. They are usually made from ten cent pieces, but occasionally a bit of silver no larger than an old-fashioned three-cent piece is used. The coin is beaten or rolled flat, and the giver’s initials or monogram, with perhaps a date, is engraved on one side. Now a much more unique and artistic thing could be made by annealing the coin, and beating its surface flat on some firm, hard bed. After the silver is reduced to the proper size and thinness, with a pen or pencil draw some odd designs, and hammer it in shape with a small, blunt-pointed nail. Ancient coins, such as are frequently on exhibition in store windows, afford excellent subjects for this class of ornaments. When the design is well indented, the work can be cleaned by boiling it in sulphuric acid and water, and polishing it with chamois-skin.
A bangle bracelet can be easily made of hammered work, from a narrow strip of sheet-silver, which can be obtained from any silversmith at a small cost. The design is to be traced on the silver in the same manner as upon the sheet-brass, and great care must be taken in the working out of each little detail. When the work is finished, it should be sent to a jeweler to be made up and polished. This is of course an expensive, as well as a very nice piece of work, and should not be tried until considerable skill in the manipulation of sheet-metal has been acquired, and success seems in a large degree certain.
Many ladies are fine workers in repoussé, and it cannot fail to be a source of satisfaction to every one interested in the art to know, that each year its merits are becoming more fully known and appreciated by that great class of people, whose purchases govern the prices of all artistic things. Now, boys, I have simply touched upon this very interesting subject of repoussé, and given you a few directions, culled from my own experience. If, however, I have succeeded in stimulating in you a desire to pursue this subject further, you will find many excellent helps, in the form of books or pamphlets, in any of our large stores devoted to artists’ materials and supplies.
A fine frame for any kind of plaque, whether repoussé, porcelain, leather work, or papier-maché, can be easily made from a square piece of wood, about six inches wider than the subject to be framed; this can be beveled at the edges, or left as when sawed. In the center, with a strong pair of carpenter’s dividers describe a circle, whose diameter shall be half an inch shorter than that of the plaque. Bevel the front edge of this opening, then covering the whole front surface of this wood with thin glue, lay it, face downward upon the piece of plush or velvet, intended to cover it; the material lying flat and smooth, with its raised surface downward, upon an uncovered table. Cut the center of the cloth away, allowing enough on the edge to draw over the opening of the frame; slash this to within a short distance of the wood, that it may lay evenly when finished; now glue this firmly down upon the back, and bring over the outside edges and fix them in the same way. When this is dry, fasten in your plaque with brads driven into the back of the frame, and extending over the edge of the opening at its back. Finally, when certain all is securely fastened, wet a piece of brown paper, cut to exactly cover the entire back of plaque and frame both, cover it with paste and press it in place. It is necessary to wet the paper first, to prevent its wrinkling or forming great bubbles when dry. When the paper is dampened, a bit of paste around the edge is all that is necessary to hold it in place.
After this backing is completed, a couple of screw-eyes and a wire cord are to be added, and your plaque is ready for your walls.
The name aquarium was formerly sometimes given to a tank or cistern placed in a hot-house, and intended for the cultivation of aquatic plants; but in later years its signification has widened, so that it now embraces animals as well as plants in its category. Its use seems to have been known nearly a hundred years ago, and a number of gentlemen, in the latter part of the eighteenth century, made several successful experiments by means of this “scientific plaything,” as some writer has happily called it. The aquarium can be used for either salt or fresh water animals, the former necessitating a residence conveniently near the sea, for the purpose of occasionally replenishing it with a fresh supply of the water. It may be an ordinary globe, or it can be made of slabs of heavy glass, fastened inside an iron frame-work, with a peculiar kind of cement, made specially for the purpose. They can be obtained in different sizes at several places in New York and other cities, and as the materials in themselves are expensive, and the work of making one usually results in a series of disappointments, and finally, in total failure, the expediency of buying one ready-made cannot be too strongly urged upon the young naturalist. Although the large aquarium accommodates more inmates, the globe is much more easily cleaned, and answers equally well for a few fishes, as the one in my window will testify. As fresh-water animals and plants are more accessible to the larger proportion of boys in the country, and the globe much cheaper, while it occupies less space than the large square articles alluded to above, it may possibly not come amiss for me to give, for the benefit of those of my readers who are interested in the subject, a description of my own fresh-water aquarium, and what little experience I have derived from it.
It is a globe of ordinary shape, and has the capacity of a common water-pail. For several years it was stocked with gold-fish, but it was, moreover, a source of ceaseless anxiety and trouble. The fish would die or turn black without any apparent cause, and, still worse, would frequently have what we termed “fits” in the night, and jump out of the globe on the floor, where they would be found, cold and lifeless, in the morning.
The experiment of keeping these decidedly troublesome pets was finally given up, and the empty globe placed high and dry upon a closet shelf.
One day nearly a year ago, a young member of our household brought home three small fishes (the common dace), and begged so hard that the globe might be brought out, and converted into the family fish-pond once more, that we finally consented, and the little fishes were soon at home in our library window. Not more than a week after this, a genuine mud-turtle was added to the collection, and, strange as it may seem, these little creatures have lived at peace with each other ever since.
We covered the bottom with a few pebbles from the brook, and afterward added some sand and a handful of shells from the sea-shore.
We experimented with several species of water-plants, but were convinced that a tiny fine-leaved plant, of which I have forgotten the name, but which grows very plentifully in our northern fresh-water brooklets, and the vallisneria Spiralis, or common tape or eel-grass, gave the greatest satisfaction on the whole. With these little plants growing on its bottom, we are not obliged to change the water for several days at a time.
In bright sunny weather the plants give forth plenty of oxygen for the fishes to breathe. This can be readily seen by noting the little air-bubbles adhering to the leaves and stems, or rising slowly to the surface of the water; but in cloudy weather this gas-making process diminishes, so that after awhile the air becomes vitiated, and the fishes, finding it hard to breathe, are forced to swim near the top, with their heads at the surface of the water. At such times it is well to introduce fresh air into the water, by filling a cup with the water, and, holding it an inch or two above the surface, pour it slowly back into the globe; by repeating this process several times the water is made comparatively pure once more. Another and easier way of accomplishing this is by using a small syringe instead of the cup; but care must be taken in either case to avoid hitting the fish with the descending stream.
Their food consists of angle-worms and flies in summer, and bits of fresh meat cut very fine with the scissors, during the colder portions of the year.
The globe answers equally as well for salt as for fresh water fish, provided its inmates are not crowded and are supplied with a sufficient quantity of good sea-water. In obtaining this supply, it is desirable to have it dipped from deep water some distance from the shore, or from the channel if possible.
In preparing your globe, put a handful of gravel and sand on the bottom, then with three or four irregular stones build a cave or little arch, for the fishes to play beneath.
Although some authorities say that the aquarium should be kept in the shade, the one with which the writer was familiar through childhood always stood in a south window, which was only partially shaded by some great trees in the garden beyond.
Occasionally, on very sunny days in spring or early summer, before the leaves were fully grown, a newspaper would be placed between the glass and the window-pane, or over a corner of the top, to give the desired protection; but the tiny cavern usually supplied sufficient shade, and it was ever a source of unabating amusement to watch the little fellows swim in and out through the arches, darting now here and again there, hiding in the shadow of some moss-grown stone, to spring out a moment later upon an unsuspecting companion swimming leisurely by; their little games of hide-and-seek and of tag were very entertaining to witness, and we children would frequently find ourselves quite excited over the success or failure of our special favorite in the game.
As the aquarium of which I speak was a large one, it frequently had several inmates at the same time; among these the little nippers, or, as the dwellers along the coast of New York State call them, killie-fish—so named by the Dutch settlers from their frequenting the little kills, or inlets, along the shore—always held a conspicuous place. Indeed, these little fishes seem to be blessed with a long string of names entirely disproportionate to the size of their tiny little bodies. In some places they are known as minnows, while on the shores of the Narragansett they retain their old Indian name of Mummychog. They are a bright, lively little fish, darting through the water with such rapidity, that you hold your breath in fear lest they dash themselves against the glass at the end, but they never do; just as contact with it seems a matter of certainty, they suddenly turn a sharp angle, face about, and perhaps come to the front and peer at you through the glass, with their funny little faces pressed up close to its surface. They are of a greenish-gray color upon the back, which gradually shades to a bright silvery tone at the sides, and their eyes, which are large and staring, have a very mild, good-natured expression.
Very different from these are the sticklebacks (Gasterosteus), also fine subjects for the aquarium, for a more pugnacious or plucky little fellows it would be hard to find than these graceful little tyrants, which in early spring are found in our creeks and salt-water ditches in great abundance. As this is the only season of the year in which they can be captured, it is best to be on the watch for them during the last of March or the first of April. A dip-net, made of a piece of mosquito netting caught over a small hoop, and attached to a long, slender handle, is best for catching all kinds of fish for the aquarium, and the shores of bays or salt-water streams supply a greater abundance than the open sea, or the shore washed by the heavy ocean waves. If your globe is the vessel you are to use, the sticklebacks will afford you quite as much amusement as any fish you could find, for aside from their quick, lively manner, they are a very handsome fish. The male is of a rich ruddy color, his little silvery sides giving forth gleams of red or blue, which vary considerably, according to his temper. If he feels quiet and peaceful, they are pale and soft in tone, but if indignant, they become very brilliant, and the little chap with his savage, fiery eye, becomes an object of great respect and terror to all the other denizens of the water within reach of his teeth or sharp little spines. The female is less brilliantly colored than the male, is blunter in build, and has a comparatively mild disposition, leaving all little differences with other fish for her liege lord and master to settle, for which duty he is perfectly well fitted and takes great delight in performing; indeed, so quarrelsome were these little fellows, that they would soon kill all fish of other species in the tank, and when no other subject was at hand, would fall to and fight one another, biting as ugly dogs might do, and spearing with their tiny spines, till one had acquired complete supremacy over all the rest. It is very interesting to watch the process of their nest-building, and to see them, like so many lilliputian carpenters, lay the sticks and hairs in place, working as if their whole life depended upon their unceasing exertions. We used to put in bits of broom-corn split in threads, and bristles from the floor-brush, for materials; and the work of building would generally occupy three or four days. The nest was built in one corner of the box (we were obliged to keep the sticklebacks in a separate glass case, as they killed all the other fish if together) and well up on the sides, with a tiny round hole at the top for the fish to go in and out. After a short time—I do not remember now just how long—hundreds of little fish came out from the nest, and were very lively for two or three days, but in a week they were all dead, and the parents had the waters to themselves once more. We never succeeded in raising the young fish, I remember, but I do not now recall whether any reason was ever ascribed to our failure, or if it was even known.
But to go back to our large aquarium. Fortunately for us, not many fish are as quarrelsome as the sticklebacks, and most of those I shall now describe live together in perfect harmony. The young of larger fish do very nicely for a time in the aquarium, and a young eel is a rather amusing although somewhat sluggish fellow to keep.
The most amusing denizens are creatures of the crab family. The little hermit-crabs, found in quantities on any shelving beach of the bay or sea inlet, create much sport for the young naturalist. These little crabs, you must know, are soft little fellows, for whom nature in a frugal moment prepared no house or covering to protect them from the thumps they might receive from both water and stones; but the little fellows, with a shrewdness one would hardly suspect in creatures so small, rise equal to the occasion, and help themselves to the empty snail-shells left by their more fortunate neighbors. When small they occupy the little black snail-shells, moving from a smaller to a larger as they increase in size. After outgrowing these plainer homes they take possession of the pretty grayish-white shells also found in abundance on our shores. It is frequently quite amusing to watch two fight over a particularly desirable one, which either has chosen for its own, and ofttimes the battle will be long and heavy before either will give up that which he considers by rights his own. If you have one or more of these little wanderers in your globe, remember to put in two or three empty snail-shells for them to flee to when they have outgrown their present abode. Their manner of eating affords a very entertaining spectacle. Clams, either soft or hard, cut into tiny bits, form the principal food for all the dwellers in the aquarium, and a long stick with a needle driven in one end, to form a tiny spear, is used in passing it to them. When a particular crab is to be fed, a bit of clam is taken up on the needle, and lowered down in the water to a position directly in front of him. At first, before he has become acquainted with this mode of dining, he draws in his claws, and nothing but the shell is to be seen upon the bottom; but in a few moments the little fellow lets himself out again, little by little, with a quick, jerky movement, till at last his two little eyes stand in an upright position, and he is ready to seize the tempting morsel. This he does with his longest claw, and holding the clam firm in his grasp, he proceeds to pick it in pieces with the other long claw, and pass it along to the smaller set, which in turn give it to the next in order, until it finally disappears in the mouth itself, and is swallowed by the little creature.
It is important to have two or three snails in your globe to act as scavengers, and keep the water free from the refuse which would otherwise remain on the bottom. These little creatures are often seen moving slowly along on the surface of the glass, feeding upon the green moss or confervæ which accumulates so quickly on all the objects under water. The pipe-fish, a peculiarly shaped specimen, comparatively rare on our Atlantic coast, is worthy a place in your collection; and the shrimp, the acrobat of the aquarium, whose funny little backward movements, when the poor little fellow is frightened, create so much laughter among the little folks, must not be forgotten. Young scallops are very pretty, and when left undisturbed open their shells a trifle, disclosing a beautiful fringe of tiny blue tentacles which wave to and fro with every motion of the water.
The medusæ, also called jelly-fish, with their umbrella-like cover, and long, slender tentacles streaming downward, are pretty for a time, but do not live long after they are taken from the sea. The Cydippe and the Beroe are very lovely specimens of this class, the former particularly is noticeable for its beautiful iridescent colors. The beautiful orange colored medusa is an unsafe inmate, as he very soon kills all the fishes within his reach.