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Rh a few minutes can bring in its train remorse and unhappiness that may last as long as reason and memory remain. Study carefully your fellow-creatures and yourself, and judge their feelings by your own. Man is a proud creature, and, to do him justice, he has some reason for his pride. Look at his genius, and even his minor talents. What wonderful works have been raised up by the architects of antiquity; what beautiful images have been carved from rude blocks of stone! what glorious thoughts, and noble creations, have been bequeathed to us by men like Homer and Æschylus, Shakespeare and Milton! And all these things, and other things—astonishing, innumerable, and almost incredible—done by a weak and insignificant creature who, one would think, in order to enable him to contend with the elements of Nature, as I think you have hinted, ought to have been made of the toughest iron. Yet, in the extremity of his pride, he becomes foolish. He presumes to think be is enrolled in the highest rank of living beings; he hardly stays to inquire who placed him in that rank. His philosophy is, in his own opinion, true and infallible; his religion—whatever religion he boasts of—the only right one; and his power and his cleverness almost supreme. He forgets that he is only an ephemeral creature. Sometimes, as we all know, he degenerates—although he may be polished, educated, civilized—into a debased and brutal being. What of all this, you will ask; you knew it before; you, at least, are no fool' (he had called me one, though, more than once); 'you have read multitudes of books, and heard lectures and sermons galore, and been taken to task by smooth-faced hypocrites and bullying tyrants. What do you think of the situation, eh?'

'I am overwhelmed with sorrow, Doctor,' I replied, 'that my imprudence and defiant thoughtlessness should have led us into this awful scrape. It is, indeed, a dreadful


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104 let me have my own way. The picture is my portrait, that is why I would rather you should have it than any one else. It is really pretty; it is an Angel weeping; the idea is mine, it might be called the Angel of Repentance. Is it agreed?"

"Yes, but I must pay you a thousand francs,—a Vidal is worth all of that."

"Honorable people are so queer! So suspicious of love, they like to make others feel they are free from all obligation to them and have nothing in common with them. Put aside five hundred francs. I promise you to come some day and get them. There, does that please your pride, are your scruples satisfied?"

"You are then entirely"

"Ruined? Yes, I am. I have missed my vocation, the down fall has come. I have been selling and selling, and yet I cannot stop all the holes."

"What will you do?"

"Do?" She hesitated.

"I will try to live quietly. You will give me then your advice for the third time?"

"You never follow my suggestion."

"Reproaches? Is this your discount?"

She took the five hundred francs and left. One hour later I had the drawing by Vidal.

About three years ago, I received the following note, "I will be at your door tomorrow morning at nine. Try and see me alone, and give me a whole hour of your precious time. Important business."

She came on foot. She was rather pale, and a little thinner, dressed in black; her shoes were not immaculate, her gloves worn at the finger ends. She was no longer pretty, but beautiful, misfortune gave gravity to her form and features. Sorrow has the faculty of degrading or ennobling the countenance and the manners. She has lived as reckless an episode as a women can, her sufferings were the natural sequence, yet she elicited sympathy. She bore her changed condition

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Rh with nobility and courage, without shame, without defiance. What a strange being! Reason had passed through that brain, once open to every breezy influence, and closed the doors again behind all thoughtlessness. She still possessed the charms of her faultless teeth, her ineffable smile, her fresh, sweet, now subdued voice. She saw the impression her dress made upon me.

My clothes have this advantage—they speak for me and relieve me from all explanation. This is the question before me now; in the midst of the errors, and follies, and wickedness of my past life—they have been very many—I have become truly attached to a brave fellow who tried to extricate me from it all. It ruined him; he has no longer father nor mother. He is the Count. All he has today is an allowance of eighteen hundred francs from an old uncle, who will no longer see him; he is a consumptive, unable to work. I am two years older than he is, but he wants to marry me, to be certain that I will not leave him. With his title he could marry fortune and family. I have urged him to do so, but he will not. He believes he must die soon and has asked me to stay with him to the last; he loves me; I, too, love him, but as a child; it seems to me that I could be his mother. We are to be married; he insists that it is all settled. When we are married how can we live on eighteen hundred francs? We will not have another cent. He will do whatever I say. Advise me."

"Go to the country, the real country, and live there. In the first place the open air will be good for your invalid, everything will be cheaper, nobody will know your past life. You can rent a thatched cottage, you will have a peasant cook, you can wear wooden shoes, if necessary, and work a little kitchen garden; in fact, live like peasants, you will none the less be the Count and Countess Don't seek acquaintance, rather avoid them, and you will little by

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106 little make for yourselves an interesting position. Your life will be ordinary, the most ordinary existence, but you will have work, respect, rest, and oblivion."

"You are right," she said, and pressed my hand with gratitude. "I feel that I can do as you say; give me my five hundred francs; they are for my mother, who will go to some institution." She kissed me, and I heard nothing more from or of her.

Last summer, in the month of August, I was alone in Paris on business. The weather was admirable. The fancy took me one Saturday to join some friends at G. To do so I had to take the train for Varennes Saint-Hilaire; there I could hire a carriage and drive to G. It seemed a little journey; I preferred taking a carriage in Paris and making the trip comfortably all the way in the open air to enjoy the beautiful cool night rather than two hours in a closed train, as I had done a few days before. I made a bargain with the driver for a remise, who assured me that he knew the road. We started at six o'clock. The man went astray in the different roads and crossings we met, and had to ask his way when we reached C. He was told he had almost turned his back on G, and would have a drive of nearly an hour and a half more. He declared he would go no further unless he was paid twice the fare agreed. I sent him about his business and went in search of another conveyance.

It was harvest time. The horses had been in the field all the day and would be again the next. Impossible to harness any kind of animal for gold or silver. C is not a village, it is only a hamlet. The night had come on; I would have to, unless I slept there, which was not inviting, walk to Varennes Saint-Hilaire, where I would be obliged to take my former combination. It was half-past nine o'clock. I asked my way to Varennes, and, taking up my

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232 to us, and it comes at a time when we were about to be delivered from our prison, for I cannot give up the hope and belief that you will be able to come with us. I was wrong, I know, and very much clouded and confused, The only way I can see out of the difficulty is to apologize, and, whatever may be my inward feelings, I am quite willing to do it.'

'Chirrup! chirrup! get on, my pets; there is plenty to do, and little time for it! No, my good friend, you must not apologize. I am not a bloodthirsty man—thank God, I am not a hopeless demon yet—not a lost soul, I fully believe; but an apology to those fiends will only make them more savage and vindictive. They will now murder you in open fight; if you apologize, they will assassinate you in secret. Leave them to me, I know them well. If they are capable of respecting you at all they will do so on no other terms than those of your fighting and resisting them. Apology, indeed! why, I have met with men made more bitter by an apology, who, if you had held out firmly against them, would have slunk away like very curs—not that I object to an apology, if one does wrong, but when a man grossly insults another, and then demands an apology, it becomes as rich as Falstaff's valour. If I live here two or three years longer, I'll blow up that infernal Parliament with dynamite and rackarock. I'll be the Guy Fawkes of the whole happy family.'

'Doctor, I will not, I cannot, shed blood, even a demon's blood, if he has any. I will fold my arms, and stand before his fire.'

'Well, please yourself; he will not fire twice. I'm bound by what I said to bring you forward; when that's done, do as you like—go down on your knees and beg pardon, and listen to their howls of derision. I will tell you a short story about making an apology. I had business relations


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Rh with my two legs, I ventured into a large avenue of poplars that had been indicated as the road to follow. About the middle of the avenue, which was very dark, I passed a woman dressed in black, who, after crossing me, called to me by my name. I turned, and went straight to her, wondering who could know me and recognize me at that hour in this village, under those high poplars. It needed a cat's eyes or a woman's to do so. It was the new countess.

"What are you doing here?"

"I am on my way to my home, returning from Paris, where I have been shopping."

"Do you live at C?"

"Did you not advise me to go to the country? This, I can assure you, is the real country."

"Then you did follow my advice?"

Every word of it."

"And you find yourself the better for it?"

"Wonderfully. I am perfectly happy. And how glad I am to see you again."

"Why did you not write me this news?"

"To trouble you again with myself and my affairs?"

"Your husband?"

"Is as well as possible."

"And your health?"

"Have you matches?"

"Yes."

"Light one, and look at me."

By this improvised light I saw she was fresh and rosy; she looked only twenty years old.

"How are you? and how do you like our country?" she continued.

I related my story.

"I will find you a conveyance," she said. "Everybody loves me here. If these people will not let you have one I will go to the Mayor or the Doctor for theirs; they are my friends; these bundles are their

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 the heat of the sun and of the moon, and recorded that in sunlight the water in his thermometer fell "110 degrees in two pulse-beats."

Before dismissing the connection of Sanctorius with the thermometer I note that the Italian physician nowhere claims to have invented it; on the contrary, he calls it in his "Commentaries on Galen" a "most ancient instrument." (P. 538, edition 1612.)

Modifications and improvements of the thermoscope were probably made by many savants interested in their use, both in Italy, the birthplace of the instrument, and in all parts of Europe to which the knowledge of the invention penetrated, but few records of them have survived.

There is a manuscript preserved in the library of the Arsenal, Venice, entitled "Matematica meravigliosa," written by Telioux, a Roman engineer, in 1611, that is said by the historian


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108 commissions. Come with me, only I must go first to my husband; he expects me by this train, and would be uneasy if he did not see me. Do you wish me to introduce him to you?"

"No, I am rather hurried."

"Just as you like, but he's a fine fellow, grateful to you for your advice to me. He had been accustomed to luxury; he loved me, and might have been weak; if we had remained in Paris who knows what follies we would have committed."

During this conversation we were still looking for the conveyance. She entered freely into the houses where I would never have thought of going; everywhere she was welcomed and well received; she knew all the peasant women, their fathers, their children.

"How are you, good mother? I've come to ask a favor of you."

"Anything to please you, dear Countess; sit down." And everybody rose to give her a seat.

As she sat and told my dilemma I was an interested observer of her. Any one would have mistaken her for a country-bred lady, brought up in the free and frank ways of the open-air life, friendly and superior at the same time. What a rapid, perfect and complete change! All she had on could not have cost more than thirty-five or forty francs, but how neat, how sweet, smelling of well-ordered shelves and drawers.

Everywhere the horses had been in use, and we found difficulty; not an animal could be budged before the morning. At last a butcher, in consideration of a good round sum, and to please my little Countess, would drive me on his cart, the one he used for delivery to the customers of the neighboring chateaux. Three leagues from Paris, this is what may happen any day. It was now eleven o'clock at night, the houses were all closed, the moon had risen, the night was fine, the black outlines of the trees seemed sketched on the pearly transparency of the horizon, the depths of the

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Rh valley could not be seen for the fog, a sure sign of approaching autumn.

We walked on together, waiting for the butcher boy, who was in no haste to return. She told me how her new life delighted her, and asked for news of the Avenue Prochot, and that part of Paris which she no longer visited, even when she went there once a year in a third-class car. She talked of the newest plays, of the latest books. She read all the criticisms in the papers left her. Suddenly she said, "Bye the bye, have you eaten?"

"No."

"You must be hungry!"

"Yes, if there is an inn about here, while waiting for the cart—"

"Every place is closed, but as you will not come to my house, shall I go and get you a piece of bread, a slice of ham and a half bottle of wine? Will that be sufficient?"

"Certainly, but—"

"Wait here for me; I will be back at once."

She disappeared through the shadows of the houses; she ran like a girl of fifteen. I followed in the same direction, to spare her as much as I could of the walk back. She reappeared at the end of ten minutes, bringing my meal in a small basket, such as children use to carry their provisions for the day at school. She took from the basket a small loaf of bread cut in two, a slice of ham in the middle; the bread was stale, the ham dry and very salty. Truly it was not good; I would not tell her so, but gnawed with my teeth, not without repeated effort, into the enormous sandwich, while she poured out wine. About the middle of my meal I had enough. I drank one swallow of the wine, and did not know how to acknowledge without wounding her that my hunger was gone; I feared she would guess why. Half of the bread I still held in my hand.

"Well," said she, "why don't you eat?"

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Rh with a man once, a clergyman; in the course of our business we had a quarrel, because I urged him to do his duty properly, and he grossly insulted me by accusing me of falsehood. I called a meeting of those interested, at which he would not appear, and shortly afterwards received a ruffianly letter from him, demanding an instant apology, one that his solicitors would approve of, and to be published at my expense in as many newspapers as he chose to name. I did not reply, and heard nothing more of the matter. If I had sent a humble apology, he would have ruined me by advertising it.'

'You can make peace, my dear friend, and all will be well: you are powerful here. Think of what you are doing, promoting bloodshed and murder, to say nothing of malice, hatred and revenge.'

'Talk no more on that subject, Ubertus; speak of something that will change our terrible thoughts of approaching bloodshed, of something that may be efficacious in washing away the indelible impress of a demon's blood. To shed man's blood is nothing, but it requires a villain of the first water to butcher a demon—and is it possible I can be driving such a villain in my carriage? But cheer up! spin me something, while we spin along, about the metaphysical and moral philosophy of your world: I like that subject. Keep up your heart—the man who never has an enemy is begotten of milk and born of water.'

'It is a dry subject, sir, that philosophy: and an unsatisfactory one, too. It is, properly but ungrammatically speaking, two distinct subjects. The former is the science of the soul, mind, and intelligence; the latter is that of our conduct in this world, and our duties to each other. The first is, if we regard it as we ought, an attribute of the Supreme Being, with which we have nothing at all to do over and above our duty of obedience. Men have


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110 "When the hour for eating is passed one has no appetite. Must I eat it all?" I asked.

"No, indeed."

"Then I throw this away?"

"No, no," she said, laughing, "give it to me," and with an involuntary movement she seized my arm. "This is my dinner," and she bit with her white teeth into the coarse morsel.

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234 accountably grown into the habit of wrangling with each other on questions which they cannot answer, with arguments which they do not understand. They waste, without knowing it, their words by millions, and their paper and ink in hundreds of published volumes, in attempting to prove what for them it is impossible to prove. They jump to their own conclusions, and give us their opinions freely, and they have a right to do so, if we want them; and the believe in their hearts that the conclusions they have arrived at are true, solid, and incontrovertible. The proofs of our origin, the mysteries of our minds, and the causes of our pleasures and pains which one man will adopt are utterly contemptible in the eyes of another. The diversities of opinions on religious and metaphysical subjects are as numerous as the expressions on the features of different men. One would think they did not worship the same God, or believe in the same Redeemer. Who can make them alike? who can reconcile them? Amidst all their antagonistic clamour the dispassionate listener perceives nothing but nonsense, except in the few wise and sensible people who make their appearance from time to time, who, like our Doctor Johnson, cannot find solidity in froth, tenacity in soap-bubbles, or security in armour of spider's web.'

'Good!' said the Doctor, 'you're a wiseacre; chirrup, chump, my little diamonds, how sorry I'll be to leave you behind me! Go on, Ubertus!'

'If my remarks give you pleasure, my dear Doctor,' I continued, 'I am quite willing to go on, but as far as the concerned I had better leave off. If I should ever publish a book, and relate my wonderful adventures, this kind of philosophy will make it unsaleable. Dr. Johnson says, that when all the efforts of moral and religious writers are finished, they find that the world is just as they found


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 Libri (Histoire des sciences mathématiques en Italie, Vol. IV, p. 471, notes), to describe a thermoscope independent of atmospheric pressure. The instrument is said to consist of a bulb with a neck a foot or more long, nearly filled with water into which a smaller bulb-tube was inverted so that the neck was beneath the surface; Libri's account is accompanied by a drawing that does not correspond with the description and is obviously incorrect; whether the figure is from Telioux' manuscript does not appear, but if it is of the date 1611, it is the earliest representation of a thermometer with scale known to me. The scale attached to each side of the stem is divided into eight large spaces, and each space into sixty smaller ones, a division probably suggested by the graduation of astronomical instruments into degrees and minutes.

According to Poggendorff, Salomon de Caus, whose name is associated with the use of steam as a mechanical power, described a very imperfect thermometer in the work "Raisons des forces mouvantes," published at Frankfurt in 1615.

The eminent Englishman, Lord Chancellor Bacon, is sometimes put forward as the


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Rh If our readers have thoroughly grasped the principles involved in the Sleeve System, they will soon recognise they are identical with those employed to cut the hodice sleeve. The width across the scye is used to find the distance from O, 6: the sleeve pitches are located—the forearm ¾ of an inch up from bottom, and the hindarm, in this instance, at the second sideseam, which may of course be varied; hut this mode is most in accordance with the views of ladies at present, the topside sleeve being made much wider than half, and consequently it will be noticed a great difference exists in the quantity on the square when taking the balance of the sleeve: the first amount for this sleeve is 6, the second is 2½, and this of course makes the sleeve head very round, in locating point 5, make it rather less than half 3½, 10½; proceed with the elbow as before described, measuring from 2 to 7½ * half the size the elbow is desired, plus two seams; then come out from 7½ to 8½ 1 inch, or as much as it is desired the topside sleeve shall be wider, when of course a similar quantity is taken off the under sleeve, as from 7½to 6½. Point 7½ should be used as the pivot to sweep from 10½ to get the top of hindarm of undersleeve.

Are so very popular at present, that no description of a system for sleeves would be complete without an explanation of the mode of producing them. First sweep by the elbow at 8½ from 10½ in the direction indicated by dotted lines 1½, and go out from 10½ three times, or very nearly three times, the amount of puff desired, and add on an equal amount of round to the top above 5, thus: suppose an extra ½ inch of round is desired to the sleeve head, addon 1½ inches as indicated by the dot and dash line. Some may consider this an excessive allowance, but when they remember the puff must be provided for on both sides, that is, up and down, they will at once see that twice is the least possible quantity, and to this must be added an allowance for the hollowing tendency of fulling in the sleeve head; for whenever a part is fulled on or drawn in, the round is apparently much reduced.

In order to fully illustrate this, we have taken the scye of dia. 28, and applied the system in exactly the same way, with the result of diagram 15. But here we should use a little; judgment, for we know ladies of this class are usually very square shouldered and short Kicked, so that it would be our duty to keep the fulness of sleeve head as little as possible, in order to prevent anything that would in the slightest degree raise the shoulders; so we should take off or 1 inch of round from the top of the sleeve head as illustrated by the dot and dash lines: this would enable the sleeve to be put in almost plain, and would be quite satisfactory, as the bones of the shoulder of this class of figure do not show any prominence at this part, the surrounding flesh mJung shoulders comparatively flat.

Diagram 23, Plate 11, illustrates a sleeve suitable for check material. It is produced in the same way as diagram 43, with the top and undersides grown together to elbow, a fish being taken out under the arm to make it shapely at back. We will now give a few

If there are buttons and holes at either fore or hindarm seams, a button-stand must be left on that side the buttons are intended to go on. In putting the linings in, always keep them rather long than short, and always flash baste them over the seams, in the case of the Dress Bodice Sleeve, the extra length in the hindarm of topsides must be put on at the elbow in fulness. In putting the sleeve into the scye, keep it close round the back scye as from A to C, dia. 42, keep it fair round the bottom from A to W, and begin the fulness a little below D, and terminate it well above the forearm pitch.

If there is a moderate amount of fulness to go in the sleeve head, it may be drawn in with a running thread and pressed away before the sleeve is put in, but if there is more than can be successfully arranged in this way, put it in in little pleats, and if the sleeve be desired to appear puffed, do not open the seam at sleeve head, which would press it flat, and so destroy the end in view: a judicious use of canvas or horsehair, or even a little roll of (doth or wadding, will be a great assistance to produce a good puffed sleeve head.

The problem which has puzzled the profession during the past fifty years, more than any other, is simply this: how to compensate in the sleeve for variations in the width of the back: and though in practice the difficulty has been invariably surmounted, yet when the various processes have been tested theoretically, they have all been more or less deficient in meeting the self-evident needs; and the measure of success their authors have achieved has doubtless been largely due to the elasticity of the material and the judicious manipulation that the workmen have put into the garment.

Let us take a glance at diagram 46, and see the varying widths of back marked 8,9, 10. These represent backs of an inch difference in the width—9 is the normal, 8 the wide, and in the narrow. Now it is


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28 evident, that when the arm rests at the side, this variation is one of width or circumference from centre of hack to centre of chest, as well as length from the gorge over the shoulder to the wrist, for a wide or narrow back, invariably means a wide or narrow shoulder: but when the arm is raised as it is when the customer is being measured for the length of sleeve, what was circumference becomes at once length: hence whatever is lost to the back must be compensated for in both length and width, and this the system of itself works out admirably, forming the sleeve for the wide back flat, and the one for the narrow back with a lot of fulness; this is a necessity in tailoring wherever applied, if the seam does not go exactly over the prominence it is desired to provide for, hence the various modes of manipulation needed to suit different styles of cutting. It is, of course, too much to expect that garments cut with extremely wide or narrow backs can have sleeves made to fit as nicely as those cut a natural width; the prominence of the shoulder must be provided for, necessitating in. the case of narrow backs a much larger amount of fulness; whilst, if the back and shoulders were excessively wide, the sleeve would need to go in plain or even positively tight.

Illustrates the three styles of sleeve heads, and it will be readily seen that as the back is made an inch wider or narrower, the distance across the scye would be that much more or less. This is evidenced as from to 4½, 5½, 6½, and producing the amount necessary to fill up the round of the shoulder, and as the scye increases in size as the back is made narrower, and vice versa, so the measure from back pitch to front is made to vary 1 inch for every inch of difference in the back; the pitch of the sleeve being kept on a horizontal line makes a difference of a 1 inch whenever the back is varied, as in the present case; hence 0, 4, 4¼, 4½. The topside is naturally the part that is the most affected by variations in the back, but the underpart also needs some changes, necessitating the use of judgment in the sleeve balance as found by the square, in the working of the system, which naturally produces a slightly larger under sleeve for the narrow back. The variations to be introduced by the aid of judgment are shown on

And consists of not hollowing it out so much for the narrow back. The dotted line shows the changes to make for the narrow back, the dot and dash line illustrates the normal, and the solid line the wide back. These variations are necessary to allow the arm being brought forward or raised, for it must always be remembered the arm is the freest of all the members of the body, moving backwards, forwards, up and down, in a manner which defies the adjustability of the most elastic materials: consequently we have occasionally to err on the side of a little too much material, to permit these movements in garments held closely to the waist, otherwise a grand split would be the result, especially if the scye happened to be a trifle too deep. This is very important in Riding Habits, as the lady invariably lifts her arms well up in the act of mounting, hence a too deep scye and an under sleeve too much hollowed is to be specially avoided. Some ladies, however, are content if their jackets fit nice and clean at the back scye and do not require to raise their arms, trusting to the elasticity of the material for those occasions when this is necessary. For such, the under sleeve should be well hollowed and made slightly shorter and strained up to the hindarm of top sleeve when making.

The fancy style of sleeve head, which, during the past year or two, has been received with so much favour, has made the sleeve problem easier. The slashed sleeve head, the pleated topside, those arranged with sleeve capes, as well as the high puffed sleeves, all have the same result, though the extreme to which they are carried clearly indicate that the original purpose of merely providing sufficient room for the shoulder has been lost sight of, and fashion has been allowed to hold the reins of fancy.

Variations in the width of the elbow should be made equally at fore and hindarms, though the preference should be given to the hindarm, to make the larger share of the increase, and the forearm to decrease. Variations in the width of cuff should be made one-third at forearm and two-thirds at hindarm.

A fashion has been introduced during the past few seasons of putting a loose sleeve on the top of the ordinary sleeve, forming a kind of sleeve cape. The cutting of this is very simple, but it may be well to give it a place in this work. A reference to diagram 52 will show how to cut it: all that is necessary is to put the top and underside sleeve together at hindarm, and either arrange the elbow to touch, as in the present case, or if any amount of drapery is desired at the back, to arrange it open at elbow accordingly. The outline may be completed by drawing the forearm straight down from forearm to cuff, or cut as illustrated; the shape at the bottom is also a matter of taste. This diagram explains itself, so we will not dwell on it further than to note that in addition to illustrating how to cut the new


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 of the thermometer, but he merely alludes to the instrument as if well known. In the "Novum Organon," 1620, Bacon describes an inverted "heat-glass," styled "Vitrum calendare," and says it bore "attached to the stem a long narrow strip of paper marked off with degrees at pleasure."

Attempts have been made by Italian authors to secure the credit of inventing the thermometer for another Englishman, Robert Fludd de Fluctibus, a physician and mystic whose books show more erudition than common sense. The Jesuit Franciscus de Lanis, in a work dated 1670, named Fludd as the original inventor, and Clemente, in his life of Galileo, 1793, has the contemptible effrontery to claim that Galileo in 1603 used an instrument made by Fludd. The facts are that about the year 1603 Fludd visited many countries of Europe, including Italy, where he may well have seen the Galileo thermoscope known to savants in Padua. Twelve years after Fludd's return to England, in 1617, he published a work (Utriusque cosmi … historia) in which he described an experiment chiefly borrowed from Hero, of Alexandria. In another work (Philosophia Moysaica) issued in 1638, a year after


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Rh sleevelet, it also illustrates how a loose blouse sleeve may be cut without hindarm seam, the width at the bottom being gathered in to a band. There is another style of sleevelet, which so very closely resembles this that we have illustrated it on the same page, although it partakes very largely of the cape style.

This is a combination of forepart and sleeve, and partakes very much of the Dolman Cape. It is cut by taking an ordinary forepart and laying the sleeve down on the forepart pitch, so that it overlaps from A to B 1 inch, letting point F come in the natural hanging position of sleeve, but this may be varied if it is desired to have drapery at the side for ease. &c., then F may be brought nearer to G. Having arranged this, lay the undersleeve down as per dotted lines, and arrange D E H to taste. This style of sleevelet is worn on both Ulsters and Jackets, and has this advantage, that in the front it looks like a caped garment, whilst behind it looks very much like an ordinary sleeve. In making, they are sewn in with the gorge, shoulder, and scye, and as a general rule are left quite loose below the scye, though occasionally they are fastened at the side. We will now conclude this section on sleeves by giving the remedy for some of the principal

This will put our readers in possession of the leading principles, for a very important lesson is to be learnt from a defect, if it is only thoroughly studied and the principle mastered: for in cutting, however, perfect a system may be, it is necessary for those who use it successfully to fully grasp the principles involved—for the system is, after all, only the tool which needs the hand, the eye and the heart to direct and use it to meet all cases satisfactorily.

These very unsightly creases are generally the result of an insufficient depth between the top of hindarm to the top of forearm, or to use another term, incorrect balance: the same might be effected by taking a good fitting sleeve, cutting the hindarm across and taking out a wedge. It is most apparent when the arm is brought forward, as in the act of writing and almost entirely vanishes when the hands are clasped behind. This defect is bound to exist in a more or less degree in every sleeve, but we should always aim at reducing it to a minimum. If it should be found to exist to a degree which is not only unsightly but uncomfortable, the easiest way to alter is to lower the forearm as from G to H, diagram 51, which practically amounts to the same as if a wedge had been inserted to the hindarm seam to nothing at G: though in one case the forearm is shortened, and in the other the hindarm is lengthened, the relation existing between the two seams is identical in both cases, the length being easily adjusted if a turn up has been left at the bottom of cuff. The opposite defect to this is a dragging from forearm to elbow, diagram 51. In this defect a most uncomfortable pressure is felt when the arms rest at the sides, but plenty of ease exists for the arm being brought forward; there is a lot of fulness and foul material at the top of hind-arm, and a general tendency for the cuff to stand away from the hand. This latter effect is also produced by a different cause—viz., the forearm cut too hollow between elbow and hand (as shown from F to V, diagram 49), the dotted line showing the remedy. It should always be borne in mind that the sleeve between the elbow and cuff at forearm should be cut straight, as illustrated by the solid line between F and V. To return to our defect, just as the creases across the fore-arm are cured by lowering the forearm, this would be remedied by raising it, but as this is not practicable in the made up garment, we give what we term a negative alteration—viz., lower the hindarm as shown by dotted lines P to O, diagram 51, the lowering of the hindarm having practically the same effect as raising the fore-arm, with the exception of the length of sleeve, which may be adjusted at cuff, as previously explained.

Ladies frequently wear very tight-fitting sleeves, and if these are cut too straight, there is not sufficient length at the elbow for the arm to bend, which either results in a split at the elbow or a quantity of superfluous length forming in folds at the bend of the arm. To remedy this in the made up garment is somewhat difficult, in fact, if there is no inlay in the forearm it cannot be treated properly, though it may be relieved by lowering the forearm in a slight degree, as shown from G to H, diagram 51. In cutting new sleeves, cut your pattern across from J to I, and insert a wedge to nothing at I, which will make sleeve more bent, as illustrated by dotted lines, K coming to M, and L to N.

This, too, is necessary to a certain extent, in order to allow sufficient play in the sleeve for the arm coming forward. Ladies, however, do not require so much in this way as men, they prefer elegance to ease; and in


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 his death, Fludd describes a "Speculum calendarium," which was a simple thermoscope of the usual pattern, and says he found it in a manuscript more than 500 years old. This certainly disposes of the pretensions of those who claim Fludd as an originator.

The instrument figured in Fludd's book represents the usual inverted air thermoscope in a basin of water, the stem being divided into fourteen degrees, of which seven are below and seven above a central line named "sphaera aequalitis," a curious forerunner of our modern zero with plus and minus degrees.

The list of those to whom the invention of the thermometer has been ascribed should include the Servite monk Fra Paolo Sarpi, named by Fulgenzio for the honor; "Father Paul," as he is called, does not seem to have used the instrument before 1617, and does not mention it in his writings.

Before the days of academies of science and of periodical literature, communication between European savants was maintained by personal visits and by correspondence. One of the most active intermediaries between scientists in the first half of the seventeenth century was a French theologian, Father Marin Mersenne;


text: The Kernel and the Husk/The Culture of Faith


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 he was in constant communication with Galileo, Descartes, Gassendi, Roberval, Hobbes, and others, sending them news of discoveries and inventions in exchange for similar favors. Mersenne was also an experimenter, repeating and verifying the labors of others and thus familiarizing himself with every branch of physical science, but he made no noteworthy discovery; he was the originator of the custom of propounding prize questions, a scheme for stimulating scientific work afterwards adopted by certain learned societies. His "Récréations des savans" was published in 1634.

There lived at that time in Southern France an obscure physician named Jean Rey, who did two things in his lifetime that ought to have brought him renown, but he was in advance of the age and his discoveries were not appreciated by his contemporaries. Rey applied his knowledge of chemistry to the solution of the much vexed problem "why do lead and tin increase in weight when calcined?" In a book published on this subject in 1638, he gave the correct explanation, recognizing that the metals combined with a constituent of the air, and anticipating the grand truths that made Lavoisier famous 150 years later.


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30 order to avoid this foul material at back of the arm, it will be necessary to clear out the undersleeve as shown by dotted lines W, whilst a little may be taken off the top of the hindarm of undersleeve and stretched up. In all these defects the (juantity or extent of the alteration must be decided by the degree to which the defect appears. There are many other defects to which sleeves are liable, but those touched upon are perhaps the most important ones.

To the inexperienced Ladies 1 Cutter, Dolman Capes, and the like garments, are probably a greater source of anxiety than any other styles; and yet, if the principles on which they are cut are but once grasped, they are as easy to cut as the implest garment worn. We rind young men can better grasp these by cutting one out, baisting it together, and trying it on a figure of the same breast measure as the pattern is cut for. We seldom cut them out by system, that is, by drawing-lines and angles, for they are generally worn as part of a garment, and as such must necessarily be made to harmonize with the parts it has to be worn with: hence we iu variably use the parts of the pattern they will be worn in connection with, such as the forepart, sidebody, and sleeve to draft them out by. This will be best understood by following the arrangement we will describe.

The body part of these may be cut exactly the same as the Ulster, with one exception, viz., the sideseam running into the scye point of shoulder, instead of about 2 inches below; the scye may be made close fitting, and sleeves added in the usual way if so desired.

The more general plan of cutting the body part is illustrated by diagram 53, the dotted lines representing the ordinary Ulster as described in a preceding section. The scye is lower from C G and I, and the back carried to shoulder point. (The sleeve pitches at B and C should be carefully marked as a guide for the wing in making), but a reference to diagram 53 will make this perfectly plain, without further detailed instruction from us. The only further remark we need make is with reference to the shoulder. If the wing or cape is made to come over the shoulder as in the Russian Cloak, the shoulder of the under part may be considerably narrowed, say to 2 inches at P, but of course this must not be done with such garments as are illustrated on figures 33 and 36, where the Dolman wing takes more the form of the sleeve. Sometimes in very thick materials, or for the sake of economy, the sidebody is not extended right through, being merely made about 4 inches deep at the waist, the forepart being also arranged in harmony; but our readers will readily understand that, though it is not indicated on the diagram. We will now proceed to deal with the various styles of Dolman, and begin with

The Duchess Dolman,

This is a style which has taken well with the better class of society, the only objection to it being the difficulty in lifting the arms, but this is a defect apparent in many—we may say most—styles of Dolmans. In appearance it bears a certain resemblance to the Russian Circular Cloak, with this great difference, the wing is finished at a level with the waist, instead of extending right through to the shoulder; but this will be best understood by a reference to figure 33, which, brings out the special features very clearly, so we will turn our attention to the cutting, and as we have fully described the body part, we will proceed with

First take the sidebody and sleeve, and lay them down as shown by the dotted lines of diagram 54, the hindarm of sleeve and top of sidebody joining as at A, then notice there is at least 3 inches space at L, and mark round from C to B, B being as far from A ae A is from B in diagram 53. Now continue from B to I, and J, by the back of the sidebody, though it is just as well to fill it in at I ½ inch, so avoiding the decided hollow at I; continue across to K as far as taste may dictate, now put the finger on the sleeve at C, and swing round the sleeve till it is level with the waist, making C the pivot, and marking C to F by the forearm of sleeve, and connecting F to K as shown. In order to avoid getting the seam just on the top, some cutters add on about 2 inches from C to D, and take the same amount off the undersleeve which is outlined by E G H F, and is cut by the scye of diagram 53 from E to G, and the remainder by taste.

The popularity of these garments during the past few years has raised them to a position of importance in Ladies' Garments, and as they combine both warmth and comfort, it is more than likely they will continue


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 Secondly, Rey was the first to make use of the expansion of a liquid in the construction of a thermometer. In a letter written to Father Mersenne, 1 January, 1632, he said: "I observe there are diverse kinds of thermoscopes and thermometers; what you tell me does not agree with mine, which is merely a small round flask having a very long slender neck. To make use of it, I put it in the sun, and sometimes in the hands of a fever patient, having filled it quite full of water except the neck; the heat expanding the water makes it ascend by a greater or less amount according to the great or little heat."

This evidently describes a water thermometer, or thermoscope, and so far embodied a new principle, yet it was still influenced by the pressure of the air. The instrument did not attract much attention.

Mersenne himself devised a modification of the air thermoscope intended to increase its delicacy, and described it in a work published at Paris in 1644, four years before his death (Cogitata physico-mathematica). The instrument consisted of a narrow tube having a large bulb at one end and a small one at the other, the latter being pierced with a minute hole;


text:
Translation:Ayil Meshulash/Discourse 1

This chapter contains sections 1 to 28

Section 1
The point has no length, width or height. The line has length, but no width or height. The plane has length and width, but no height. The cube has length, width and height.

Section 2
The point, line and plane are not found in reality, though are connected to reality, as a plane is the side of a cube, the line is the side of a plane, and the point is the tip of a line.

Section 3
The lines on the sides of a plane are called edges, and the point at which they meet is called a vertex (lit. corner).

Section 4
A plane is surrounded by not less than 3 edges. The type of shape of a plane is determined by its edges; if it has three edges it is called a triangle, if four a square, if five a pentagon and so on.

Section 5
According to the number of its edges is the number of its corners with the exception of a circle, which is enclosed with one line and has no corners.

Section 6
The point in the exact middle of a circle is called the center and it is equally distant from the rim on all sides.

Section 7
A line that crosses the center of a circle and passes from one end to the other is called the diameter of the circle, and it is the greatest of all the lines that can pass through a circle. The lines that pass from one end of the circle to the other but do not pass through the center are called chords (lit. 'extension'). A line from the center until the circumference is half the diameter [the radius].

Section 8
Any circle, whether great or small, is divided into 360 parts, each of which is called a degree. Each degree can be divided into 60 portions, which are second level degrees [also known as minutes], and those, when divided into 60 parts, are third level degrees [also known as seconds]. This process can continue indefinitely.

Section 9
To determine the angle of a 'corner' [vertex]: Place one leg of a compass [or calipers] on the corner and extend the other leg out a far as is wished. Then draw an arc and complete the circle. The degrees of the arc contained between the two intersecting edges are the same as the angle of the vertex.

For example, if you wish to know the angle of ABC, place on leg of the compass on C and extend the other leg somewhat until point D. Then draw the circle DEH and see how many degrees are in arc DE out of the entire DEH. This will be the number of degrees of the angle ABC.

Similarly, if you draw the circle FGI from the center C, the amount of degrees in arc FG from circle FGI is the same as the degrees in vertex ABC according to arc DE from circle DEH. In the same manner, whatever the distance of the arc that lies between the two lines, it remains in proportion to the circumference, and the angle is the same, regardless whether the length of the lines are in cubits, handbreaths, or finger measurements.

Section 10
A right angle is one that contains 90 degrees and whose edges are perpendicular, not leaning towards either side. One edge is termed ‘resting’ and the other is termed ‘standing’, like so:

Corner ABC is a right angle and arc AB is a quarter of the circle. Line AC is termed ‘standing’ and line BC is termed ‘resting’.

Section 11
A corner containing more than 90 degrees is termed a ‘wide angle’ (obtuse), while one contained less than 90 degrees is termed a ‘narrow angle’ [acute], like so:

Corner AB is ‘narrow’ while corner C is ‘wide’.

Section 12
There are three types of triangles:

1) A ‘right triangle’, where one of the corners is standing [a 90 degree angle]

2) A ‘wide triangle’ [obtuse triangle], where one of the corners is obtuse.

3) A ‘narrow triangle’ [acute triangle], where all the corners are narrow angles.

Section 13
A corner [vertex] cannot contain 180 degrees.

Section 14
Two lines that cross each other create four corners, and all the corners together contain 360 degrees.

Even if three or four lines intersect one point [as above in figure B], they will always contain in total 360 degrees.

Section 15
All corners that can exist on one side of a line, as in this figure,

always add up to 180 degrees.

Section 16
The corner with the greatest angle has opposite it the longest side, and the reverse is true as well.

Section 17
The complement of an angle is the amount needed for an acute angle to reach 90 degrees.

Section 18
The remainder [שארית] of an angle is amount needed for an angle, whether acute or obtuse, to reach 180 degrees.

Section 19
Parallel lines are two lines that run next to each other separated by a constant distance. These lines will never intersect with one another.

Section 20
A line that crosses two parallel lines will create equivalent angles: A with B, E with G, D with C, and H with F. If another lines crosses these parallel lines and creates the same angles these two crossing lines are parallel to each other.

Section 21
Two lines that intersect each other at right angles through their midpoints are both diameters [of the circle they are in], as line BE and GD intersect each other a midpoint I. If a line intersects at the midpoint of another line it is the diameter while the line intersected is a chord, like line BE’s intersection with HC. If neither intersects with the other at a midpoint they are both called chords, as in lines AF and HC. Two diameter lines will always intersect each other at their midpoint but will not always create a right angle, as is seen in lines BE and CF. The intersection of two diameter lines is always at the circle’s center [point I in the figure].

Section 22
Two vertical parallel lines that cross two other horizontal parallel lines will cross at the same distance from each other on the top and bottom lines, as in lines AC and BD. AB and CD are also crossing both lines at the same distance from each other.

Section 23
Two triangles, where each of the edges of one is equal to its respective edge on the other, both share the same angles as well.

Section 24
Similarly, if two sides and one angle of one triangle are equal to the same two sides and one angle in another triangle the remaining sides and angles of these two triangles are equal as well.

Section 25
Similarly, if two angles and one side of one triangle are equal to the same two angles and side of another triangle the remaining sides and angles of these two triangles are equal as well.

Section 26
Two triangles, each of whom both has the same angles are not necessarily constructed of line segments that have the same length. The proof of this is found in drawing a line segment across a triangle like so:

Angle BAE is then equal to angle DCE, angle ABE is equal to CDE, and the angle formed at point E is shared by triangles ABE and CDE, even though the line segments of one triangle is not equal to the other.

Section 27
A triangle that has two sides that measure the same length is called 'equal footed' [Isosceles]. When all the sides have the same length it is called 'equal sided' [Equilateral]

Section 28
If you wish to create an 'equal sided' triangle place the foot of the compass on a point that will be one end of the third side, widen the compass as much the length of the side that you want to create, and then draw an arc. Afterwards, place the foot of the compass on the other end of line segment that will be the third side and with the same width draw an arc again [in the opposite direction]. From the point at which both arcs intersect two lines should be drawn down to the corners of the third side, like so:

איל_משולש/מאמר_ראשון

title: Translation:Ayil Meshulash/Discourse 1


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 by warming gently the air in the larger bulb while the smaller was plunged in water and then removing it, a few drops of the liquid rose in the graduated tube forming a short column of water that served as an indicator of changes of temperature. The graduation of the stem was peculiar; it was divided into eight degrees and these were numbered on one side from above down ward, and on the other in reverse order.

In 1643, the learned Jesuit Athanasius Kircher published a quarto entitled: "Magnes, sive de arte magnetica," in which he mentions several thermoscopes. They have the usual form of the water-air instruments, but one is inverted making it convenient for testing the temperature of liquids. Kircher explains correctly the movement of the column of water caused by the expansion of the air, and adds the instrument indicates the goodness, the


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Page:Evolution of the thermometer.djvu/33

, and salubrity of the air in different places, cultivated fields, plains or mountains, as well as the temperature of man in disease. He mentions a thermoscope containing mercury, but does not describe its construction; the text is accompanied by the figure of a thermoscope of which the stem is twisted into a spiral several feet in length. No reference is made to a scale. (Magnes, 1643, p. 515).

John Baptist van Helmont, a physician and chemist of Brussels, used in 1648 an air-thermometer similar in design to that of Leurechon, except that the stem had only a large drop of water, as in that of Mersenne. (Opera, 1648, p. 64.)

A most important and radical improvement in thermometers was made some time prior to 1654, by Ferdinand II, Grand duke of Tuscany, the liberal patron of literature and art, who devoted himself also to practical researches in physical science. Ferdinand made a thermometer of the usual form, filled it to a certain height with colored alcohol and then sealed it hermetically by melting the glass tip ; the


text:
Translation:Ayil Meshulash/Discourse 2

This chapter contains sections 29 to 47

Section 29
A fraction is a number that describes a specific number's relationship to another number, such as a half, a third, or a fourth.

Section 30
A ratio is a number that describes the generalized relationship between numbers, such as the ratio of 2 to 4 is a half, and the ratio of 2 to 6 is a third.

Section 31
Two points regarding ratios:

1) Two ratios can be equal, for example 2 is to 4 is the same as 3 is to 6, for both are describing a ratio of a half, expressed as: A is to B as C is to D.

Section 32
2) When two sets of numbers fall under one ratio, for example 2:4 and 5:10, B is to A as D is to C.

Section 33
In the above example, the ratios of A to C and B to D are equal.

Section 34
Likewise, the ratios of C to A and D to B are equal.

Section 35
These 2 sets of numbers can be rearranged four ways while maintaining the correctness of the equalities above, as long as the two extremes are at the ends and the means are in the middle, or the two extremes are in the middle and the means at the ends.

Section 36
Two sets of two ratios, such as 2:4=3:6 and 1:4=3:12, where the means of both sets are the same [4 and 3], have the property that when the extremes of each set are arranged so that the extremes of one set are taken as extremes and the extremes of the other set are taken as the means they still remain in proportion [for example, 1:2=6:12]. There are eight such possible arrangements, according to the methods outlined in the previous sections [section 31 to 34 and the four listed in section 35]. Similarly, if the extremes of one set are equal to the means of the other set they can also be rearranged as ratios of each other [4:1=12:3] as was explained in the previous sections.

Section 37
When considering four numbers under proportion, if the 1st term is subtracted from the 2nd, and the 3rd term is subtracted from the 4th, the ratio of the remainder of the first subtraction compared to the 1st term is the same as the ratio of the remainder of the second subtraction to the 3rd term. For example, in the ratio 3:4=6:8, subtracting 3 from 4 yields 1 and 6 from 8 yields 2, resulting in the ratio 1:3 = 2:6.

Section 38
The ratio that remains of the first subtraction to the second term is also in proportion with the ratio of the remainder of the second subtraction to the fourth term, which in the above example is 1:4=2:8.

Section 39
If the first two terms are added together and the last two terms are added together, the ratio of the sum of the first addition to the first term is equivalent to the ratio of the sum of the second addition to the third term. For example, the ratios 3:4 = 6:8 become 7:3 = 14:6.

Section 40
So to, the ratio of the sum of the first addition to the second term is equivalent to the ratio of the sum of the second addition to the fourth term, like so: 7:4=14:8.

Section 41
Similarly, if you perform the same addition mentioned above along with the subtraction mentioned above [to two separate groups of these ratios], the ratio of the sum of the first addition to the remainder of the first subtraction is equivalent to the ratio of the second addition to the remainder of the second subtraction, like so: 7:1 = 14:2

Section 42
If the first term is divided by the second term, it will be equal to the number returned by dividing the third term by the fourth, like so: 3/4 = 6/8.

Section 43
If the first term is multiplied by the fourth term, it will be equal to the number returned by multiplying the second term by the third term, like so: 2:3 = 4:6 has extremes whose multiplication produce 12 as well as means whose multiplication produce 12.

Section 44
From these methods it becomes clear that given two equal planes, if one places two of the edges of one plane as the extremes and two edges of the other plane as the means they will be in proportion to each other. As an example, take two planes, each with an area of 12, the first having two edges of 2 and 6, and the second having edges of 3 and 4, if placed as outlined they will be in proportion: 2:3 = 4:6.

Section 45
If one of the four terms is unknown: If one of the extreme terms is unknown, multiple the two mean terms and divide the result by the known extreme term; If one of the means is unknown, multiply the two extreme terms and divide them by the known mean term.

Section 46
If one subtracts the same number from two equivalent terms, or adds the same number, or multiplies or divides, the results are still equivalent to each to other. Similarly, if results are found to be equivalent, the original terms must have been equivalent as well.

Section 47
If two terms are equal to a third then they are equal to each other as well.

איל משולש

title: Translation:Ayil Meshulash/Discourse 2