Home / Albums / Tag Century:19th 871
- Erection of a Cantilever
The new bridge at Poughkeepsie has three of these cantilevers, connected by two fixed spans, as shown in the illustration. The fixed spans have horizontal lower chords, and really extend beyond each pier and up the inclined portions, to where the bottom chord of the cantilever is horizontal. At these points the junctions between the spans are made, and arranged in such a way, by means of movable links, that expansion and contraction due to changes of temperature can take place. The fixed spans are 525 feet long. Their upper chord, where the tracks are placed, is 212 feet above water. These spans required stagings to build them upon. These stagings were 220 feet above water, and rested on piles, driven through 60 feet of water and 60 feet of mud, making the whole height of the temporary staging 332 feet, or within 30 feet of the height of Trinity Church steeple, in New York. The[35] time occupied in building one of these stagings and then erecting the steel-work upon it was about four months. The cantilever spans were erected without any stagings at all below, and entirely from the two overhead travelling scaffolds, shown in the engraving. These scaffolds were moved out daily from the place of beginning over the piers, until they met in the centre. The workmen hoisted up the different pieces of steel from a barge in the river below and put them into place, using suspended planks to walk upon. The time saved by this method was so great that one of these spans of 548 feet long was erected in less than four weeks, or one-seventh of the time which would have been required if stagings had been used. - Locomotive of To-day
- The Summer that the rain came not
The great drouths caused the price of corn to fluctuate but the aggregate corn yield kept on increasing with increased acreage and usually the year following a drouth was one of superabundance of corn. Such was the year of 1895 following the drouth of 1894. The proportion of cattle per thousand population steadily increased. Meanwhile our cattle markets became centralized and were always full to overflowing. Everybody wondered where the cattle came from. - The Residence of Abraham Lincoln
- J. M. Synge
Edmund John Millington Synge - Queues
Among the earliest innovations after the Restoration to which the Japanese people took kindly was the clipping of their queues. In the old days men had little queues on the top of their heads. For this purpose they shaved the crown and gathering the hair around, tied it at the top with a piece of paper string; then, they bent the queue and bringing it down forward over the forehead, fastened it with the ends of the same string so that the queue was tied tightly to the first knot. The end of the queue was cut straight. Fashion often changed in the making of the queue, though its general form remained unaltered. The bend, for instance, between the two knots might vary in size and shape, and the queue itself in length and thickness, its girth being regulated by the extent of the tonsure at the crown. Or the hair might be full or tight at the sides and the back. The front was usually shaved. In short, there was a wide scope for taste in the dressing of the queue. These queues were untied and remade every second or third day, and the head was shaved at the same time. Hair-dressing was therefore a troublesome business, especially as one had generally to get assistance for it. Consequently, when the cropping of the hair came into vogue, people eagerly adopted it as it saved them time and expense. At first they cut the hair long, letting it half hide the ears and come down to the neck behind; but it became shorter by degrees until now the fashion is to crop it to about a quarter of an inch, presenting a head which is appropriately known as “chestnut-bur.” - The reformed dress
The kimono appears indeed to be capable of little improvement. The only concession that has been made to the requirements of the latter-day school-girl is the contraction of the sleeves. The “reformed dress,” as it is called, has large open sleeves which can be tightened by means of a string. It is found very handy and is worn by many school-girls. Reformed or unreformed, there is this to be said for the Japanese woman’s dress that it does not suffer in the matter of pockets or what serve as such from comparison with man’s. - A servant with tucked sleeves
The ordinary kimono is inconvenient for active work. Those whose work requires a free movement of the limbs, commonly discard the long sleeves and the skirt. Coolies and artisans wear tight-sleeved coats and tight-fitting drawers of cotton. Women, too, who labour outdoors have on similar clothes sometimes; but more frequently they wear tight-sleeved kimono, the skirts of which are tucked up to the knees to facilitate their walking. Women, however, who live indoors but have to move about at their household work, do not care to put on tight-sleeved kimono, and they tie up their sleeves with a cloth cord when they are actively employed. They are often to be seen dusting and sweeping the rooms with their sleeves tied up and a towel on their heads. The kimono appears indeed to be capable of little improvement. - The obi for ordinary wear. For girls. For women
The Japanese woman’s pride, however, is the obi. It is often the most costly of all her apparel. It is about thirteen feet long and thirteen and a half inches wide. The obi for ordinary wear is made by sewing together back to back two pieces of cloth, of which the face is commonly of stiff stuff like satin and the lining of crêpe, or other soft silk or cotton. But the obi worn on formal occasions consists of a single piece of double width, which is folded in two lengthwise and seamed; it is made of taffety, satin, damask, or gold or other brocade. The Chinese satin has at one end the name of its loom in red thread; and imitation satins and sateens have similar names at the same end; and this end is always exposed to view when the obi is worn. When sewn, the woman’s obi is padded like men’s. - The hakama
The hakama is a sort of loose trousers. Either leg is made by joining along the nape five pieces of cloth about a yard long, four of which are of the full width of the cloth and the fifth of half that width. The skirt is sewn by turning in the edge three times to stiffen it. The two legs are joined in such a manner that the half-width pieces form the inner side and the lowest point of the fork is about twenty-two inches from the skirt. In front a longitudinal plait is made an inch or so to the left so that its edge is in the middle; two more plaits are made to the left and two to the right, and a third on the latter leg under the middle fold. A similar but deeper plait is made behind on either leg, that on the right having its edge in the middle. These plaits are not stitched, but merely hot-pressed so that they can be opened at will; and as they are much deeper at the skirt than at the top, they give free play to the legs when walking and make the hakama appear to fit more closely than it would without them. The upper half of the hakama is open at either side, the fork at which is of about the same depth as that in the middle. The top of the front half which is about a foot wide, is sewn on to the middle of a band which is folded and turned in to the width of half an inch and is about eleven feet long, thus leaving a free end five feet long on either side of the front half. The back, the top of which is narrower than that in front, is surmounted with a piece of thin board on which the cloth is pasted with starch mucilage. This board has also a narrow band, two feet long, on each side. The hakama is lined or unlined, but never wadded. - The haori
The haori worn on a visit or on formal occasions is usually black and adorned with the family crest. The crest is found on three or five parts of the haori, one in the middle of the back over the seam, and one each on the back of the sleeve, and if there are five crests altogether, one each on the breast of the body piece between the band and the sleeve. The crest is of various forms and is about an inch from end to end. It is invariably white; the white cloth is specially dyed for the purpose so that the crest is the only portion left undyed; but sometimes ready-dyed cloths with white disks for the crests are bought, when the crests have to be drawn on them, or if they have no such disks, the crests are sewn on. Haori for common wear have no crests and are plain, twilled, or striped and of sombre hues, though not necessarily black. Those for home wear are often much longer than ordinary haori and are thickly wadded with cotton. They are also without crests. - The obi, square and plain
The obi, or sash, is about four inches wide and varies in length from twelve feet and a half to fourteen. It is usually of the same material on both sides and can be worn either side out. It is stitched along one edge and stiffened with a padding. This is the regular sash, commonly called the square obi; but when we are at home, go out for a walk, or visit an intimate friend, we prefer another kind of sash, which is a piece of white crêpe, about ten feet long and varying in width from a foot and a quarter to two feet, and stitched at the ends to prevent their fraying. It is much more comfortable than the other. - The kimono, rear and front view
We now pass on to the making of the male unlined kimono, as naturally it is of the simplest form. In the first place, the length of a kimono varies with the size of the wearer; it is not only his height, but his condition as well, that has to be taken into consideration, for broad shoulders, a thick chest, and rounded hips require more cloth, longitudinally and laterally, than a body of the same height but with less flesh. The usual length is about four feet six inches for the average Japanese whose height is five feet three or four inches. The two body pieces are first placed side by side and sewn together half the length, the edge sewn in being about half an inch; and then at the end of the seam the pieces are cut two inches and a half and folded down at that width all along to the free ends, so that when they are spread out, there is a channel five inches wide along half their length. They are then folded in two so that the free halves are exactly over the sewn halves. The outer edges are then sewn from the end up to a point a foot and five inches below the fold. The sewn halves form the hind part and the free halves the front of the kimono. Next, the pieces for the gores are sewn on from the end along the free edges of the body pieces. The skirt is stitched, and the kimono, which is now an inch or so less than five feet, is tucked in to the required length at the hips where the tucking would be concealed under the obi, or sash. - Sushi and soba
As the second meal of the day is taken at noon and the last at sundown, it is not unusual, especially in summer, to have something at three or four o’clock. When there are artisans or labourers at work in the house, they are always given tea with some food about that hour; and if there is a visitor, a lady or a friend of the family, its women folk generally manage to have this bever. It may be no more than confectionery; but the most common food taken on such an occasion is sushi, which is a lump of rice which has been pressed with the hand into a roundish form with a slight mixture of vinegar and covered on the top with a slice of fish or lobster, or a strip of fried egg, or rolled in a piece of laver. As the lumps are small, being seldom more than two or three inches long, several of them are set before each person. The favourite fish for the purpose is the tunny, though others are also largely used. Another common dish for the bever is the soba, which is a sort of macaroni made of buckwheat; in its simplest form it is brought on a small bamboo screen laid on a wooden stand; it is dipped, before eating, in an infusion of bonito shavings flavoured with a little soy and mirin, to which small bits of onion and Cayenne pepper have been added. The macaroni is also boiled with fried lobsters, fowl, or eggs and served in bowls. Wheaten macaroni is also dressed in the same manner; it is much thicker than that of buckwheat. - Raw fish, whole and sliced
Japan is especially rich in fish, as is to be expected from her extensive coast-line and great length from north to south. There are said to be about six hundred varieties of fish in the waters surrounding the country. Of these the one which is held in highest esteem is the tai, a species of the sea-bream (pagrus cardinalis). It is served in various ways; indeed, so numerous are these ways that there is extant an old Japanese book entitled “The Hundred Excellent Methods of dressing the Tai.” It may be boiled, roasted, basted, salted, or taken raw. - A well
Beside the sink are an earthen jar to hold water for washing and a wooden pail for drinking water, but there is really no difference in the quality of the liquid in the two receptacles as it has in either case been drawn from the well. The wells are either private or public; in the latter case, they are used by the whole neighbourhood, a small tax being levied for their maintenance, and are the favourite resorts for the exchange of scandals. As these wells have all wooden sides and a square wooden flooring where washing is done, they present a far from cleanly appearance, and the water is as often as not contaminated, especially in the crowded quarters of the city. The Tokyo municipality undertook some years ago to supply pure water, and as water-pipes have been laid throughout the city, the wells are rapidly disappearing in Tokyo. - A skylight and the Kitchen-God
Single burglars usually come in by the skylight, closed at night by a small sliding-door, which does duty as chimney in the kitchen, or crawl under the floor which is some two feet from the ground, by tearing away the boarding under the verandah and come up by carefully removing the loose plank of the floor, under which fuel is kept in the kitchen. If the burglars are in a gang, they naturally come in more boldly than these kitchen sneaks. Once inside, the thief has the run of the house as all the rooms communicate by sliding-doors and are never locked, and the whole household is at his mercy. Since, then, houses are so easy of entry, it might be supposed that burglaries are very frequent in Tokyo; that such is not the case is probably due to the somewhat primitive methods pursued by these gentry and to the effective detective system of the police authorities. - A meal-tray
The breakfast is, then, very simple. Sometimes the family take their meals together at a large low table which is set before them at each repast; but often a small tray, about a foot square and standing six inches or more high, is placed before each member. In the left corner of the tray near the person before whom it is set, is a small china bowl of rice, while on the right is a wooden bowl of miso-soup, A tiny plate of pickled vegetables occupies the middle or the farther left corner, while any extra plate would fill the remaining corner. This plate also holds something very simple, such as plums preserved in red perilla leaves, boiled kidney bean, pickled scallions, minute fish or shrimps boiled down dry in soy sauce, a pat of baked miso, or shavings of dried bonito boiled in a mixture of soy and mirin. The chopsticks are laid between the rim of the tray and the bowls of rice and soup. They vary in length, those for women being shorter than those for men but longer than children’s; their length may, however, be put at between eight and ten inches. - A shrine of the Rice-God
Rice is the staple food of the Japanese; and no other food-stuff stands so high in popular esteem, or has a tutelary deity of its own. This rice-god has more shrines than any other deity, for he is worshipped everywhere, in town and village, and often a small shrine, no bigger than a hut, peeps amid a lonely cluster of trees surrounded on all sides by rice-paddies, its latticed door covered from top to bottom with the ex-votos of the simple peasant folk. - Foot-warmers
Sometimes a small square hearth is cut in the sitting-room or some other convenient room; and in cold season a wooden frame supported by four pillars is put over the hearth and covered with a large quilt. Live charcoal is put into the hearth and the family sit around it with their knees under the quilt or lie down with their feet stretched out to the hearth. At other seasons the wooden frame is removed and a small mat of the same size as the hearth is put over it. As the hearth cannot be moved about, most people prefer a portable foot-warmer, which is usually a square wooden box with openings at the top and sides; one of the sides slides open and through it an earthen pan of live charcoal is placed inside. A quilt is laid over it as in the case of the hearth. Another, made specially for putting in bed, is of earthenware with a rounded top, which takes some time to heat. As the ordinary cut charcoal is consumed too quickly, balls of charcoal dust are used in these foot-warmers. - A chest of drawers and a trunk
Articles of clothing are put into chests of drawers or wicker-trunks. Chests of drawers are commonly made in halves with two drawers each, put one upon the other and fastened by iron clamps. This is to facilitate their removal, a provision which is of importance where fires are frequent. The wicker-trunk has a lid which is as deep as the trunk itself and encloses it, and thus any amount of clothing may be put into it up to the joint depth of the two. The trunks are hidden away in the closets; but the chests of drawers, if they cannot be put into a closet without inconvenience as they are over three feet wide, are set in a corner or against a wall. Indeed, they are purposely put sometimes where they can be seen and become part of the furniture of the room. In large houses where there are godowns, or fireproof plaster storehouses, the chests are put in them, and only such as contain articles of daily wear for the season are kept in the house itself. - A Sitting-room
The sitting-room has little furniture. An indispensable article in it is the brazier, usually oblong, with a set of three small drawers one under another at the side and two others side by side under the copper tray filled with ashes, on which charcoal is burnt inside an iron or clay trivet. On this trivet is set a kettle of iron or copper. The iron kettle is made of thick cast-iron and kept on the trivet so as always to have hot water ready for tea-making: and the copper kettle is used when we wish to boil water quickly. Beside the brazier is a small shelf or cabinet for tea-things. Behind the brazier is a cushion where the wife sits; this is her usual post. There is also a cushion on the other side or the brazier, where the husband or other members of the house may sit. - An eight-matted parlour
The parlour, the principal room of the house, is always kept tidy. It has an alcove, six feet long by three deep, consisting of a dais, a few inches high, of plain hard wood, which will bear polishing, though a thin matting is sometimes put over it. Not unfrequently, another piece of wood, generally square, forms the outer edge so that the thickness of the floor of the alcove can be concealed. The dais has a special ceiling of its own, or a bit of a wall, of plaster or wood, coming down over it a foot or more from the ceiling. On the dais is set a vase of porcelain or metal, bottle-shaped or flat, in which branches of a tree or shrubs in flower are put in, and on the wall is hung a kakemono, or scroll of picture or writing. These two constitute the main ornament of the room. New flowers are put in every few days and the kakemono is changed from time to time. This is the peculiarity of the kakemono as a piece of house decoration. We do not exhibit all our treasures in kakemono at the same time, but hang them one, two, or three at a time according to the size of the alcove and the kakemono themselves, so that the visitor calling at different seasons may delight his eyes with the sight of fresh pictures or writings each time he calls. - The Porch - Open and Latticed
The smallest houses are those in the slums which have only three yards’ frontage and a depth of four yards. The entrance, the space for kitchen utensils and the sink, and perhaps a closet or cupboard would leave room for little more than three mats, on which the whole family live; but as children spend all their playtime outside and come in only for meals, it is at night that the house is crowded, and even then as they sleep higgledy-piggledy, a couple or so of children do not inconvenience their parents to any appreciable extent. A two-roomed house is common enough and is not confined to the slums. A childless old couple, when the wife has to do the household work, find such a house large enough for them. Artisans also live in them. Three-roomed houses, too, are very common. Houses built in blocks are oftenest of this size. They are made up of the porch, the sitting-room, and the parlour or drawing-room. These three rooms are the essential portions of a house; and larger houses merely add to them. A visitor calls at the porch, the paper sliding-door is opened, he is invited to come in, he leaves his hat and greatcoat in the porch, and enters the parlour. - A six-matted room and verandah
A Japanese room is measured, not by feet and inches, but by the number of mats it contains. A mat consists of a straw mattress, about an inch and a half thick, with a covering of fine matting which is sewn on at the edges of the mattress either by itself or with a border, usually dark-blue and an inch wide, of coarse hempen cloth. It is six feet long by three wide; this measure is not always exact, but may vary by an inch or more in either direction. When a house is newly built, the mat-maker comes to make mats to fit the rooms in it. But in spite of the variation, the size of a room is always given in the number of mats it holds, so that we never know the exact dimensions of a room. The smallest room has two mats, that is, is about six feet square; the next smallest is three-matted, or three yards by two. Four-matted rooms are sometimes to be found; but such rooms are unshapely, being four yards long by two wide. A room with four and a half mats is three yards square and has the half mat, which is a yard square, in the centre. The next size is six-matted, or four yards by three and is followed by the eight-matted, or four yards square. - A garden
Convention also makes itself felt in the laying out of a Japanese garden, though a greater latitude is allowed to the gardener’s ingenuity. Still the principles remain unchanged. In a large garden we usually find a pond, dry if no water is available, and surrounded with rocks of various shapes, and a knoll or two behind the pond with pines, maples, and other trees, and stone lanterns here and there. A few flowering shrubs are in sight, but these are planted for a season; thus, peonies, morning-glories, and chrysanthemums are removed as soon as they fade, while corchoruses and hydrangeas are cut down leaving only the roots behind. The chief features of the garden are the evergreens like the pine, trees whose leaves crimson in autumn like the maple, and above all, the flowering trees like the plum, the cherry, and the peach. A landscape garden presents, when the trees are not in blossom, a somewhat severe or solemn aspect; we do not expect from it the gaiety which beds of flowers impart. Indeed, many European flowering plants have of late been introduced, such as anemones, cosmoses, geraniums, nasturtiums, tulips, crocuses, and begonias; but they still look out of place in a Japanese garden. Roses are sometimes planted, but they are almost scentless. The humidity of the climate appears to militate against the perfume of flowers. - A House without a gate
In Japan there was neither an architect nor a builder as a distinct calling. Even now, ordinary dwelling-houses are not built by either of them; it is the carpenter who has charge of their construction. The carpenter’s is a dignified craft; he is called in Japanese the “great artificer,” and stands at the head of all artisans. In the building of a house, a master carpenter is called in; he prepares the plans, and if they are approved, he sets to work with his apprentices and journeymen. - Door Fastenings
here is, however, still another element of insecurity in wooden houses. House-breaking is by no means difficult in Tokyo. In the daytime the front entrance is generally closed with sliding-doors which can, however, be gently opened and entered without attracting notice unless some one happens to be in an adjoining room. The kitchen door is usually kept open, and it is quite easy to sneak into the kitchen and make away with food or utensils. Tradesmen, rag-merchants, and hawkers come into the kitchen to ask for orders, to buy waste-paper or broken crockery, or to sell their wares, so that there is nothing unusual in finding strange men on the premises. Sometimes these hawkers are really burglars in disguise come to reconnoitre the house with a view to paying it a nocturnal visit. At night, of course, the house is shut and the doors are bolted or fastened with a ring and staple, but very seldom locked or chained. - A roofed and a pair gate
Gates, too, vary in size and form. The most modest are no more than low wicker-gates which can be jumped over and offer no bar to intrusion. Others are of the same make, but stand higher so that the interior can be seen only through cracks. But the most common consist of two square posts with hinged doors which meet in the middle and are kept shut by a cross-bar passing through clamps on them. These gates may be of the cheapest kind of wood, such as cryptomeria, or may be massive and of hard wood. Another common kind has a roof over it with a single door which is hinged on one post and fastened on to the other and provided with a small sliding-door for daily use. The larger pair gates have also small side-doors for use at night when they are themselves shut. - The samisen
The samisen is early taught. Girls of seven or thereabouts are made to learn it while their fingers are still very pliant. But the lessons are hard to learn as the tunes have to be committed to memory, for there are no scores to refer to. There is no popular method of notation; the marks which are sometimes to be seen in song-books are too few to be of use to any but skilled musicians. The lighter samisen does not require much exertion to play; women can thrum it for hours on end; and they make slight indentations on the nails of the middle and ring fingers of the left hand for catching the strings when those fingers are moved up and down the neck to stop them. But with the heavier kind the indentations are deeper, and the constant friction of the strings hardens the finger-tips and often breaks the nails, while still worse is the condition of the right hand which holds the plectrum. The plectrum, the striking end of which is flat as in the one for the slender-necked samisen, is heavily leaded and weighs from twelve ounces to a pound when used by professionals; and the handle, which is square, is held between the ring and little fingers for leverage and worked with the thumb and the forefinger. - The Koto
The only Japanese musical instrument taught in girls’ schools is the koto, a kind of zither. As the koto is the most adaptable of all Japanese instruments to western music, it is more readily learnt than others at schools where the piano and the violin are also taught. There are several kinds of koto, the number of strings on them ranging from one to twenty-five; but the one exclusively used at schools has thirteen strings It has a hollow convex body,six feet five inches long and ten inches wide at one end and half an inch narrower at the other, and stands on legs three and a half inches high. The strings are tied at equal distances at the head or broader end and gathered at the other; they are supported each by its own bridge, the position of which varies with the pitch required. Small ivory nails are put on the tips of the fingers for striking the strings. - A young lady dressed for a visit
When she goes out on an informal visit, the Japanese woman usually puts on a crested haori; but if it is only for a walk, the haori may be plain. The kimono may on such occasions be of any pattern, only that when she makes a call, the band must be of the same cloth as the kimono. - A shop in Tokyo
There are no streets in Tokyo which are known as fashionable afternoon resorts, because the shops are so constructed that one cannot stop before them without being accosted by the squatting salesmen. Only in a few main streets are there regular rows of shops with show-windows against which one could press one’s nose to look at the wares exhibited or peer beyond at the shop-girls at the counter; but then business is not done in Japan over the counter, nor do shop-girls hide their charms behind a window, for the shops are open to the street and the show-girls, or “signboard-girls” as we call them, squat at the edge visible to all passers-by and are as distinctive a feature of the shop as the signboard itself. The goods are exhibited on the floor in glass cases or in piles, a custom which is not commendable when pastry or confectionery is on sale, for standing as it does on the south-eastern end of the great plain of Musashino, Tokyo is a very windy city, and the thick clouds of fine dust raised by the wind on fair days cover every article exposed and penetrate through the joints of glass cases, so that in Tokyo a man who is fond of confectionery must expect to eat his pound of dirt not within a lifetime, but often in a few weeks. If one stops for a moment to look at the wares, he is bidden at once to sit on the floor and examine other articles which would be brought out for his inspection, whereupon he has either to accept the invitation or move on. One seldom cares therefore to loiter in the street. The only shops that are often crowded by loiterers are the booksellers’ and cheap-picture dealers’. - A Street in Yedo
A Street in Yedo (From a picture by Settan, 1783–1843) - The seven herbs of autumn
People go out at this time to look at the Seven Herbs of Autumn, the principal of which is the lespedeza bicolor with its pretty little red flowers; the other six are the miscanthus sinensis, pueraria thunbergiana, dianthus superbus, patrinia seabiosœfolia, cupatorium chinense, and platycodon grandiflorum. The autumnal equinox is celebrated in the same manner as the vernal. - The flag Major Anderson carried with him from Fort Sumter
- Abraham Lincoln
Abraham Lincoln - Mississippi steamboat ‘J. M. White,’ 1878
The light-draught Mississippi steamers bear little resemblance to the Hudson River and Long Island Sound boats while the American steam ferry-boat is a thing certainly not of beauty, but unique. The J. M. White, of 1878, was deemed “a crowning effort in steamboat architecture in the West.” She was 320 feet long and 91 feet in width, over the guards. Her saloons were magnificently furnished, and all her internal fittings of the most elaborate description. She carried 7,000 bales of cotton and had accommodation for 350 cabinpassengers. Her cost was $300,000. She was totally destroyed by fire in 1886. - Fulton’s ‘Clermont’ on The Hudson, 1807
The Clermont made her first voyage from New York to Albany, August 7th, 1807. Her speed was about five miles an hour. During the winter of 1807-8 she was enlarged, her name being then changed to North River. She continued to ply successfully on the Hudson as a passenger boat for a number of years, her owners having acquired the exclusive right to navigate the waters of the State of New York by steam. - 'Wilhelm Kaiser' On The Rhine, 1886
The Rhine steamers and those plying on the Swiss lakes are in keeping with the picturesque scenery through which they run. Painted in bright colours, they present a very attractive and smart appearance. They are kept scrupulously clean and are admirably managed. Many of them are large, with saloon cabins the whole length of the vessel, over which is the promenade deck covered with gay awnings. They run fast. The captain sits in state in his easy chair under a canopy on the bridge—smoking his cigar. The chief steward, next to the captain by far the most important personage on board, moves about all day long in full evening dress—his main concern being to know what wine you will have for lunch or dinner that he may put it on ice for you. The table d’hote is the crowning event of the day on board a Rhine steamer, i.e., for the misguided majority of tourists to whom a swell dinner offers greater attractions than the finest scenery imaginable. - “Columba,” famous Clyde river steamer, 1875
Fifty years later witnessed the full development of Mr. Bell’s ideal in the Columba, then as now the largest river steamer ever seen on the Clyde, and the swiftest. The Columba is built of steel, is 316 feet long and 50 feet wide. She has two oscillating engines of 220 horse-power, and attains a speed of twenty-two miles an hour. Her route is from Glasgow to Ardrishaig and back, daily in summer, when she carries from 2,000 to 3,000 persons through some of the finest scenery in Scotland. She is provided with steam machinery for steering and warping her into the piers, and with other modern appliances that make her as handy as a steam yacht. She resembles a little floating town, with shops and post-office where you can procure money orders and despatch telegrams And what is the Columba after all but an enlarged and perfected reproduction of Bell’s Comet! - Bell’s ‘Comet,’ off Dumbarton on the Clyde, 1812
Nothing more was heard of the steamboat in Britain until 1812, when Henry Bell surprised the natives of Strathclyde by the following advertisement in the Greenock Advertiser: STEAM PASSAGE BOAT, “THE COMET,” Between Glasgow, Greenock and Helensburgh, for Passengers Only. The subscriber having, at much expense, fitted up a handsome vessel, to ply upon the River Clyde, between Glasgow and Greenock, to sail by the power of wind, air and steam, he intends that the vessel shall leave the Broomielaw on Tuesdays, Thursdays and Saturdays, about mid-day, or at such hour thereafter as may answer from the state of the tide; and to leave Greenock on Mondays, Wednesdays and Fridays, in the morning, to suit the tide. The elegance, comfort, safety and speed of this vessel requires only to be proved to meet the approbation of the public; and the proprietor is determined to do everything in his power to merit public encouragement. The terms are, for the present, fixed at 4s. for the best cabin, and 3s. for the second; but beyond these rates nothing is to be allowed to servants, or any other person employed about the vessel. The subscriber continues his establishment at Helensburgh Baths, the same as for years past, and a vessel will be in readiness to convey passengers to the Comet from Greenock to Helensburgh. Henry Bell. Helensburgh Baths, 5th August, 1812. - Symington’s ‘Charlotte Dundas,’ 1802
In 1801 the London newspapers contained the announcement that an experiment had taken place on the Thames, on July 1st, for the purpose of propelling a laden barge, or other craft, against the tide, by means of a steam-engine of a very simple construction. “The moment the engine was set to work the barge was brought about, answering her helm quickly, and she made way against a strong current, at the rate of two and a half miles an hour.” In 1802 a new vessel was built expressly for steam navigation, on the Forth and Clyde Canal, under Symington’s supervision, the Charlotte Dundas, which was minutely inspected on the same day by Robert Fulton, of New York, and Henry Bell, of Glasgow, both of whom took sketches of the machinery to good purpose. This boat drew a load of seventy tons, at a speed of three and a half miles an hour, against a strong gale of wind. Under ordinary conditions she made six miles an hour, but her admitted success was cut short by the Canal Trust, who alleged that the wash of the steamer would destroy the embankment. - 'Great Republic'
Last of the Clipper Passenger Packets, 1854. The clipper “packet ship” was a vast improvement on the ordinary sailing ship. It had just reached its highest point of development when the ocean steamship first made its appearance. It was to the upper strata of the travelling community, sixty years ago, the counterpart of the express steamer of to-day. The packet-ship was built for fast sailing, with very fine lines, was handsomely fitted up and furnished, was exceedingly well found in eatables and drinkables, and carried a great spread of canvas. To see one of these ships under full sail was a [Pg 27]sight to be remembered—a rare sight, inasmuch as all the conditions of wind and water necessary for the display of every stitch of canvas are seldom met with in the North Atlantic. They not unfrequently crossed in fourteen or fifteen days. In winter they might be three months on a single voyage, but their average would be from twenty-five to thirty days. - The Stage coach
The Stage coach is used in the country where towns are few. The stages meet trains at the stations and take on passengers to be carried to their homes away from the railroad. Some of the stage routes are several hundred miles long. - Mrs Hemans
- Horses in a heap, Leader down, Wheelers falling over him
I have twice had three out of the four horses in a heap, from a leader coming down and the two wheelers falling over him; but in such a case as this there is very little danger if the coachman has the presence of mind not to leave his box till there is sufficient strength at the horses' heads to prevent them jumping up and starting off frightened. - Octave Chanute experimenting with his gliders on the Michigan sand dunes
Octave Chanute, born in France and reared in America, was one of the first men to make a scientific approach to the problem of flying machines. A thorough scientist, he had followed the progress of all flight experiments the world over. He built gliders with one, two, and even five pairs of wings and tested all of them on the sand dunes of Lake Michigan. His most successful glides were made with a biplane glider. In 1894, he published a book called Progress of Flying Machines, which covered all the efforts of men like himself who had experimented with man-carrying gliders and flying machines. - J C Coleman
J C Coleman - John Clarkson
The next point is to acquire a correct position in the "box," and an easy, yet deceptive, style of delivery. The position is, to a great extent, prescribed by the rules, and so much of it as is not can be learned by observing the different pitchers. The position which seems most natural should be chosen. The ball should be held in exactly the same way, no matter what kind of curve is to be pitched. Being obliged by rule to keep the ball before the body, in sight of the umpire, any difference in the manlier of holding it will be quickly noticed by a clever batter, and if for a particular curve it is always held in a certain way, he will be forewarned of the kind of ball to expect. Some batters pay no attention to these little indications; but the majority are looking for them all the time, and once they detect any peculiarities, they will be able to face the pitcher with much greater confidence. The correct manner of holding the ball for every kind of delivery is between the thumb and the first and middle fingers, as shown in the accompanying cut of Clarkson. - Catching a ground ball
In fielding ground hits the short-stop should observe the general principles for such plays. He should, if possible, get directly and squarely in front of every hit, making his feet, legs, and body assist in stopping the ball, in case it gets through his hands. If the ball comes on a "short bound," he should not push the hands forward to meet it, hut, having reached forward, "give" with the ball by drawing back the hands in the direction the ball should bound. In this way if the ball does not strike the hands fairly, its force will at least be deadened so that it will fall to the ground within reach of the player; whereas, if he pushes his hands forward and the ball does not strike fairly, it will be driven too far away. - Ball hit high to the in-field
By far the most difficult catch on a ball field is that of a ball hit high to the in-field, because of the great "twist" to the ball. The slightest failure to get the ball fairly in the hands will result in a miss, and yet this is always greeted by derisive howls from certain among the spectators. There are various styles of catching these hits, but the position of the hands shown in the accompanying cut is believed to be the best. The hands should be reached well up to meet the ball and then brought down easily in the line of its course. If the hands and arms are held stiff, the ball will rebound from them as though it had struck a stone. The use of a glove on one hand may be found helpful in counteracting the effect of the twist. The short-stop is expected to try for all such hits falling in his own position, and also all falling back of the third baseman and in short left-field. - William Ewing
The accompanying cut of Ewing is an excellent representation of a batter, in the act of hitting. He not only swings the bat with the arms, but pushes it with the weight of the shoulders. The position is a picture of strength. In hitting at a high ball the bat should be swung overhand, in an almost perpendicular plane, and so, also, for a low ball, the batter should stand erect and cut underhand. If the bat is swung in a horizontal plane the least miscalculation in the height of the ball will be fatal. If it strikes above or below the centre line of the bat, it will be driven either up into the air or down to the ground. Whereas, if the bat is swung perpendicularly, the same mistake will only cause it to strike a little farther up or down on the bat, but still on the centre line, and if it misses the centre line it will be thrown off toward first or third, instead of up or down. - The Catcher
In catching a high ball the hands should be held in the position shown in the following cut of Bushong, the fingers all pointing upward. Some players catch with the fingers pointing toward the ball, but such men are continually being hurt. A slight foul-tip diverts the course of the ball just enough to carry it against the ends of the fingers, and on account of their position the necessary result is a break or dislocation. But with the hands held as in this cut there is a "give" to the fingers and the chances of injury are much reduced. For a low ball the hands should be held so that the fingers point downward, and for a waist ball, by crouching slightly it may be taken in the same manner as a high ball. - The Forth Bridge
The Forth Bridge at the Present Day. Building the Bridge. Train crossing the Bridge. The mouth of the Forth has very nearly bitten Scotland in two, and anybody who wishes to travel from Edinburgh to Dunfermline would have to go a long way round if they objected to crossing the river. Formerly a great many people did object to this, because they knew that, although the voyage was only about a short mile, the great billows from the North Sea would meet them before it was over, and give them a very unpleasant time. So everybody who had anything to do with the Forth was willing that it should be spanned by a reliable bridge, and plans for carrying this into effect were frequently proposed. Indeed, arrangements were almost completed in 1879 for building a huge suspension bridge from shore to shore. The drawings were made, the estimates prepared, and the spades and trowels even beginning to work on the foundations, when, one sad December night, a terrible gale arose. All through the hours of darkness it roared and shrieked across the British Isles, working havoc upon sea and land, but, when morning came at last, few were prepared for the appalling catastrophe it had caused. Sweeping up the Firth of Tay, it had torn away a portion of the great railway bridge that crossed the inlet, and hurled it into the water. A train was passing over at the time, and plunged into the abyss with all its passengers. The terrible event shook public confidence, and we might almost say that the gale of that December night caught all the drawings and papers connected with the proposed suspension bridge over the Forth, and swept them from public favour. Immediately afterwards, Sir John Fowler and Mr. Benjamin Baker (both celebrated engineers) came forward with an alternative plan of which no one could doubt the strength. It may perhaps be described as an arch-suspension bridge, because the design includes the strength of both styles; but engineers themselves call it a cantilever bridge. - The first Railway Journey in England
It was called the 'Locomotion.' George Stephenson stood ready to drive it as soon as the trucks, which a stationary engine was lowering down the slope by means of a wire rope, had been attached to it. In the first of these trucks came the Directors of the Railway Company and their friends, followed by twenty-one trucks (all open to the sky, like ordinary goods-trucks), loaded with various passengers, and finally six more waggons of coal. Such was the first train. A man on horseback, carrying a flag, having taken up his position in front of the 'Locomotion' to head the procession, the starting word was given, and with a hiss of steam, half drowned in the shouting of the crowd, the first railway journey ever made in England was begun. - The Ashtabula Disaster
The Ashtabula Disaster - The Old Bridge
The Old Bridge - The new bridge, with temporary underpinning
The new bridge, with temporary underpinning - The Collector of refuse hair
To what strange shifts and expedients are many driven by the hard pressures of life to earn the means of barely supporting existence ! Any one, who is acquainted with the lower phases of London life, is well aware that thousands scrape together a living out of the dust-heaps in Pad-dington. Some in rags, some in bones, some in street manure, some in scraps of tin and iron, find support for themselves and their families. Man is not responsible for his natural powers, nor is it any disgrace to be so deficient in intellect as to be obliged to follow a mean employment. No toil debases man save that which injures his moral character. Our picture presents to our notice one of the meanest of Chinese callings ; and in the refuse hair-gatherer, our artist has not failed to give you a specimen of humanity in one of its lowest forms. But even such a case as this is not without its interest. From the maker of wigs, false beards, and moustache, and from the worker in ornamental hair generally, such a calling may justly attract observation. Without the aid of the poor hair-gatherer, how should that fashionable young man, who, Absolom like, prides himself upon his hair, and yet unlike Absolom has but little of his own to boast of, appear in proper guise before his compeers in society ? How, again, shall the coy maiden find, unless by the same help, those magnificent "butter-flies' wings " * of glossy hair, which ornament the back of her head? But I have unwittingly anticipated : by this time the reader surmises the functions of our friend going his wearisome rounds with his light wicker-basket. He is either buying or begging all the refuse combings of the women's long black hair, which others, skilful in their art, make up into tails, either to supply a need which unfortunately may have arisen, or to increase the proportions of that which nature had too sparely bestowed. As you pass down a Chinese street, you will occasionally see a shop where were sold long switchy horse-tails ; such, at least, they long ap-peared to the writer of these sketches ; inquiry at last dissipated the delusion ; appearances answered to their proverbial deceitfulness, and these long-switch tails were formed of the refuse combings collected by our persevering friend, and hung in the shop ready to be braided into the usual queue worn by the men.