text:
Author:Benjamin Thompson

Works

 * Collections:
 * The Complete Works of Count Rumford, Published by the American Association for the Advancement of Science, (1870)
 * Essays, political, economical, and philosophical, (1796)
 * The German theatre (tr) 1801 6 vols
 * Philosophical Papers (1802)

Articles in Philosophical Transactions of the Royal Society of London

 * New Experiments upon Gun-Powder, 1781-01-01 Volume 71.
 * New Experiments upon Heat, 1786-01-01 Volume 76

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Author:Benjamin Thompson


text:
Page:The cutters' practical guide to the cutting of ladies' garments.djvu/40

32 round as per dot and dash line, to a level of the waist, and continue the run of sleeve head from D to V; the width of sleeve hand is a matter of taste, and the run of the underside sleeve from D to E is arranged to agree with the scye of forepart and the bottom from A to C cut as much short as the topside is cut too long. If it is desired to carry the forearm seam out of sight at D, see instruction for diagram 54. These have a very stylish appearance when in the garment, but the one great drawback is the inability to raise the arm, the sleeve being secured to the sideseam.

The variety of ways in which this combination of parts can be applied is unlimited; diagram 58 illustrates the sleeve and sidebody only, grown together; and the same instructions we have given for the other diagrams will apply to this. Put the sidebody to the hindarm pitch of sleeve; arrange the amount of drapery between hindarm of sleeve and front of side-body, usually about 3 inches: adjust the length to customer's ideas, and the cutting is complete. In making, it is sewn in with the sideseam and sleeve head from F D to W.

Illustrates still another style, this has the back and sleeve grown together, and has a very stylish appearance when on. To cut this, put the hind arm of sleeve to the hindarm pitch, arrange the space from B to C by about 3 inches more than the width of the sidebody; more or less in accordance with the amount of drapery desired. In making, this is sewn in with the sleeve head, the shoulder seams and back neck; the back seam being preferably sewn separate, as it would give it a freer appearance.

Doubtless there are many other styles of Dolman sleeves, capes and wings, but the cutter who has the least inventive genius will readily be able to produce any design he sees, if he once grasps and puts into practice the principles we have laid down, one of the most important of which is, that what is lost at one part is made up on another by a sort of give and take arrangement, whilst another important feature is to retain the balance.

Dolmans and Cloaks are so very closely allied, that it is sometimes difficult to tell to which style a particular garment may belong; so we deal with them both in this section, and now proceed to treat of

One of the most popular garments of this season will the Yoked Cape, illustrated on Diagrams 60 and 61, Plate 27. Figure 37, Plate 28. In cutting these, it is far more a question of the infusion of style and ease than fit, consequently a reliable Block Pattern forms the best basis of operation.

Shows how the yoke is cut: the back and forepart are placed with the shoulder seams together, and when in that position mark those parts outlined by W, 0, 1, 2, V, comprising the back, gorge, and front: and now comes the part where all the taste may be displayed for certainly the outline of the bottom part and the length allows ample scope for the designer's skill. Some make them very pointed and to reach down to the waist, as illustrated on figure 37: others keep them short and round both back and front, whilst others give extra length to the front, consequently we cannot lay down any definite rule in this direction. In the style illustrated on diagram 60, the yoke is made pointed back and front, starting at the depth of scye on the back at W to shoulder point D of back, and then from the corresponding point of front shoulder to the depth of scye line of forepart V. These are generally cut without a shoulder seam, but if any improvement can be made in the run of the pattern or for any other purpose, we see no reason why a shoulder seam should not be introduced. These yokes are very frequently made either of velvet or else ornamented very richly with braid, and there can be no doubt they make a very stylish feature in these garments, which combine a taking style with all the comforts of the more "grand-motherly" sort.

Is merely a straight piece of material with the top part rounded so as to adjust it to the yokes. The width from W to V depends to a large extent on the substance of the material: to infuse the same appearance of fulness in a garment made of thin material, these must be cut much wider than would be necessary for a cloth for which we should advise W to V to be about 36 to 40 inches. The same width is generally retained to the bottom, though in the event of a very thick material being used, it would be as well to slope both back and front a little, in which case the distance from W to V may be considerably reduced. The adjustment of length, diagram 61, is often a puzzling detail in these garments, but it is really a very simple matter. Draw line W V, and place the back on this line with the depth of scye line resting on it; then take the forepart and repeat the same operation. Now draw a line from the two shoulder points D and F, and at * (which is midway between D and F) make the top


text: Appletons' Cyclopædia of American Biography/Whitney, Myron W.


text:
Translation:Ayil Meshulash/Discourse 3

This chapter contains sections 48 to 80

Section 48
If you wish to assign symbols to a shape to denote a triangle, place the letters at each corner. Then, if one wishes to speak of a specific angle he will place the angle in question the middle of the triangle’s letter symbol [In triangle ABC, angle C is called angle BCA]. If one wishes to speak of one of the edges, they are called by symbol of the two angles at each end [side BC or AB, for example].

Section 49
The area of a plane is how many square cubits, square handbreadths, or square finger-lengths are contained inside, whether the plane is square, circle, triangle, or any other shape imaginable.

Section 50
The area of a square is well known, as it is the multiplication of the vertical edge by the horizontal edge.

Section 51
In an ‘even footed’ (isosceles) triangle, the angles opposite the equal edges are themselves equal. For example, in triangle ABC, side AB is equal to AC, and angle ABE is equal to ACE. The proof to this is that if isosceles triangle BCD is constructed on the opposite side of line BC, and line AD is shared as a side of both triangles ABD and ACD, angles BAD and CAD will be equal to each other, as demonstrated in section 23. Following this, the two triangles ABE and ACE are equal, since the two sides AB and AC are equal, and angles BAE and CAE are equal, with line AE shared between the two. Therefore, angle ABE and ACE are equal, as was written in section 24.

Section 52
From here it is also clear that line BE is equal to line CE.

Section 53
It is also clear that angle BEA is equal to CEA, and if so, they are both right angles, for both are 180 degrees, and was explained in section 15.

Section 54
From this it is further known that if one wishes to divide a line segment into two equal segments by the use of a right angle one should draw two isosceles triangles on both sides of the line, then draw a line from each vertex angle to the line being divided [the base that they both share], as was explained in section 51 where line BC is bisected by line AD. Alternatively, one may draw arcs from either end of the base on both sides (as was explained in section 28), and a line drawn bisecting the base from the points where the arcs intersect.

Section 55
If one wishes to make a line that is parallel to an existing line, cut the first line by another at a right angle and then cut that intersecting line by a third line at a right angle at some distance away. The resulting third line is parallel to the first, like so:

Section 56
If one wishes to ascertain the center of any circle one should draw a chord across the circle from any point and then bisect that line with another at a right angle. The line that bisects is perforce the diameter of the circle. Finally, bisect that line with another. The point where these two lines cross is the center.

Section 57
It was explained in section 51 that when all of a triangle’s sides are the same length all of its angles are identical as well, as seen in this figure:

Section 58
If two of a triangles angle are the same then the sides facing those to angles are the same length as well, as seen in a previous figure, where angle ABE and ACE are equal, and side AB and AC are equal as well. This can be proven by constructing an isosceles triangle on the opposite of the base of the first triangle, so that angles EBD and ECD are equal, as was seen in section 51. Therefore, angles ABD and ACD are equal as well as sides BD and CD. Side AD is shared between the two triangles ABD and ACD, and sides AB and AC are equal as well, as was seen in section 24.

Section 59
From this it is clear that a triangle whose angles are all the equal to each other also has sides that are all equal to each other.

Section 60
Furthermore, it is possible to prove this with a simpler proof, by drawing the line segment AE in triangle ABC, thereby creating right triangles AEB and AEC, which are equal, as was written in section 15. Side AE is now shared by the two triangles ABE and ACE, which are equal to each other, and sides AB [??] and AE, and angles ABE and ACE, are equal respectively. Therefore, the remaining [angle and side] is equal as well, and was written in sections 24 and 25.

Section 61
Two lines that intersect create vertical angles that are opposite each other and are equal to each other. In the example below angles AEB and CED are equal. Since angles BED and AEC are their remainder they are also equal to each other, as was written in section 46.

Section 62
A line that transverses two parallel lines creates corresponding angles that are equal to each other, like so (as was written in the previous section):

Here angles ACD and CFG are equal. Therefore, whenever the angles are equal [NOT SURE ABOUT THIS SECTION] the lines are parallel. Also, angle DCF [text missing, probably ‘and GFH are equal’].

Section 63
Together, the three angles of a triangle comprise 180 degrees exactly. The proof of this is found when a line drawn at one corner that is parallel to the side opposite it, like so:

Angle ABD is equal to angle BDE, as was seen in the previous section. Angle CBE is also equal to angle BED. All these angles (ABD, CBE, and DBE) together contain 180 degrees. Therefore, the triangle contains 180 degrees.

Section 64
It is understood from this that there can never be a triangle with a right angle and an obtuse angle, nor one with two obtuse angles.

Section 65
It is further understood that if one extends the line of one of the sides of the triangle the outside angle will contain the number of degrees present in the other two angles, like so:

Angle CBD is equal to the sum of angles CAD and ADB, since angle ABD is the remainder of angles CAD and ADB as well as angle CBD [in terms of reaching 180 degrees]. Therefore they are equal to angle CBD, as was written in section 15.

Section 66
All the angles of a square, summed together, equal 360 degrees. If one draws a line diagonally from one corner of the square to the other corner the square has been divided into a triangle. If so, it is shown to contain 180 degrees twice. A pentagon contains 180 degrees three times, for it can be divided into three triangles. A hexagon contains 180 degrees four times. The general rule is that if one subtracts two sides from the total number of sides of any shape the result is the number of times in contains 180 degrees.

Section 67
Two lines that originate from a point and meet a straight line: The longer line has the smaller angle than the shorter line, and the opposite is true on the complementary angle [IS THIS THE RIGHT TERM?], like so:

Angle ACE is smaller than angle ADE, and angle ACB is greater than angle ADB.

Section 68
It is understood from here that if a vertical line is drawn from one corner of a triangle to the side opposite it, and the two other angles are acute, the line will fall within the triangle, like so:

Section 69
If one of the other angles is obtuse, the vertical line will fall outside the triangle, like so:

Section 70
If one of the angles is a right angle, the line that is next to the right angle is the vertical line itself, like so:

Section 71
The area of a triangle is half the area of a square [UNSURE OF NEXT FEW WORDS]. The proof of this is to draw a line from the opposite vertical leg to the base, like so:

lines AB and CD are equal, lines AC and BD are equal, and line AD is shared by both triangles ABD and ACD. Since this is so, the triangle ACD is half of the square ABCD.

Section 72
If the vertical leg is found to be inside the triangle like so:

then construct a line parallel to the vertical and line parallel to the horizontal, as in triangle BDE. This triangle is half of square BCEF. If so, triangle BDF is half of square ACDF.

Section 73
If the vertical leg falls outside the triangle [CDE], and one extends the horizontal floor until the [virtual] right angle leg is met [as far as the triangle extends, in the example below on the far left], and then constructs lines parallel to the vertical and horizontal, as in this example:

Now if one removes triangle ACD, which is half the square ACDF, and triangle CEF, which is half of the square BCFE. What remains is triangle CDE, which is half of square ADBE.

Section 74
Another proof [in considering triangle BFE] would be to extend lines vertically and horizontally from the two smaller angles of the triangle towards each other until they meet, and then continue to extend the horizontal line that is parallel to the base for another length as long as the base line. After this a line should be drawn from the far end back to the wide angle of the triangle. The figure would be like so:

In this figure the following is true:

1) Lines AB and CD are equal

2) Line BC is shared by both lines above and therefore lines AC and BD are equal.

3) Lines CF and DE are equal.

4) Angles ACF and BDE are equal.

Now if triangle BCG is removed two four sided shapes remain: AFBE and CFDE. These two shapes are equal. In addition:

1) Lines AF and BE are equal.

2) Lines AB and FE are equal.

3) Line BF is shared by triangles ABF and BFE.

Due to the above, triangle BFE is half of square AFBE and half of square BFDE.

Section 75

In considering a right triangle, the area contained within a square constructed from the length of its hypotenuse is equal the area of the squares constructed from the lengths of its vertical leg and base respectively. The proof of this is found when a square is created by doubling the vertical leg and the base. Triangles ABD and BDE are equal, and triangle BDE is half of the square ABDE. The same is true for triangles BEF, FEH, and DEH. As a consequence of this, all the triangles in the square BDHF equal twice the area of square ABDE. This is the method if the vertical leg and the base are the same length. If they are not, the proof is then to construct a square from surrounded by these triangles, using the base of one and vertical leg of the other as the length of each side, resulting in an inscribed triangle constructed of the four hypotenuses, like so:

Lines AB, CE, DF, GH are the long sides, lines BC, ED, FG, HA are the short sides, and lines HE, EB, BH, and FE are the hypotenuses. Now it is explained in the science of [WHAT IS THIS WORD?] that if one adds two of the sides together and squares the sum the result is the same as if one squares each of the two sides separately, sums them together and then adds twice the the result of one side multiplied by the other [(A+B) ^2 = (A^2+B^2) +2(A*B)]. This can also be proven geometrically. The following square ACFI is constructed by squaring two sides individually, resulting in squares BCFE and DEGH:

Now these same two sides are multiplied by each other and result is doubled, resulting in the squares ABDE and EFHI. Take these results and refer back to the previous figure, removing from the square the four triangles ABH, BCE, DFE, and GHF, each of which contains half of the area obtained by multiplying the two previously mentioned sides together. The resulting square BHFE is equal to sum of each of the two sides’ squares [the original contention being that the area of a square constructed from the hypotenuses is equal to the sum of the area of two squares constructed from the vertical and base respectively].

[THE HEBREW COMMENTARY REPLACES THE TEXT ABOVE WITH A DIFFERENT PROOF:

 * The the text of the proof here appears to be in disarray, therefore I have decided to show the proper reading of this proof, as is found in the work of Euclid in lesson 35. A more appropriate reading of the text should therefore be: 'Another proof would be to continue a line from the small angles' ( meaning angles EBF and BEF of the triangle BFE) 'which meet as a right angle,'  (meaning lines BD and ED) 'along with a line parallel to the base of this triangle that is the length of the base.' (meaning line BA is the length of line EF) 'Then a line should be drawn from the far end' (from point A) 'until the wide angle.' (which is angle BFE) 'Then line FC should be drawn from the end of line FE so that it is parallel to line ED. It is then found that lines AC and BD are equal' (since lines AB and CD are both equal to line FE they are also equal to each other, as per rule 47. Line BC is then the bridge between them.) 'and lines CF and DE are equal.' (according to rule 22) ‘If triangle BCG is removed from the two triangles' (that is, triangles ACF and BDE) 'two four sided shapes remain, ABGF and CGDE, which are both equal. If triangle GFE is added to them AFBE and CFDE are shown to be equal. Additionally, lines AF and BE are equal and lines AB and FE are equal, with line BF shared between the two triangles ABF and BFE. This being so, triangle BFE is half of the four sided shapes AFBE and CFDE.']

Section 76
This can also be proven via an alternate method: Construct squares out of the two sides of the triangle [after the square is divided into two triangles] and a square out of the hypotenuse. Then draw a line from the vertex where the vertical and the base meet through the hypotenuse to create a right angle with the hypotenuse and to divide the hypotenuse’s square into two rectangles, with the length of the hypotenuse’s side of one of the rectangles being equal to the length of the long side of the triangle and the length of the of the hypotenuse's side of the other rectangle being equal to the short side of the triangle, like so:

At this point, square ABCD is the square made from side CD, which is the large side of the triangle, and square DEHI is made from side DH, which is the short side of the triangle. Square CHJL is made from side CH, which is the hypotenuse, and line DK is the line from the vertex that meets line JL forming a right angle.

Now it can be concluded that the area of rectangle CFJK is equal to the area of square ABCD, and the area of rectangle FHKL is equal to the area of square DEHI. The proof of the first clause is that when one draws a the lines AH, CI, DJ, and DL it is found that line CH and CJ are equal and angles HCJ and ACD are equal, since they are both right angles. If angle DCH is added to both angles it is found that ACH and DCJ are equal (as was shown in section 46). This being so, the two triangles ACH and DCJ are equal, as was shown in section 24, and the triangle ACH is half of square ABCD, as was shown in the previous sections (73 and 74). Triangle CDJ also contains half the area of rectangle CFJK. Therefore, the square ABCD and the rectangle CFJK are equal in area.

The proof of the second clause follows a similar pattern: Lines DH and HI are equal, lines CH and HL are equal, and angles CHL and DHI are equal, both being right angles. If angle CHD is added to both it is found that angles CHI and DHL are equal. If this be so, the two triangles CHI and DHL are equal, and the triangle DHL has half the area of rectangle FHKL. If so, the square DEHI and the rectangle FHKL have the same area.

Therefore, the original contention is proven, that square CHJL has same area as the sum of the areas of squares ABCD and DEHI.

Section 77
The circumference of a circle is more than three times the size of its diameter. The proof of this is found by dividing the diameter into four equal parts, drawing two chords across the two quarters points of the diameter as right angles and then drawing six chords from six points, each originating from one of the points created along the circumference of the circle by the diameter and the two chords, connecting each point to its neighbor. Then one should draw a line from the center of the circle to one of the points along the circumference created by the two original chords. The figure should appear as so:

Here the diameter is divided into four quarters via points D, C, and I. Lines BDE and FIH cross the diameter at right angles, allows six chords to be created at the end points: BA, AE, EH, HG, GF, FB. After this, line BC was created. The result is that lines AD and CD are equal and angles ADB and CDB are equal, since they are both right angles. Line BD is then shared by the two triangles ADB and BDC. Lines AB and BC are also equal, and BC is half of the diameter, as was written in section 7. This being so, line AB is also half of the diameter, and line BF is parallel to line DI. If so, line BF is also half of the diameter and the same is true for lines FG, GH, HE, and EA. If so, these six chords equal three times the diameter, and every arc is always longer than a chord drawn below it. Therefore, it is proven that the circumference is greater than three times the diameter. The actual measurement is said to be approximately 22/7. The amount that the diameter is smaller than the circumference is then approximately 7/22.

Section 78
Another proof that can be employed here is to see that chord AB is half of the diameter, angle ACB is 60 degrees, angles ABC and BAC contain the remaining 120 degrees and lines AC and BC are equal. This being so, angles ABC and BAC are also equal, as was shown in section 51. Therefore, each angle is 60 degrees and this triangle BAG is an equilateral triangle, as was shown in section 59. The result is that length of all the sides together is equal to the diameter, and the same would be true for all six chords.

Section 79
The area of a circle is equal to the amount gained by A) multiplying half of the diameter by half the circumference or B) multiplying a quarter of the diameter by the whole circumference or C) multiplying the whole diameter by a quarter of the circumference. The proof of this is cut the circle from the center until the circumference, like so:

In this way the line AB represents the length of the circumference and the vertical line DC is half the length of the diameter. It has already been shown in section 71 that the area of a triangle is half of the base multiplied by the height.

Section 80
From this it is clear that the ratio of the area of a square [in which a circle is inscribed] to a triangle [created from the circle’s area, as in the previous section] is 14:11, and the ratio of this triangle to this square 11:14. For example, if the diameter is 14 cubits in length the circumference is 44 cubits, as was shown in the previous section. Now, a quarter of the circumference multiplied by the whole diameter is then shown to be 11 times the 14 cubits, while a square would be 14 times 14.

איל משולש

title: Translation:Ayil Meshulash/Discourse 3


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If Paul Dane were alive now he would be called a "bounder"—probably with good strong double-barreled prefixes to it; but what the sharks left of him is floating about amongst the coral beds somewhere in the New Britain group of islands.

It was long ago.

There were two women: one of the two was Paul Dane's wife, the other wasn't.

Women are queer about men, especially about "bounders"; I dare say you have noticed that. I remember an awfully pretty woman once who had the pick of Melbourne to choose from, but she bolted with a cock-eyed Yankee "drummer," and went barmaiding eventually at Spiers and Ponds in Piccadilly. That was in the early seventies; then she died.

I could tell you of lots of other cases where the "bounders" got the best of it, but they have nothing to do with Paul Dane, so maybe I'll tell you some other time, or perhaps I won't.

There was nothing extraordinary in my first meeting with Dane. I was loafing around Darling harbor watching the ships loading wool for home. I had been roaming over the colonies for some years, and hoped I might pick up a billet round the wharves; but my luck was out and so was my money. I had not even the price of a screw of tobacco on me.

A little tops'l schooner at one of the wharves attracted me; she looked so smart, with taut spars and such a clean entrance and run I could not help standing watching her.

She was a vessel of about a hundred and fifty tons, with a lot of room between decks, where a couple of men were stowing away cases of "Yankee notions";

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112 bales of Manchester goods and cheap German cutlery filled up her lower hold. I noticed particularly how beautifully clean below she was, all newly lime-washed; on deck, although alongside the wharf, she was as clean as the proverbial new pin.

To a sailor there is something fascinating about the lines of a pretty vessel, and the little schooner was as neat a model, for a trader, as one could wish to see.

Seated aft on the cabin top a man was smoking—a dark-haired, swarthy man—powerfully built, with sleeves rolled up over a pair of muscular arms clasped round his left knee, which was drawn up almost under his chin. The other leg hung down over the cabin top, and I could not see it, as I was on the port side and he sat on the starboard. I knew be wasn't the mate (mates don't have time to loll around and smoke), so I supposed he was the captain.

A fringe of black hair around his face made him pretty ugly, and he had little black, beady eyes that seemed to glitter, and didn't add to his beauty. It was the captain; I learned afterwards that his name was Dane—Paul Dane. He had the reputation of being one of the smartest traders in the South Seas—which is saying a good deal for his capacities, both in business and by way of seamanship.

There was no steam there amongst the islands; Burns, Philp & Co. had not swallowed the trade, and good pickings were to be got by smart men who could keep their vessels off the coral reefs and knew their way about. Admiralty charts in those days weren't of any use at all amongst the islands. The best paying trade, in fact the chief one, was "blackbirding." Now blackbirding in the South Seas isn't the innocent amusement of our school days. In plain English it means stealing natives from the Islands and "contracting" them for labor.

The government has stopped it all now, but in those times the trade had full swing, and Paul Dane was the

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Rh smartest man at it. He had been very successful, made money, bought his own schooner, married quite a pretty little woman, "Promwooloomooloo," who wasn't very particular, not more so than most of her "lady friends" in that district, that is to say.

Shipping clerks and agents used to give him the time of day as they passed on the quay. Altogether Paul Dane was quite "somebody" along the water front of Sydney; amongst the Islands, he was a "terror."

I stood and looked at him, and he, puffing away at his pipe, squinted at me. I was rather a likely lad in those days, and as for sailoring—my heart was in it. From the hour I first put foot on board the old "Conway" in the Mersey, and in spite of many successes in other walks of life, will remain true to the sea till the day it stops beating. There is no life like the sea—none harder, none more thankless, none more precarious—but none so fascinating. I know lots of men who understand what I mean, and can say it better than I can; you may read all about it in their books (and the best sea books are those written by sailors), then you will know, too—and believe me, it is something worth knowing.

I think sailors get nearer to God than people ashore; I mean the real God, without all the trimmings and extras that fence him around on land; we haven't any churches and few parsons at sea.

I remember one old skipper I was with in a large passenger ship being worried by three different parsons in the second class, all different denominations, as to which should read the service on Sunday in the saloon. Each stood out for his own particular creed, and the "old man" at last lost his patience—and roared out: "I'll not have a second-class parson praising God in my first-class saloon, dam'me; gentlemen, I'll read the prayers myself!" And he did. We were under the Union Jack, and so the "old man" rolled out as best

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114 he could the service of the Church of England. It may or may not be the best in the world, but it is the one sailors are used to, and they don't care for new-fangled notions as a rule, whether they have to do with ships or God.

I was not thinking all these things while I watched the captain. I was wondering if he wanted a hand—a wonder soon brought up with a round turn by that worthy himself.

"Looking for a ship?" cried he.

"Yes," said I.

"Come aboard, then!"

The brawny arms unclasped; the left leg unbent to its full length; he took the pipe from his mouth, knocking the ashes over the side, gave a grunt and rose to his full height, about five feet ten.

I scrambled down the ladder which served for a gang-plank on to the schooner's deck, walked to where he stood and touched my cap. "I'm Captain Dane," said he; "this is my schooner. Going away tomorrow. If you want a berth I'll sign you on for six months—wages of the port—bring you back to Sydney."

"I've a mate's certificate, sir," I answered.

"Don't want any mates; only carry one, got him." This he said indicating a man at the hatchway who was superintending the taking in of cargo.

"Where are you bound, capt'n?" I asked.

"South Sea Islands."

"Right. I'll go, sir!"

"Meet me at the shipping office at noon tomorrow; bring your dunnage on board; we cast off early next morning. If this wind holds we'll get clear of the heads and make an offing by noon. Want any money?"

"Well—yes, sir!"

"Right; I'll give you a month's advance when you sign, and here's five bob to clinch the bargain."

I took the five shillings and felt like a millionaire.

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Page:The cutters' practical guide to the cutting of ladies' garments.djvu/135

 IN CUTTING AND MAKING Being the product of many eminent practical Cutters. FORMING A Highly Instructive & Valuable Treatise.

The combined wisdom of upwards of fifty leading cutters is laid down in Essay Competitions, showing their plans of meeting disproportion, the methods they adopt to hide the deformities of their customers; how they have rsade men with humps on their backs presentable; how they altered the appearance of men with shoulders of various shapes; and made them all appear nearer the ideal image of man than their own misshapen bodies indicated. Besides, all this, style has received very able treatment the many varieties being clearly defined, the special features to be observed in producing each to perfection explicitly laid down, and many little "wrinkles" of the most useful nature explained.

The various methods of manipulation are fully explained, consequently making this work a most useful and valuable addition to our trade literature.

It also contains a number of beautifully Engraved Diagrams, illustrating the various features dealt with.

, THIRD EDITION.

At this time when competition runs so high, and prices must be cut so fine, it has become forcibly impressed upon us, that a work might very advantageously be devoted to. We had little difficulty in selecting an author of thorough practical experience for this work, Mr. Falconer having devoted special attention to the matter of Economy. Many of our readers will recollect that when some years ago we offered a prize for the best and most economical " lays," Mr. Falconer carried off the First Prize. We are satisfied no one is better qualified to reduce the whole subject of Economy to a system adaptable to every garment or series of garments, which are to be cut out of the same material, at the same time. The completeness with which Mr. Falconer has done his work will be found in the fact of its containing no less than Ranging from one to four garments on each lay or illustration. Price 7/6. Post free, 7/9.

This work contains all that is of practical value to the Cutter in Wampen's Works.

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MODEL PATTERNS. By Mr. Falconer

All who cut by Block or Model Patterns—and they are now a largely increasing number—should procure this very elaborate and highly instructive work. The increasing number of those who use Model Patterns is doubtless due in a large measure to the reliability, both in fit and style, of the patterns supplied at the Tailor and Cutter Office; but still these Patterns are necessarily adapted to proportionate or ordinarily well made figures, while the Art of Cutting consists in adapting a pattern to any customer's form of the same breast measure. It is but a minority, we fear of those who cut by Model Patterns that are capable of doing so. Here, then, is a work prepared expressly for those who cannot adapt their Model Patterns as we have described. Such a work, we repeat, should be in the hands of everyone who uses Model Patterns.

POLYTECHNIC

Embracing the experience of 35 years, as Cutter, Teacher and Author; including also all ideas of practical value which have app eared in his pre vious works, setforth in the simplest and most practical form The exhaustive manner in which each subject brought under notice is discussed, makes this work more of an educator than any we have hitherto published. It is not simply giving so many systems or applications of systems to certain garments, but we have here everything relating to the cutting and manipulation of those garments.

POLYTECHNIC

With a view of giving completeness to the Series of the Doctor's Works, a work on Vests has also been prepared, embodying the whole subject of Vest Cutting in all variety of styles. An especial feature of this work is its embracing a series of 8 beautifully; engraved Plates showing all the new and fashionable styles of Vests; also 5 Plates of Diagrams illustrating the System and instructions contained in the work.

Critical, Practical, AND SYSTEMATICAL

As most of our readers are aware, Dr. Humphreys has been a diligent student of the Art and Science of Cutting, and has studied minutely the whole range of contemporary literature for a period of 35 years. He has also taken part in all the leading controversies of that period, and has come to be regarded as the leading authority on all matters relating to Cutting.

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Jacket BY JAS. THOMSON.

{{center|{{larger|Embracing Systems and Instructions for producing all the New and popular Styles of Ladies' Tailor made Garments, including Jackets, Ulsters, Costumes, Habits, Trains, &c.}}

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Rh "Paul!" Rather a sweet-toned voice came up from the schooner's cabin.

"Coming—my dear."

"Breakfast!" cried the voice. I smelt it—not the voice but the bacon.

Captain Dane turned aft, and as he went down the companion looked my way and said:

"No larks now! You'll come—sure?"

"Sure, sir," said I.

"So long!" and he disappeared.

I climbed the ladder, took a hurried survey of the schooner, and walked away to break my five bob with a good square meal and a pint of beer. By Jove I wanted them—badly.

I was in high spirits.

Having been third mate of a big ship, I never dreamt of having to go before the mast. But that didn't bother me so much, and my thoughts ran helter-skelter till I got dreaming of blue seas and skies—bright coral reefs—fairy-like islands clad with tropical trees—dusky men and women familiar to me in pictures, and a thousand wonders, that, to my imagination, seemed the most desirable things to have seen and known on earth. Isn't youth gorgeous!

A youngster just going to sea from the old "Conway" writes to me now and then; he is crazy about the sea as I was at his age (as I am now!), all eager anticipation to see the sights I have seen, to go where I have been. I shall have a "real good time," as our Yankee cousins say, when that boy comes home from his first voyage and we get together and yarn about it all.

Looking back on life—all the follies of it—all the tragedies—the ups and downs—and the ins and outs—the pleasures and pains—I wonder if I had to live over again whether I would change any of it! We all say we would!

"If I could only start at twenty with the

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116 I have now!" a man said in my hearing the other day.

"What an insufferable prig you'd be," replied the other.

I suppose we all should be "insufferable prigs" under those conditions.

Bah! what is the use of youth if we are all to be wise before our time! Of what use the hot blood—the light heart—and the little-thinking lighter head! It is all very well to speculate on what we should have gained—but just think, for one moment, what we should have lost! Think of a sturdy young life tempered with the limpness of age! Think of it! Impulse without the "Imp" or the "pulse"! And where the deuce would youth be, especially without the "Imp"!

But heavens! why am I moralizing (or immoralizing perhaps would be the better word) when my pint of beer is losing its head and my square meal getting cold!

Work-a-day, toiling Sydney passed and repassed the little "pub" where I sat overlooking the glorious harbor, but it all meant nothing to me. My mind was centered on the schooner and her captain. I longed for the night to pass and noon tomorrow to come. I longed to go down to the shipping office, sign on, and go aboard.

"Got a ship, sonny?" said the old woman who owned the weatherboard cottage where half a dozen of us pigged together.

She saw me cramming the few things I had into a canvas bag. Poor old soul! she was a real good sort. Why she ever trusted any of us for a penny God only knows; but she did, and I don't think any of us sold her.

There was a story of a man once who had, but, as she said, "he come from furrin parts," and the story didn't end well for the "Dutchman." Everyone who isn't a Dago is a Dutchman at sea, if he doesn't happen to be English or a Yank.

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 the thermometer, a glass containing air and water which served to indicate changes and differences in temperature, an instrument afterwards perfected by Ferdinand II, of Tuscany. This assertion is confirmed in letters addressed to Galileo by his friend Francesco Sagredo, of Venice, and made public by Nelli in his biography of Galileo. The first of these letters is dated 9 May, 1613. Sagredo writes: "The instrument for measuring heat, which you invented, I have made in several convenient styles, so that the difference in temperature between one place and another can be determined up to 100 degrees." And he then gives examples of phenomena that he has examined by the aid of the instrument.

Two years later, 7 February, 1615, Sagredo wrote to Galileo more fully: "The use of the instrument for measuring heat and cold has been improved by me, and I think there is opportunity for many observations, but without your cooperation I had hardly succeeded. With this instrument I see clearly that the water of our fountain is colder in winter than in summer, and I imagine that the same is true of springs and subterranean places, although our feelings seem to indicate the contrary. …


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Rh "Yes, mother"—that was her nickname amongst us.

"That's good news, sonny!"

"I've shipped on the schooner bound for the Islands."

"Ho! 'ave yet? Well, I wish yer well of 'er, my son."

"Why, mother; what's wrong with her?"

"Ho! there ain't nothin' wrong with the schooner, my son."

With what then, mother?"

"Well, they do say that Paul Dane knows 'is was about them h'islands—and 'as got a wife as knows 'er way about Wooloomooloo; but 'e don't take 'er along, they do say."

"Well, that's his affair mother, not mine—is it?"

"No—it ain't your'n, sonny. It ain't your'n—for sure!"

Mother hobbled way about her work muttering, and for a moment I thought of the smell of bacon and the pretty voice from the schooner's cuddy calling Captain Dane to breakfast.

In my heart I hoped the captain's wife was not going to sea with us. I sailed once in a ship with a captain's wife aboard; she was not only wife, but captain too! That ship was a regular hell. I don't know how it was managed, but she got every one on board quarreling. Men seem to get along together all right until a woman comes among them; then it all goes wrong. Yet women are nice enough things as they go. I can't account for it. Noon came at last. My appointment was kept at the shipping office—I signed on—took a "month's advance," carried my bag down to the schooner, stored it away for'rd in the little fo'c'sle—lit my pipe and went ashore again with orders to be aboard ready to heave out from the wharf at daylight. The mate gave me the orders. I noticed him—his face struck me by its frankness and almost feminine beauty.

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118 I noticed, too, that he spoke with a slight accent, which I afterwards found was Scandinavian.

Every one called him "Mr. Chris," his full name, I believe, was Christian Christiansen.

Poor Chris! We became great friends. He's dead, too! How they all seem to die but me! I suppose there is a "little cherub" with an eye on me somewhere "up aloft." But I cannot help thinking there are a lot of good men gone before their proper time—or anyway long before their job was half done.

We were all fond of Chris on board the schooner—all but the captain—for somehow Mr. Chris fell in love with the captain's wife, and that's a great mistake on board ship—or on shore either if it comes to that—at least they say so. I don't think the captain knew it—not really—but anyway there was no cordiality between the two men. We had trouble on board the schooner, though it did not begin with Mr. Chris, but with the captain's wife and another girl they called the "Blackbird"—her name really was "Loalia."

Nearly all the names amongst the Islands are soft-sounding and beautiful. I often wonder people don't use them for their children instead of "Harriet," "Susan," or the common or garden "Jane." Jane! Great Scott! say it over to yourself twice out loud and listen!

Loalia had been caught on a former voyage by the skipper before he married his Wooloomooloo wife. She was enticed to the schooner's side by a tempting red shawl, took the bait, but instead of being sold for labor, Captain Dane installed her as his wife pro-tem, and established her on one of the islands in the New Britain group, where a child was born to her and there were no missionaries.

So Loalia was happy.

She was a beauty, passionate—fond of Paul, but, like her kind, jealous and revengeful.

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Rh That's how things stood when I joined the schooner, though I did not know this until after we had reached New Britain.

Well, we warped out, and as there was a fair slant of wind down the harbor the old man didn't bother about a tug, but sheeted home his topsail, set all the fore and aft canvas, and stood for the heads. As we passed through we could see that the clouds low down were banking up in the southeast, so we stood well out from the land, and that night got what we expected, eased our booms forward, canted the yards a little to starboard and stood to the northward with a pretty breeze and a gentle sea on our quarter. It was beautiful weather, with a clear moon almost at the full, and the schooner made good way with everything up aloft "asleep."

I had the deck, and was leaning over the weather rail forward, yarning with a young fellow who had been picked by Mr. Chris along with myself to serve in his watch. Between the puffs at his pipe he was telling me about the "last voyage"—for he had sailed in the schooner before.

"Old man's got his wife aboard this time."

"So I see," I replied, noticing at the same time that he smiled curiously.

"Well—there'll be fun."

"How?" I asked.

"Wait till we get to New Britain."

"What is there up there?"

"Oh—not much-only he's got another of 'em up in the Islands."

"Another what?"

"Why, another Missus."

"Another wife!"

"Well, there ain't any missionaries up there—and there wasn't any fuss or sing-song over it—but she's his missus up there right enough."

"Is that so!"

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 During two snowstorms my instrument in a room here showed 130 degrees more heat than it indicated two years ago during extreme cold; on plunging the instrument into snow it indicated 30 degrees less, therefore only 100, but immersed in snow and salt, it showed a further 100 degrees less, and I believe in reality it marked still less but the snow and salt prevented it being seen clearly. In the greatest heat of summer the instrument stood at 360 degrees, and hence it appears that snow and salt increase the cold about one-third of the difference between extreme heat of summer and extreme cold of winter, a remarkable fact the reason for which I cannot determine. I shall learn with pleasure your opinions, especially what you have observed of the cold produced by saltpetre, of which I have heard many things, but have not personally seen. It will be difficult to send the instrument direct to you; it would be easier, I think, to have one made there."

A month later (15 March), Sagredo wrote to Galileo: "I have daily altered and improved the instrument for measuring temperature; if I could speak with you in person I could tell you from the beginning the whole history of


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120 "Right o'! and there's a kid, too."

"Well! What's he want to take this one up there for then?"

"I dunno—some game he's got, you take your colonial oath!"

Our conversation broke off as four bells struck, and I lay aft to relieve the wheel. From where I stood, the weather side of the wheel, I could see down into the schooner's cuddy, and I noticed that there was a large cabin on each side of the companion ladder, and beyond that the saloon. I supposed these after rooms were the captain's. A light in the little saloon—under the skylight—lit up the place sufficiently to make all clear down below. I saw the port cabin door open, and the captain's wife in a loose flowing white wrapper come into the saloon—go to the swinging tray and pour out some water from the carafe that stood there surrounded with glasses.

Mr. Chris heard the click of the glasses, and looked down the skylight. Then a strange thing happened.

Mr. Chris was just going to speak to the woman, when she hastily put her finger to her lips as if to command silence—and her eyes glanced quickly at the starboard cabin door.I wondered what it meant. Had they met before? Of course they must have done so—for I had seen her on board-—or rather heard her voice the day I agreed to ship and had the conversation with Captain Dane.

My curiosity was awakened, and I watched. Mr. Chris stood looking down the skylight with a smile on his face. The woman "blew" him a kiss with her hand, and then returned abruptly into the cabin, and I heard the click of the handle as she closed the door. Mr. Chris seemed unable to tear himself away, and it wasn't until I struck eight bells that he roused himself, gave a glaneeglance [sic] aloft—looked all round the horizon—and then stood leaning over the rail gazing to windward.

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Rh "Heave the log," he cried out, and the two other hands in the watch lay aft and hove it before the skipper came up to relieve the deck—for Mr. Chris was an "only mate."

"Seven knots, sir," replied the man with the log.

"Seven knots," replied Mr. Chris.

The wheel was relieved. I saw the captain come up the companion. He and Mr. Chris spoke a few words together, and then the mate went below. I turned in wondering!

We worked easily up the coast for the next few days, up inside the Great Barrier reef—through the lovely scenery of the Whitsunday passage—in and out amongst the islands, and along the gloriously beautiful Queensland coast, until finally we rounded Cape Tribulation, and stood in for Cooktown, where we were to call and fill up with water and fresh provisions before proceeding on our voyage.

The road down to the little wharf where we lay dwindled off into a narrow track that wandered away amongst the tropical vegetation around the base of the mountain that formed the southern boundary of the harbor.

Captain Dane had been on deck most of the time, coming up amongst the Islands, and turned in early for a good rest before tackling the rest of the passage north, which is the most difficult navigation inside the reef. We were to sail next day, and he made up his mind to get all the sleep he could now.

His wife in the cool of the evening went for a stroll ashore. Mr. Chris thought he would like to stretch his legs, so after seeing everything cleared up he went over the side, and I, feeling the same way, followed soon after.

There was little to interest me in Cooktown after I had taken a look at the stone marking the supposed spot where Captain Cook hove down the Endeavour, after running her on to one of the sunken reefs off the

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122 mouth of the harbor; and, passing two or three open-doored grog shops full of noisy niggers, I wandered back to the schooner, but before boarding her followed the track I had seen in the daylight trending round Mount Cook. The moon was bright, and the view over the bay—the distant ranges on the other side—the entrance to the Endeavour river and Cooktown itself, circled by the range that follows the entire coast line of Queesland—made an enchanting picture.

I was lying on a great boulder of stone to which I climbed, had lit my pipe and was enjoying the beautiful view, when I heard voices approaching from beyond me, and presently, along the path below, I saw a man and a woman advancing slowly. To my amazement I recognized the voice of the man. It was that of Mr. Chris. Who was the woman, though! As they drew near I saw and recognized the captain's wife.

I didn't quite know what to do—whether to make my presence known to them or not. I did not wish to embarrass them, so I lay still on the top of the rock which overhung the path. On they came, talking very earnestly.

"It's no use, Chris, talking like that. I know you love me—loved me long before I ever met him. Can't you be content? I wouldn't marry you, with only a coasting mate's pay—now, could I? You men are so unreasonable."

"You make me mad, woman. I don't know what I'm doing sometimes. I feel I could kill him."

"Ha! ha! you talk like a great big baby, Chris. They'd hang you, Chris, and you wouldn't have me after all. And I'd be a widow—and the schooner and all would be mine. That would be fine, wouldn't it?"

"You don't love him, then" I could hear the strain in the mate's voice from where I was.

"Love him? Don't be so idiotieidiotic [sic], Chris. I had to look out for myself, and he was willing to marry me—most men wouldn't do it."

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Rh "I would. By God! I would!"

"Ah!—you say so now—"

"I said so before—"

"Oh! what's the use, Chris? You can't now, so there's an end. Be sensible. I'm going on board again. Come on."

They passed on. I thought to myself, there was a nice little comedy—or tragedy—going on aboard the schooner. But there, it wasn't my picnic; so I knocked the ashes out of my pipe, jumped down off the rock, and strolled quietly and slowly back to the schooner. When I got aboard all was silent, but I noticed the light in the mate's room was not yet out.

Next day, after taking in stores and water, we let go from the wharf about noon, and getting a good slant of wind, stood out to sea and headed north. Captain Dane headed for Lizard Island, and then through one of the breaks in the Great Barrier reef, with which he seemed quite familiar, and instead of coming our way through the coral we soon found ourselves breasting the broad roll of the Pacific, which thundered behind us as it broke with terrific force and grandeur on the barrier. With glorious weather and a fair wind we stood to the northeast, and made an uneventful passage amongst the islands of those seas that make up the great fairyland of the Far East.

No one who has not seen the South Pacific can realize the beauty of it from reading books. So I will not attempt in my little way to describe those southern glories. To me every hour of daylight was a joy, though I own the anxiety of keeping clear of the sunken coral at night was intense. By day one hand was always aloft looking out for the coral, which could be easily detected by the apparent change of color of the water into pale green where it shallowed. But Captain Dane and Mr. Chris seemed to know every reef and exactly where it was, and the schooner never touched a bit of coral all the way.

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124 We were to anchor first in the New Britain Group, and stop over night, ship a quantity of copra, and then proceed to the Ellice group, "blackbirding." In the second dog watch, just before it got dark one evening, the lookout hailed the deck with the welcome cry, "Land on!"

It was the island we were bound for, and from aloft could be seen, as a thin dark line just above the horizon that looked no bigger than a ship's "biscuit."

It was almost calm. The schooner forging ahead slowly, pushed along almost by the send of the swell and the weight of her canvas as it flapped forward, rather than by any real wind there was. Captain Dane took the bearings of the land, and that night we drifted quietly towards it, daylight finding us about five miles off the shore, which shone in the sun against a background of dark tropical vegetation and great palm trees.

I was at the wheel, and I could not help noticing that the captain got fidgety as we neared the island. His wife was lying in a chair under the temporary awning we had rigged up for her—looking towards the island as we neared it.

"Oh! I eancan [sic] see a lot of canoes!—and people!" she said.

"Fishing!" muttered the skipper.

"There's one little canoe with only one fisher in it—oh, a long way nearer to us than the others."

"Man or woman?" asked the captain.

"How stupid you are? How can I tell at this distance? They all look alike."

Dane took the glasses from his wife—a bit roughly, I thought—and raised them to his eyes. He looked steadily, and long—and then holding the glasses out to his wife to take—without looking at her—walked forward a little and stood with his back to her, gazing up aloft.

"What do you make out?" she asked.

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Rh "Woman."

"You've got good eyes."

"I know what to look for."

"What?"

"Men—got nothing on—women wear a bit of a grass girdle."

"Oh!" said the wife. "Is that all?"

"'Bout all."

Then there was silence for a while.

"The woman is paddling the little canoe towards us," she said presently, with the glasses up again.

"Is she?"

Dane didn't seem interested.

"Yes! She's waving a red rag of some sort."

"The devil!" said Dane, and then turning suddenly to his wife he said, "I want to talk to you a minute down below."

He did not wait to see if she followed him down the companion.

The woman rose wonderingly, placed the glasses in her chair and followed. I noticed Mr. Chris, who was on watch, edged up near the skylight. I don't say he was listening, but it looked that way, though all the time he kept his eyes up aloft, as if he was watching the sails. As there wasn't any wind it didn't seem a necessary thing to do.

I heard voices down in the captain's cabin. They seemed angry—there was no mistake about the words which sounded shrilly even through the bulkhead. "You blackguard!"

Then all was quiet. The captain came out of the cabin, and locked the door after him.

"Let me out!" screamed the voice from within. "Let me out, will you?"

"No, I won't. It's no use making a dd fuss about it. Keep quiet!"

Then he came up on deck and spoke to the mate.

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126 "Look here, Mr. Christian, I don't want to lose any time in this damned place—you understand? Get everything on board as quickly as you can and get away again."

"Afraid we shan't get any wind, sir, just yet," answered the mate.

"Damn the wind! There never was any damned wind when you want it here. We must work her in through the reef the best way we can. If we can't do anything else we must tow her."

"Aye, aye, sir!" And the mate went forward and helped clear away the boat, which was hoisted over the side and passed aft so she would tow astern. The little canoe was slowly nearing us, but was yet a good distance away. I saw a thin black line on the water astern of us, and presently a puff of wind ruffled the sea and the schooner began to fill and gather away. The woman in the canoe waved her red rag and shouted, but the schooner stood on and swept passed her quite close—and I noticed there was a little piccaninny in the bottom of the canoe amongst a lot of bananas, yams, and a dead pig.

Dane waved his hand to the woman, and then turned all his attention to the schooner, which he piloted through the opening in the reef and brought to anchor a few hundred yards from the shore in perfectly still water, so clear that you could easily see the seaweed and the white sand of the bottom.

"Man the boat, Mr. Christian!" called out the captain.

"Three hands lay aft there!"

"Don't allow a soul aboard, d'ye hear?"

"Aye, aye, sir!" Then turning to me the mate said, "That'll do the wheel! That'll do the wheel, sir," and I walked forward.

As I passed along the alley-way, a hand came out of one of the cabin windows and caught me by the leg. "Has the captain gone ashore?"

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Page:The cutters' practical guide to the cutting of ladies' garments.djvu/134

 CONTAINING ABRIDGED NOTICES OF THE WORKS PUBLISHED AT THE "TAILOR AND CUTTER" OFFICE.

Our larger Catalogue, giving details of each work,can be had from the " Tailor and Cutter" Office on receipt of stamp for postage.

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As most of our readers are aware, Part One of this work has already appeared, in which the System is adapted more particularly to Youths' and Juvenile Garments. This Part, as will be seen by the above title, embraces Body Coats of every description, not only those in ordinary wear, but all other garments which every respectable firm is liable to be called upon to make.

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TO THE CUTTING OF

Embracing all the New and Current Styles of Ladies' Garments now being made in the best tailoring firms.

Unlike other works on Cutting, a work on Ladies' Garments mutt be renewed every two, or at most, three years ; such are the material changes which ,take place in ladies' attire. We have so often been solicited to prepare and publish a work on Ladies' Garments by the " Cutters' Practical Guide Systems," that we feel sure very many of our patrons will hail the work now it has been completed. In the complete form in which it is got up, it has proved to be an undertaking of considerable magnitude. It will be found not only the most complete, but the most beautifully illustrated Work on Ladies' Garments ever published, containing as it does many illustrative figures, showing the new and latest styles, and produced in the highest class of Art ; and the systems given show bow these are produced. Science and, Fashion are thus combined throughout.

This Work is got up in first-class style, the diagrams and illustrative figures being all beautifully engraved in the highest class of Art, and printed on excellent quality of toned paper, bound in cloth and gilt For such a work, it is supplied at the lowest possible price

The Art of Tryiag-On and FITTING,

Seing a series for Practical Illustrations from his own Experience.

Never before has so much light been thrown upon what is really and truly the practical part of Cutting ; no Cutter of limited experience should be without this work. It is made up of a series of actual cases of fitting-on in ;he Author's own practice. The reader is iaken into the author's Cutting Room on a large number of occasions, when garments are being fitted on ; the defects in a great variety it cases are pointed out, and the remedy, illustrated by beautifully engraved diagrams, pointed out. As the experience of every cutter has taught him—fitting on a garment is no guarantee that it will ultimately fit. There is frequently more art in chalking effective iterations than in cutting the garment in the first place. As a practical guide for all cutters, this work is invaluable.

OUR NEW WORK. On Disproportion, PART FOUR OF THE Students' Practical Guide to Curing.

This work long asked for and promised, his proved an undertak ng of much greater magnitude than we could have anticipated ; nor could anyone not actually concerned in its production, estimate the amount of time, care and attention involved—first on the put of the author in mentally conceiving its ground-wore and scope ; and secondly, on the part of the Artistic editor in directing the artist in the production of such illustrations as will correctly represent not only all the ordinary, and a goodly number of the EXTRA-ordinary cases of Disproportion, which present themselves to be clothed, but many real cases of Malformation.

No work has ever appeared which has rested this subject from an artistic as well as praccal point of view. The sixteen beautifully engraved Plates which constitute the leading feature of the work, form a Series of OBJECT LESSONS—the illustrative Figures and the Diagrams which show the necessary alterations appearing on the same Plate ; while the whole subject is fully discussed, both from a practical and scientific point or view in the letter-press. A glance at the Plates will show at once the artistic merit brought to bear on their production.

These types of Disproportion and Malformation, all illustrated upon figures, got up in the highest class of art, will convey to our readers some idea of the magnitude of this undertaking, each type being further illustrated by beautifully engraved Diagrams showing the deviation* required for each from the normal pattern. Such a work as this is not only the product of considerable time and labour, but also of expense ; but as usual the work is produced at the lowest possible figure, and it ia in anticipation of a larg« demand, that we put the

Systems for Coats

VESTS, TROUSERS AND SHIRTS

IN THE FORM OF A SERIES OF LESSONS. l.—Coat System. 2.—Disproportion. 3.—Overcoats. 4.—Trousers System. 5.—Vest System. 6.—Shirt System. These Lessons are each handsomely got up in a pair of cases, beautifully ornamented in gilt, and so arranged that they can be forwarded by post to any part of the United Kingdom, post free on receipt of

NOTE.—Lessons ONE, TWO and THREE being the Coat System complete, can be had, together, in one pair of cases, price 8/6. The Series of Five Lessons, containing Coat, Vest, and Trousers System for 12/6.


text:
1911 Encyclopædia Britannica/Poole, Paul Falconer

POOLE, PAUL FALCONER (1806–1879), English painter, was born at Bristol in 1806. Though self-taught his fine feeling for colour, poetic sympathy and dramatic power gained for him a high position among British artists. He exhibited his first work in the Royal Academy at the age of twenty-five, the subject being "The Well," a scene in Naples. There was an interval of seven years before he next exhibited his "Farewell, Farewell" in 1837, which was followed by the "Emigrant's Departure," "Hermann and Dorothea" and "By the Waters of Babylon." In 1843 his position was made secure by his "Solomon Eagle," and by his success in the Cartoon Exhibition, in which he received from the Fine Art Commissioners a prize of £300 sterling. After his exhibition of the "Surrender of Syon House" he was elected an associate of the Royal Academy in 1846, and was made an academician in 1861. He died in 1879.

Poole's subjects divide themselves into two orders—one idyllic, the other dramatic. Of the former his "May Day" (1852) is a typical example. Of both styles there were excellent examples to be seen in the small collection of his works shown at Burlington House in the Winter Exhibition of 1883–1884. Among his early dramatic pictures was "Solomon Eagle exhorting the People to Repentance during the Plague of 1665," painted in 1843. To this class belongs also the "Messenger announcing to Job the Irruption of the Sabeans and the Slaughter of the Servants" (exhibited in 1850), and "Robert, Duke of Normandy and Arletta" (1848). Finer examples of his more mature power in this direction are to be found in his "Prodigal Son," painted in 1869; the "Escape of Glaucus and lone with the blind girl Nydia from Pompeii" (1860); and "Cunstaunce sent adrift by the Constable of Alla, King of Northumberland," painted in 1868. More peaceful than these are the "Song of Troubadours" (painted in 1854) and the "Goths in Italy" (1851), the latter an important historical work of great power and beauty. Of a less lofty strain, but still more beautiful in its workmanship, is the "Seventh Day of the Decameron," painted in 1857. In this picture Poole rises to his full height as a colourist. In his pastorals he is soft and tender, as in the "Mountain Path" (1853), the "Water-cress Gatherers" (1870), the "Shepston Maiden" (1872). But when he turns to the grander and more sublime views of nature his work is bold and vigorous. Fine examples of this style may be seen in the "Vision of Ezekiel" of the National Gallery, "Solitude" (1876), the "Entrance to the Cave of Mammon" (1875), the "Dragon's Cavern" (1877), and perhaps best of all in the "Lion in the Path" (1873), a great representation of mountain and cloud form.


text: The Kernel and the Husk/Faith and Demonstration


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Page:The cutters' practical guide to the cutting of ladies' garments.djvu/41

Rh of the round ; but if a large amount of puff is desired to the shoulder, extra round must be added above * ; the full length may then be adjusted by measuring down from top of back in the usual way allowing for seams where consumed. It will, of course, be understood our diagram does not extend to the full length.

Most of our readers will doubtless understand the details of making these garments—that the bodypart is fulled on to the yoke all the way round, the back gathered in very much at the waist and tied in with a waist-band usually made of ribbon, and that the yokes are usually the only part lined, except where the front edge is faced with silk. Now claims our attention. It is a garment largely used by nurses, elderly ladies and others, and from the demand for patterns of this kind coming at regular intervals, we are disposed to regard it as a garment that is never out of fashion ; and it will doubtless be in the recollection of many of our readers, that some four or five years ago they were one of the most popular of ladies' overgarments, indeed, the Russian Circular Cloak is only an adaptation of this garment. There are many degrees of fulness to which these may be cut, but the style we illustrate on our diagram is as close as we should ever advise, and from this it will be easy to deviate in the matter of extra room. Shows how the back is cut. Take the block pattern of the back and sidebody of an Ulster, letting them just touch at the top of sideseam K, and the bottom L. The back seam and neck may be drawn exactly the same as the back, but in order to get the seam to come on the top of the shoulder, it will be advisable to come up from A to D about 1 inch ; C to E is from 2 to 3 inches, and draw sideseam by W D E F ; mark off the length to agree with the customer's measures, and arrange the finish of the pleats in accordance with the lady's own ideas, and the back is complete. Is produced on similar lines : what was added to the back from A to D is taken off from B to F, whilst another 1 inch is added to the sideseam at H, thus making an excess of 3 to 4 inches beyond the Ulster size in the body, that being the minimum amount necessary in a garment to be worn over the arms ; the difference between the measure of chest and over arms and chest being from to H inches ; the sideseam may then be drawn from Y P, G to F. If it is desired to fasten down the fronts with holes and buttons, the usual button stand must be left on, but when, as is often the case, these garments are lined with fur, they are made to hook and eye. Sleevelets are often placed on the foreparts in something of the style shown, the seam from I to J being generally hidden by some mode of ornamentation. If fur lining is required for this, a pattern of the garment is sent to the furriers, who will send you the fur all made up to size, just ready for the outside, so that the making of a srarment of this class is a very simple matter. The same principle employed here will also produce a very pretty shoulder cape, if cut off about 14 or 15 inches from neck, but this will doubtless suggest itself.

We will now proceed with illustrations of Summer Dolmans, one or two styles of which seem to always retain their popularity—the Florence and the Princess. We will deal first with This illustrates the body part of a Summer Dolman cut from a Jacket pattern, it being much easier to cut all kinds of Dolmans from a model pattern than to work them out by system. It will be noticed the back has been reduced from D to W, so making one continuous run from waist to shoulder. The scye of the forepart has been lowered from F to G, and the bottom lengthened and made pointed ; but of course this is a matter of taste, though this is the more general way. The sidebodies are cut short, as illustrated on diagram, care being taken to put a corresponding mark on back and sidebody in order to retain the balance. The sidebodies, however, are often omitted altogether, when the forepart would be cut as per dot and dash line, from N to M and F. This answers well for such styles as the Florence, but for the Princess and similar garments it is better cut as per the solid outline. These garments are generally arranged to meet edge and edge in the front. The diagram shows a blind added for hooks and eyes, but of course this can be varied if desired by adding on a button-stand in the ordinary way beyond the breast line. This is got on very similar lines to what we have previously described. Take the sidebody and sleeves and lay them together at the hind arm pitch, the hindarm of sleeve going to the hindann pitch on sidebody. Arrange the space at Q in accordance with the desired amount of ease ; a good medium quantity is about 3 or 4 inches, then mark round from F to W, adding


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34 on at W what the back lias been narrowed (see W D, diagram 53). Then continue from W to bottom of sidebody, filling in the hollow of waist about ½ an inch; now put the finger on F, and swing the sleeve forward, as per dot and dash line, till the cuff rests on a level of the waist at V, and mark round from F to Y, hollowing it a trifle more as shown; the outline of the bottom part is quite a matter of taste, and may be rounded or pointed, or arranged in any way to taste. If the body part has been cut without sidebodies, the solid line from F S to V outlines the under sleeve, it being cut straight down from F. If cut with sidebodies, the dash outline illustrates the style it is cut, the bottom being made to agree with the bottom of scye.

The shoulder seams are sewn together: the hindarm pitch of wing at W is put to the hindarm pitch of back; the forearm pitch is also arranged to harmonise the wing with the forepart: the under sleeve at F M is sewn to F M of the forepart, and the top and under sleeves are sewn together from F to V. A waist-band is sewn to the back at the centre and sideseams to keep it close to the figure, and the remainder of the garment is completed to taste. We will now proceed to treat of a few styles of ladies' Capes, and take first the

This is one of the easiest of Capes to cut, all that is necessary being to take the back and forepart, place the shoulder seams together as per dotted lines D F, and then mark round the back gorge and front. The only point needing special mention is the length; from W to 15 is always to measure, and then a line is drawn at right angles to the back seam across to F; then measure from 3 to 15, and make F to 15½ the same quantity; now measure from W to 15, and make D to V this quantity plus ¾ of an inch, and by these points arrange the sweep of bottom. The special feature of this Cape is the fulness which falls all round; it is often made all in one piece, the pattern being arranged to run with the back seam or where the back seam would be.

This is a much closer fitting Cape, and is also cut from a pattern of back and forepart. Arrange these with the shoulder point D touching, and the centre of front running at right angles to the back: having got this, pass the front forward 1 inch and drop it down ½ an inch, and in this way provide for the Y at D; the outline of the Cape is then got by the patterns in this position, the length being adjusted in the same way as described for the Three-quarter Circle Cape. This is a fairly full style of Cape, but not nearly as full as the previous one. It is often arranged with a seam over the shoulders, and, as a guide to locate this seam, come down from to A one-third of the breast, and mark across from A to B one-third of the breast: take out 2 or 3 inches from B to C, and arrange the seams as illustrated by the dotted lines from B and C to D. One great advantage of having this seam is, that the material runs the right way at both back and front.

Take the back, forepart, and sleeve, and place them as illustrated on diagram 57, the sleeve on the forepart pitch of sleeve and overlapping 1 inch; the back is then placed with the back pitch at the hindarm, the space at C being regulated more or less (say 7 or 8 inches) as it is desired close or full. The length is regulated as for the others, making the front ¾ of an inch more than the back. If the sleeve head is desired puffed, it must be arranged on the sleeve head before applying it to the forepart and back to cut the Cape by. This is a very stylish Cape, and one that is always popular for fairly heavy materials, fur, &c. There are one or two fancy styles of Capes which are very popular now, and in order to keep this work up to date, we will deal with

Our illustrations portray the square and pointed yokes, with pleats arranged below in either case. The back view illustrates the arrangement of the pointed yoke, whilst for the one with the square front yoke the back would be also square.

Is practically the same as we have just briefly described for the close-fitting Cape. Take the forepart and lay it down with the sleeve overlapping about 1 inch as at M, and arranged with the cuff X laying in its natural position. Now mark round the forepart from W V R Q P and S, and then continue the mark as per solid line from S to H by the sleeve head. Now put the back with that part where the sleeve is intended to be pitched to the hindarm of the sleeve at L, arranging the space H N by judgment, making it wider by swinging the back round by the pivot L if it is required full round the bottom, and vice versa if it is desired tight-fitting; then continue from L to C B A E F and


text:
Page:Evolution of the thermometer.djvu/93

 AUTHORITIES.


text: Appletons' Cyclopædia of American Biography/Whitney, Peter


text: Appletons' Cyclopædia of American Biography/Whitney, Thomas Richard


text: Appletons' Cyclopædia of American Biography/Whitney, William Collins


text: 1911 Encyclopædia Britannica/Phosgenite

title: 1911 Encyclopædia Britannica/Phosgenite


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Page:Evolution of the thermometer.djvu/34

 closed instrument was then graduated by degrees marked on the stem.

This was the first thermometer independent of atmospheric pressure. Torricelli, it will be remembered, had shortly before invented the barometer and demonstrated the weight of the atmosphere. Tuscan savants and Blaise Pascal had applied it to the measurement of elevations. In constructing this new thermometer Ferdinand probably was guided by an experiment made by certain Florentine savants to show the influence of atmospheric pressure. The latter took a U-shaped glass tube open at both ends, on one arm of which two bulbs were blown, the uppermost ending in a very small open point; at the foot of a high tower the U-tube was filled to a certain point with liquid that reached the same height in both arms, and the open point was then closed by melting the glass, care being taken not to warm the air in the bulbs. The whole apparatus was then taken to the top of the tower and the liquid was seen to rise in the open arm and to sink in the closed arm owing to diminished pressure.

Ferdinand also applied the principle of the Cartesian divers to the construction of a thermometer, devising an entertaining apparatus


text: Dictionary of National Biography, 1885-1900/Ockley, Simon


text: Dictionary of National Biography, 1885-1900/Ocland, Christopher


text: Dictionary of National Biography, 1885-1900/O'Clery, Lughaidh


text: Dictionary of National Biography, 1885-1900/O'Clery, Michael


text: Dictionary of National Biography, 1885-1900/O'Cobhthaigh, Dermot


text: Dictionary of National Biography, 1885-1900/O'Connell, Daniel (1745?-1833)


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Rh I, marking off the length from A to I to the measure taken phis seams, and arranging the relative length of front, either square as shown on figures or pointed, or in any other way the customer may desire. So far we have only treated of a plain Cape without yoke or pleats, we will now describe

These are really nothing more than the top of the back and forepart cut off and a seam introduced, but a reference to diagram 69 will make this perfectly plain. The shaded part of back as outlined by A B C D E is the square yoke; it is generally made slightly pointed downwards, both back and front; but of course that is quite a matter of taste: we have seen some very fantastic designs in the outline of these yokes. The lower part of the Cape with the square yoke is illustrated by W T S L D E I, or if pleats are required as per illustrations, then add on from E to J and I to K of back, and T to U and W to X, a quantity in accordance with the number and style of pleats desired, but we will deal with these presently. The pointed yokes are cut as per dot and dash line from C to F and P to V, in which case part of the shoulder is cut with the lower part, when of course two seams must be allowed of overlap. In this way infinite variety may be introduced, both outline, length, and material used playing a very important part, and as there is so much scope in this direction, it is beyond the range of this work to attempt a description of them all. The more general length for the pointed yoke is to reach to the waist, whilst the square style generally runs about 6 or 7 inches deep behind, with the front arranged in accordance.

Is made in the manner above described, the amount varying according to the material: for an ordinary cloth, about 3 inches will be found sufficient for each pleat, so that if three pleats are desired the amount to be allowed from T to U and W to X would be 9 inches. A slit is generally arranged at the back pleat of the front, so that the arms may be brought forward without lifting the lower part of the Cape. With the pointed yoke, it is not so easy to adjust the pleats, still it becomes fairly easy if the principle is once mastered; the best way is to pleat up the material in the style desired, and then lay down the pattern and cut it out with the pleats already in the cloth. This simplifies the matter very considerably, and will always ensure the pleats being arranged satisfactorily. We will now give a few

These more fancy styles. The yokes are generally interlined with canvas and lined with silk, a strip of silk forming the front facing, except when they are lined right through with silk, but this is only occasionally. A waist-band is nearly always put to hold it in at the back and sides, the only exception being when they are made very full round the bottom, and not intended to define the waist at all; but tins is a style we have not yet treated of, as they are only occasionally seen in wear. The edges are more generally turned in and stitched, the fronts fastening with hooks and eyes; but there is no reason why, if so desired, they should not be made to fasten with holes and buttons. In such a case the inch of button-stand would require adding all down the front. Sometimes the front yoke is cut to extend to the waist in front, though it looks the same as the square yoke, the pleats being arranged on the top, this being done with the view of keeping the shoulders firm and close to the figure, as when the yoke extends to the waist it can be fastened to the figure by the aid of the waist-band.

Now that these adjuncts to overgarments are so very popular for both ladies and gentlemen, nothing could form a more appropriate conclusion to this section, especially as so few people really understand how to cut and make them, these we are now enabled to place before our readers embrace the leading styles which are now being worn. Full size patterns of these can be obtained at our Office, as well as of any other style our customers may require, provided sufficient instructions, or better still, an illustration is sent with the order. Anyone, however, possessed of ordinary intelligence, can reproduce those illustrated by the use of an inch tape, square, &c.

Is decidedly the most popular type, and is pretty generally known under the name of the jelly-bag hood. It falls open as it were, and shows the lining to advantage, which is a feature worthy of notice when a stylish effect is desired, and as the materials used for lining vary so much, embracing silk, satins, plush, velvet, &c., there is no lack of material by which, in this way, to relieve and brighten a garment which would otherwise look very heavy and dull. Hoods are really an arrangement to cover the head, and this type is one of the most suitable for this purpose, being one of the roomy class The diagram will readily explain how it may be


text: Dictionary of National Biography, 1885-1900/O'Connell, John


text: Dictionary of National Biography, 1885-1900/O'Connell, Maurice Charles (1812-1879)


text: Dictionary of National Biography, 1885-1900/O'Connell, Maurice Charles Philip


text: Dictionary of National Biography, 1885-1900/O'Connell, Moritz


text: Dictionary of National Biography, 1885-1900/O'Connell, Peter


text: Dictionary of National Biography, 1885-1900/O'Connor, Aedh


text: Dictionary of National Biography, 1885-1900/O'Connor, Arthur


text: Dictionary of National Biography, 1885-1900/O'Connor, Brian


text: Dictionary of National Biography, 1885-1900/O'Connor, Calvach


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The first thing when a Student arrives, is to introduce him to the head teacher. If he knows nothing of marking or cutting, his first lesson will be in holding and using the chalk. Then a system of forepart or trousers is drawn out before him and explained. He rubs it out, and trys to reproduce it, following a draught on drawing paper on the wall. To the uninitiated this is perhaps the most difficult part of the course ; but a little practice in finding points and draughting, and each succeeding lesson becomes easier and easier. We find generally the first few days are the most trying. With a number of Students around him, whose progress is in all the different stages of developmen—some draughting out what appears the most complicated problems with ease — he begins to fear that he will never master cutting, and several in the course of our experience, have at this stage come and told us so. In a day or two more, however, he begins to know both his fellow Students and their work more familiarly, and by and bye he becomes as confidant as any in the room.

A drawing book is given to each Student in which to insert the systems to the $1⁄6$ or $1⁄4$ scale, as he masters them, and it is desirable each Student should provide himself with a note book ; for besides taking notes of the lectures, so many hints on all points in cutting are imparted in the course of a day, that much will be gained by the Student making note of these. It is in such points as these that the difference comes in between a dilligent Student and one who makes comparatively small progress. The hours of attendance are such as not to greatly tax the Student. From 10 to 1 o'clock, and from 2 to 5 o'clock. Then the occupation is varied, though of course the largest part of it is devoted to draughting and direct tuition. A conversational lecture is is usually given in the morning upon some feature in draughting, when generally some practical illustration is given of actual work in the cutting room—a garment being either cut out, tried on or examined, or in other ways the practical work of the cutting room is illustrated ; the daily lecture when all the Students meet, occupies from 4 to 5 o'clock. One afternoon and evening a week during the season, after 4 o'clock, is devoted to social entertainment. The Students form themselves into a debating society, when some question, more or less directly connected with the trade is discussed, Mr. Williamson usually presiding. Tea is afterwards provided, and the evening generally finishes with a lantern slide entertainment, Mr. Williamson having invented a process by which full size figures are thrown upon the screen to illustrate the different styles of garments. These social evenings have introduced quite a new tone in our Academy, the Students being much more social and friendly : and as it pretty well goes without saying, that all Students who come to our Academy, are sober, steady and respectable, the friendship formed with each other, and the little outings arranged, keep them from the many temptations to be found in London. Saturday afternoon excursions, up or down the river, are frequently arranged for during the season. Many letters we receive from old Students record pleasing memories of the happy days they spent at our Academy, and of the home feeling and comfort experienced at the Students' apartments.

The following is our New Syllabus of the Afternoon Lectures to be delivered during the ensuing season. These are not necessarily delivered in rotation, the teachers using their discretion as to the lectures to be delivered each week The New List of Subjects for the week's Lecture is hung up in the Cutting Rooms every Monday morning. The List of Garments taught will be found in the complete Syllabus, sent on receipt of stamp for postage. In addition to the ordinary tuition for a term varying from one month upwards, we receive a large number of cutters in daily practice, who require a little coaching up in special garments. One wants to know how to cut military trousers, another has a difficulty with his coats, a third comes up to acquire the Art of Cutting Ladies' Garments ; but no matter what they wish to acquire, we are prepared to coach them up. Many a young man gets a week, or some only a day, off, for an excursion trip, and instead of spending it exclusively in holiday, he comes to the Tailor and Cutter Office, and goes back to his business with fresh ideas and new energy. The charge for this is one day 1 guinea, three days $1⁄2$ guineas, one week 2 guineas, or a fornight 3 guineas. Yes ! we have a room specially set apart for our Lady Students, as wall be seen by the Special Prospectus for Lady Students which follows. Cutters desirous of being examined with the view of gaining a Diploma, are admitted on the usual terms for special cases, viz., 3 days, $1 1⁄2$ guineas ; they may obtain a specimen list of questions they will have to answer, by forwarding a stamp to the Tailor and Cutter Office.

In addition to writing answers to similar questions (not the ones sent) they will undergo a personal examination and be required to measure for a suit and cut it out, as well as any ether special task the examiners may deem necessary, so as to thoroughly test their ability, and the value of the Diploma will be according to the result of the examination.

It is not necessary the cutter desirous of being examined should cut by the Tailor and Cutter Systems. Any system that produces a satisfactory result is all that is needed.

Students coming for one month and upwards have the following concession made to them.

(a') The right to purchase any of our published works at half price, with the exception of the bound volume of the Tailor and Cutter and the Ladies' Tailor, which are supplied at a discount of 9-5 per cent.


text: Dictionary of National Biography, 1885-1900/O'Connor, Cathal (d.1010)


text:
Page:Short Stories (1912).djvu/135

128 Then dropping down, she placed the child safely in the bottom of the canoe, and, seizing the paddle, made her way with vigorous strokes to the shore.

"Now the fat's in the fire!" It was the same lad spoke who had told me of the captain's native wife the night we left Sydney.

"There'll be the devil to pay you see," he continued.

And he was right; there was the devil to pay before morning.

We found afterwards that the captain's wife had taken a bayonet out of the stand of arms in the after-cabin and wrenched the lock off the door. She came up on deck in a towering rage and demanded to be put ashore.

Poor Mr. Chris pointed out to her that he could not get the longboat out, the only one left, and that however much as he wished to please her he could not do what she wanted.

She seized the glasses, and sat down in her chair watching the shore. It so chanced that the woman with the canoe had just reached the beach, where the captain stood in a group of natives, evidently bargaining with them about a lot of copra piled up to be shipped.

The native woman snatched up the child and rushed with him to the captain, throwing her arms about him. He looked for a moment towards the schooner, and then taking up the child marched off into the undergrowth, which on all these islands comes almost down to the water's edge.

The captain's wife lowered the glasses, stood up rigidly for a moment, and then crossing to Mr. Chris, she hissed at him—

"Chris, if you don't revenge me on that man—you need never speak to me again."

"Oh! for God's sake—"

"Remember—Never! never!! so help me, God; I mean it!"

title: Page:Short Stories (1912).djvu/135


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Rh Towards evening the boat came back, and several large canoes plied back and forth from the shore bringing copra to the schooner. Our own boat took our water-kegs and filled up, returning several times to the shore until our tank and water butts on deck were full.

Mrs. Dane made no attempt to go ashore, nor (that I saw) did she speak again to Mr. Chris, who was hurrying about the decks for the rest of the day.

Towards evening the glass began to fall, and a low bank of dark clouds appeared along the horizon. Mr. Chris looked at it several times, and seemed very uneasy. At last he sent word to the captain by the water-boat, drawing his attention to the change, and got word back to haul the schooner outside the reef and have everything ready for sea.

"I'm not going below tonight," Mrs. Dane said to the mate, after she had watched us haul out, and the anchor was down.

It was stiflingly hot, and the atmosphere seemed leaden and thick. "I'll have my bed brought up on deck under the awning."

"Very well, m'm," said the mate.

It was getting dark rapidly, but as yet there was no sign of the captain. Mrs. Dane went below and changed to a thin white wrapper, and then came on deck and lay down on her mattress and apparently fell asleep—for when at last the captain did come on board she never stirred, nor did she wake with the noise of our getting our boat in over the side.

"You'd better get under weigh and out of this place as soon as you can, Mr. Chris."

"Aye, aye, sir" The mate came forward and we soon had the chain hove short and set our canvas aft. Then we hove up, cabled the anchor and got the jib and staysail on her, but she made no way through the water and hardly steered.

It was my wheel. The captain looked at his sleeping wife, and then stretched himself out in her

title: Page:Short Stories (1912).djvu/136


text: Dictionary of National Biography, 1885-1900/O'Connor, Cathal (1150?-1224)