Arts & Crafts

.My interest was first drawn in 1897 to experiments that were being made by Mr. J. D. Batten, who for two years previously had attempted, and partially succeeded in making, a print from wood and metal blocks with colour mixed with glycerine and dextrine, the glycerine being afterwards removed by washing the prints in alcohol. As the Japanese method seemed to promise greater advantages and simplicity, we began experiments together, using as our text-book

the pamphlet by T. Tokuno, published by the Smithsonian Institution, Washington, and the dextrine and glycerine method was soon abandoned. The edition of prints, however, of Eveand the Serpent designed by J. D. Batten, printed by myself and published at that time, was produced partly bythe earlier method and partly in the simpler Japanese way. Continue reading

When I first entered on the business of Distilling, I was totally unacquainted with it. I was even so ignorant ofthe process, as not to know that fermentation was necessary, in producing spirits from grain. I had no idea that fire being put under a still, which, when hot enough, would raise a vapour; or that vapour when raised, could be condensed by a worm or tube passing through water into a liquid state. In short, my impressions were, that chop-rye mixed with water

in a hogshead, and let stand for two or three days; and then put into a still, and fire being put under her, would produce the spirit by boiling up into the worm, and to pass through the water inorder to cool it, and render it palatable for immediate use and was certain the whole art and mystery could be learned in two or three weeks, or months at farthest, as I had frequently met with persons who professed a knowledge of the business,

denomination in France; Voltaire and reason say that it might, with far more propriety, be called Aqua-Mortis, or Water of Death.

This liquor, called in English, Brandy, received from the learned the name of Spirit of Wine; time improved the art of making it still stronger by concentration, and in that state it is called Alcohol.

All spirit is the distilled result of a wine, either of grapes, other fruits, or grains; it is therefore necessary to have either wine, or any vinous liquor, in order to obtain spirits.

The art of extracting wine from the juice of the grape, not being the object of this book, I shall confine my self to what is necessary and useful to the distillers of whiskey; it is therefore of the vinous liquor Continue reading

Wherein I have endeavour'd to set in sight the many advantages of Body and Purse that may arise from a due Knowledge and Management in Brewing Malt Liquors, which are of the greatest Importance, asthey are in a considerable degree our Nourishment and the common Diluters of our Food; so that on their goodness depends very much the Health and Longevity of the Body.

This bad Economy in Brewing has brought on such a Disrepute, and made our Malt Liquors in general soodious, that many have been constrain'd, either to be at an Expence for better Drinks than their Pockets could afford, or take up with a Toast and Water to avoid the too justly apprehended ill Consequences of Drinking such Ales and Beers. Continue reading

Step 2 - SKINNING

Skin the hide from the carcass keeping it as whole as possible. Make cuts on the inside of the legs and be careful not to make holes.

After the hide is removedfrom the carcass, be sure to skin the tail as well. The bones of the tail should beremoved by making a cut along the underside.

If you do not plan to tan the hide immediately after skinning it, remove as much of the flesh, fat, membranous tissue as possible. Lightly sprinkle salt over the inside(hairless) of the hide, tightly roll it and place in a freezer. Continue reading

This book is the out growth of toy making problems given to junior high and high school pupils. The authorclaims no originality for some of the toys. However, most of them have been originated or improved upon inthe author's classes.

While it is entirely satisfactory to have any of the toys mentioned in this book made as individual projects, they are here offered as suitable group projects or production projects, and it is hoped that the suggested form of shop organization for production work as treated in Part I is flexible enough so that the plan can be applied to most any shop conditions. Continue reading

And so it is with many other things match boxes, broken clothes pegs, cocoa tins, mustard tins, egg shells, cigar boxes, nut shells, corks, incandescent mantle cases, old broom handles: there is no end to the list.

In the following pages we have set out to explain, largely to boys and girls, just how these odds and ends may be used for the construction of toys, games, and interesting models. The list is not by any means complete: such examples as are given are merely suggestive examples. The boy or girl who has patiently and thoughtfully made some of them will be in a position to devise and construct many more on similar lines. Continue reading

The purpose in sending out this collection of toys is to promote among children a love for educational occupation. This book is intended to be of real service to parents and teachers who are intrusted with the arduous responsibility of child training. It is with this object in view that the directions, drawings and photographs have been prepared.

The experience of almost twenty years as a teacher has convinced the author that only when the child approaches subject matter with interest and enthusiasm canthe best results be obtained. Giving a child an opportunity to make things, arouses his interest; therefore, learning by doing is a most effective method in gaining educational ends.

biographical material, the real critical problem awaits him. Even amongst the admittedly authentic works, those which are undated confront those whose chronology is certain. To these must be added those nameless ones, as to whose history there is a doubt; to these again, those whose origin is to be ascertained. It needs a quick eye to separate the schools and groups, and finally to recognise the notes which are peculiar tothe master.

With none of these difficulties is the historian of modern art confronted. The painters of the nineteenth century have very seldom forgotten to attach a name and date to their works, and the circumstances of their lives are related with an accuracy that was, earlier, rarely the lot of the foremost men in history. It is all the more difficult, face to face with such a chaos of pictures, to discover the spiritual bond which connects them all, Continue reading

they have originated. Whoever studies the works of Durer knows his home and his family, the Nuremberg of the sixteenth century, with its narrow lanes and gabled houses; the whole age is reflected in the engravings of this one artist with a truth and distinctness which put to shame those of the most laborious historian. Durer and his contemporaries in Italy stood in so intimate a relation to reality that in

their religious pictures they even set themselves above historical probability, and treated the miraculous stories of sacred tradition as if they had been commonplace incidents of the fifteenth century. Or, to take another instance, with what a striking realism, in the works of Ostade, Brouwer, and Steen, has the entire epoch from which these great artists drew strength and nourishment remained vivid in spirit, sentiment, Continue reading

Leonardo Da Vinci, the many-sided genius of the Italian Renaissance, was born, as his name implies, at the little town of Vinci, which is about six miles from Empoli and twenty miles west of Florence. Vinci is still very inaccessible, and the only means of conveyance is the cart of a general carrier and postman, who sets out on his journey from Empoli at sunrise and sunset. Outside a house in the middle of the main street of Vinci today

modern and white washed bust of the great artist is pointed to with much pride by the inhabitants. Leonardo's traditional birthplace on the outskirts of the town still exists, and serves now as the headquarters of a farmer and small wine exporter. Leonardo di Ser Piero d'Antonio di Ser Piero di Ser Guido da Vinci for that was his full legal name was

but Condivi's work has almost the authority of an autobiography, many phrases are in the same words, as certain letters in the hand of Michael Angelo still in existence, especially those relating to the early life and the ancestry of the master, to his favourite nephew Lionardo, and concerning the whole story of the Tragedy of the Tomb to Francesco Fattucci and others.

Condivi's description of his master's personal appearance is so detailed that we can see him with his sculptor's callipers measuring the head of his dear master, and gazing earnestly into his eyes, recording the colours of their scintillations, with the patience of a painter. Continue reading

one who has added to the fame of his native place chiefly because he did not attend that university, which seemed so attractive to young Bradford. The father of this boy determined that he should have acollegiate education that he might sometime hold a town office, and fondly hoped that he was preparing him for it (in, perhaps, the very schools attended by the English children), when the lad made it clear to all men that he had no head for Latin and a very decided

talent for drawing. So it came to pass that at the time Bradford and his friends set their faces toward America, and per-force turned their backs upon that "goodly & pleasante citie which had been ther resting place near twelve years, "Rembrandt Harmens van Rijn, the youngest son of a miller of Leyden, turned his face, too, from the old toward the new. They sought liberty to live and to worship according to the bright light in their hearts: Continue reading