d. Taking the piece on 18 first seems to lose, thus:--

15-22 e 9-13 13-17 6-9 5-14 24-8 17-14 23-18 14-10 10-7 White 4-11 10-17 17-21 9-14 2-6 wins. 31-27 21-14 28-24 18-9 7-2 Dallas.

e. 2-7, 27-24, 22-26, 23-18, 26-31, 18-15, 11-18, 20-2, 9-13, 2-9, 5-14, 24-19, 13-22, 30-26. White wins.

Game No. 3.--"Dundee" Opening.

12-16 11-15 c 8-12 4-8 9-14 1-26 24-20 20-11 17-13 18-15 26-22 31-22 8-12 7-16 5-9 2-7 14-17 19-23 28-24 24-20 22-18 30-26 21-14 13-9 9-14 b 16-19 15-22 10-14 18-23 12-19 22-17 23-16 25-18 29-25 27-18 9-6 3-8 12-19 14-23 14-18 6-10 7-11 a 26-22 20-16 27-18 32-27 15-6 Drawn. R. Jordan.

a. This move is the favourite at this point on account of its "trappiness," but 25-22 is probably stronger, thus: 25-22, 16-19, 24-15, 11-25, 29-22, 8-11, 17-13, 11-16, 20-11, 7-16, and white can with advantage continue by 27-24, 22-17, 23-19 or 22-18.

b. 15-19, 20-11, 8-15, 23-16, 12-19, 17-13, 5-9, 30-26, 4-8, 27-23, 8-12, 23-16, 12-19, 31-27, 1-5, 27-23, 19-24, 32-27, 24-31, 22-17. White wins. C. F. Barker.

c 8-11 27-18 15-18 14-10 24-27 7-10 16-7 15-22 14-10 19-24 31-24 27-31 2-11 25-18 6-15 10-7 16-20 10-26 22-18 10-15 17-14 18-23 3-7 31-22 14-23 18-14 11-16 7-3 20-27 30-25 Drawn. R. Stewart v. R. Jordan.

Problem No. 1 is the simplest form of that known to draughts-players as the "First Position." It is of more frequent occurrence in actual play than any other end-game, and is, besides, typical of a class of draughts problems which may be described as analytical, in contradistinction to "strokes."

Problem No. 1, by Wm. Payne. BLACK. +---+---+---+---+---+---+---+---+ | | | | | | | | | +---+---+---+---+---+---+---+---+ | | | | | | | | | +---+---+---+---+---+---+---+---+ | | | | | | | | B | +---+---+---+---+---+---+---+---+ | | | | | | | | | +---+---+---+---+---+---+---+---+ | | | | | | | | | +---+---+---+---+---+---+---+---+ | | | | |WW | | | | +---+---+---+---+---+---+---+---+ | | | | | |WW | |BB | +---+---+---+---+---+---+---+---+ | | | | | | | | | +---+---+---+---+---+---+---+---+ WHITE.

White to move and win.

Solution:--

27-32 18-15 15-11 11-15 28-32 19-24 28-24 2-28-24 12-16 19-24 27-31 White 23-18 32-28 28-32 32-28 15-19 wins. 3-a-24-28 1-24-20 16-19 24-27 31-26

a. 12-16 same as Var. I. at 5th move.

Var. I.

24-27 18-15 19-16 28-32 8-12 15-11 15-18 b 16-20 18-23 8-12 23-18 White 12-16 15-18 16-11 32-27 12-8 wins. 28-32 24-19 23-19 12-8 18-15 27-24 32-28 11-8 27-23 8-12

b. 24-28 same as Var. II. at 1st move.

Var. II. 12-16, 15-11, 16-19, 32-27, 28-32, 27-31, 32-28, 11-16, 19-23, 16-19. White wins.

Var. III. 24-19, 32-28, c 19-16, 28-24, 16-11, 24-20, 11-8, 18-15. White wins.

c. 12-16, 28-32, 19-24 or 16-20, same as Var. II. at 5th and 9th moves respectively. White wins.

Problem No. 2. BLACK. +---+---+---+---+---+---+---+---+ | | B | | | | B | | | +---+---+---+---+---+---+---+---+ | B | | | | B | | B | | +---+---+---+---+---+---+---+---+ | | | | W | | B | | | +---+---+---+---+---+---+---+---+ | B | | W | | | | B | | +---+---+---+---+---+---+---+---+ | | B | | W | | | | B | +---+---+---+---+---+---+---+---+ | W | | W | | | | W | | +---+---+---+---+---+---+---+---+ | | | | W | | W | | | +---+---+---+---+---+---+---+---+ | | | W | | | | W | | +---+---+---+---+---+---+---+---+ WHITE.

White to move and win.

Problem No. 2 is a fine example of another class of problems, namely, "strokes." It is formed from the "Paisley" opening, thus:--

11-16 22-17 11-16 26-19 9-13 15-10 24-19 9-13 25-21 4-8 25-22 a 2-7 8-11 17-14 6-9 29-25 7-11 28-24 10-17 23-18 13-17 19-15 16-20 21-14 16-23 31-26 12-16

a. This forms the position on the diagram. The solution is as follows:--

27-23 7-14 18-9 14-23 26-3 20-27 9-6 5-14 21-7 27-31 14-9 1-10 23-18 3-10 3-7

White wins. Jacques and Campbell.

_Other Varieties._--The forms of draughts practised on the European continent differ in some respects from the English variety, chiefly in respect of the power assigned to a man after "crowning." The game of _Polish Draughts_ is played in France, Holland, Belgium and Poland, where it has entirely superseded _Le Jeu de dames à la française_. It is played on a board of 100 squares with 20 men a side. The men move and capture as in English draughts, except that in capturing they move either forward or backward. A crowned man becomes a queen, and can move any number of squares along the diagonal. In her capture she takes any unguarded man or queen in any diagonal she commands, leaping over the captured man or queen and remaining on any unoccupied square she chooses of the same diagonal, beyond the piece taken. But if there is another unguarded man she is bound to choose the diagonal on which it can be taken. For example (using an English draught-board) place a queen on square 29 and adverse men at squares 22, 16, 24, 14. The queen is bound to move from 29 to 11, 20, 27, and having made the captures to remain at 9 or 5, whichever she prefers. The capturing queen or man must take all the adverse pieces that are _en prise_, or that become so by the uncovering of any square from which a piece has been removed during the capture, e.g. white queen at square 7, black at squares 10, 18, 19, 22 and 27, the queen captures at 10, 22, 27 and 19, and the piece at 22 being now removed, she must go to 15, take the man at 18, and stay at 22, 25 or 29. In consequence of the intricacy of some of these moves, it is customary to remove every captured piece as it is taken. If a man arrives at a crowning square when taking, and he can still continue to take, he must do so, and not stay on the crowning square as at draughts. Passing a crowning square in taking does not entitle him to be made a queen. In capturing, the player must choose the direction by which he can take the greatest number of men or queens, or he may be huffed. Numerical power is the criterion, e.g. three men must be taken in preference to two queens. If the numbers are equal and one force comprises more queens than the other, the player may take whichever lot he chooses. This form of draughts, played on a board of 144 squares with 30 men a side, is extensively practised by British soldiers in India.

The German _Damenspiel_ is Polish draughts played on a board of the same size and with the same number of men as in the English game. It is sometimes called Minor Polish draughts, and is practised in Germany and Russia.

The _Italian game_ differs from the English in two important particulars--a man may not take a king, and when a player has the option of capturing pieces in more than one way he must take in the manner which captures most pieces. There is a difference too in the placing of the board, the black square in the corner of the board being at the player's right hand, but until a king is obtained the differences from the English system are unimportant in practice.

In _Spanish draughts_ the board is set as for the Italian game. The men move as in English draughts, but, in capturing, the largest possible number of pieces must be taken, and the king has the same powers as in the Polish game. The game does not differ essentially from the English game until a king is obtained, and many games from Spanish works will be found incorporated in English books. Sometimes the game is played with 11 men and a king, or 10 men and 2 kings a side, instead of the regulation 12 men.

_Turkish draughts_ differs widely from all other modern varieties of the game. It is played on a board of 64 squares, all of which are used in play. Each player has 16 pieces, which are not placed on the two back rows of squares, as in chess, but on the second and third back rows. The pieces do not move diagonally as in other forms of the game, but straight forward or to the right or left horizontally. The king has the same command of a horizontal or vertical row of squares that the queen in Polish draughts has over a diagonal. Capturing is compulsory, and the greatest possible number of pieces must be taken, captured pieces being removed one at a time as taken.

AUTHORITIES.--Falkener's _Games Ancient and Oriental_; Lees' _Guide to the Game of Draughts_; Drummond's _Scottish Draught Players_ (Kear's reprint); Gould's _Memorable Matches_ and _Book of Problems_, &c. The _Draughts World_ is the principal magazine devoted to the game. In Dunne's _Draught Players' Guide and Companion_ a section is devoted to the non-English varieties. (J. M. M. D.; R. J.)

DRAUPADI, in Hindu legend, the daughter of Drupada, king of Panchala, and wife of the five Pandava princes. She is an important character in the _Mahabharata_.

DRAVE, or DRAVA (Ger. _Drau_, Hung. _Dráva_, Lat. _Dravus_), one of the principal right-bank affluents of the Danube, flowing through Austria and Hungary. It rises below the Innichner Eck, near the Toblacher Feld in Tirol, at an altitude of a little over 4000 ft., runs eastward, and forms the longest longitudinal valley of the Alps. The Drave has a total length of 450 m., while the length of its Alpine valley to Marburg is 150 m., and to its junction with the Mur 250 m. Owing to its great extent and easy accessibility the valley of the Drave was the principal road through which the invading peoples of the East, as the Huns, the Slavs and the Turks, penetrated the Alpine countries. The Drave flows through Carinthia and Styria, and enters Hungary near Friedau, where up to its confluence with the Danube, at Almas, 14 m. E. of Esseg, it forms the boundary between that country and Croatia-Slavonia. At its mouth the Drave attains a breadth of 1055 ft. and a depth of 20 ft. The Drave is navigable for rafts only from Villach, and for steamers from Bárcs, a distance of 95 m. The principal affluents of the Drave are: on the left the Isel, the Gurk, the Lavant, and the largest of all, the Mur; and on the right the Gail and the Drann.

DRAVIDIAN (Sanskrit _Dravida_), the name given to a collection of Indian peoples, and their family of languages[1] comprising all the principal forms of speech of Southern India. Their territory, which also includes the northern half of Ceylon, extends northwards up to an irregular line drawn from a point on the Arabian Sea about 100 m. below Goa along the Western Ghats as far as Kolhapur, thence north-east through Hyderabad, and farther eastwards to the Bay of Bengal. Farther to the north we find Dravidian dialects spoken by small tribes in the Central Provinces and Chota Nagpur, and even up to the banks of the Ganges in the Rajmahal hills. A Dravidian dialect is, finally, spoken by the Br[=a]h[=u][=i]s of Baluchistan in the far north-west. The various Dravidian languages, with the number of speakers returned at the census of 1901, are as follows:--

Tamil 17,494,901 Malay[=a]lam 6,022,131 Kanarese 10,368,515 Tulu 535,210 Kodagu 39,191 Toda 805 K[=o]ta 1,300 Kuru[chi] 609,721 Malto 60,777 G[=o]nd[=i] 1,125,479 Kui 494,099 Telugu 20,697,264 Br[=a]h[=u][=i] 48,589 ---------- Total 57,497,982

Of these Tamil and Malay[=a]lam can be considered as two dialects of one and the same language, which is, in its turn, closely related to Kanarese. Tulu, Kodagu, Toda and K[=o]ta can be described as lying between Tamil-Malay[=a]lam and Kanarese, though they are more nearly related to the latter than to the former. The same is the case with Kuru[chi] and Malto, while Kui and G[=o]nd[=i] gradually approach Telugu, which latter language seems to have branched off from the common stock at an early date. Finally, the Br[=a]h[=u][=i] dialect of Baluchistan has been so much influenced by other languages that it is no longer a pure Dravidian form of speech.

The Dravidian languages have for ages been restricted to the territory they occupy at the present day. Moreover, they are gradually losing ground in the north, where they meet with Aryan forms of speech. If we compare the caste tables and the language tables in the Indian census of 1901 we find that only 1,125,479 out of the 2,286,913 G[=o]nds returned were stated to speak the Dravidian G[=o]nd[=i]. Similarly only 1505 out of 17,187 K[=o]l[=a]ms entered their language as K[=o]l[=a]m[=i]. Such tribes are gradually becoming Hinduized. Their language adopts an ever-increasing Aryan element till it is quite superseded by Aryan speech. In the north-eastern part of the Dravidian territory, to the east of Chanda and Bhandara, the usual state of affairs is that Dravidian dialects are spoken in the hills while Aryan forms of speech prevail in the plains. The Dravidian Kui thus stands out as an isolated island in the sea of Aryan speech.

This process has been going on from time immemorial. The Dravidians were already settled in India when the Aryans arrived from the north-west. The fair Aryans were at once struck by their dark hue, and named them accordingly _krisna tvac_, the black skin. In the course of time, however, the two races began to mix, and it is still possible to trace a Dravidian element in the Aryan languages of North India.

The teaching of anthropology is to the same effect. Most speakers of Dravidian languages belong to a distinct anthropological type which is known as the Dravidian. "The Dravidian race," says Sir H. Risley, "the most primitive of the Indian types, occupies the oldest geological formation in India, the medley of forest-clad ranges, terraced plateaus, and undulating plains which stretches, roughly speaking, from the Vindhyas to Cape Comorin. On the east and west of the peninsular area the domain of the Dravidian is conterminous with the Ghats, while farther north it reaches on one side to the Aravallis and on the other to the Rajmahal hills."

This territory is the proper home of the race. A strong Dravidian element can, however, also be traced in the population of northern India. In Kashmir and Punjab, where the Aryans had already settled in those prehistoric times when the Vedic hymns were composed, the prevailing type is the Aryan one. The same is the case in Rajputana. From the eastern frontier of the Punjab, on the other hand, and eastwards, a Dravidian element can be traced. This is the case in the valleys of the Ganges and the Jumna, where the Aryans only settled at a later period. Anthropologists also state that there is a Dravidian element in the population of western India, from Gujarat to Coorg.

It is thus probable that Dravidian languages have once been spoken in many tracts which are now occupied by Aryan forms of speech. The existence of a Dravidian dialect in Baluchistan seems to show that Dravidian settlers have once lived in those parts. The tribe in question, the Br[=a]h[=u][=i]s, are, however, now Eranians and not Dravidians by race, and it is not probable that there has ever been a numerous Dravidian population in Baluchistan. The Br[=a]h[=u][=i]s are most likely the descendants of settlers from the south.

There is no indication that the Dravidians have entered India from outside or superseded an older population. For all practical purposes they can accordingly be considered as the aborigines of the Deccan, whence they appear to have spread over part of northern India. Their languages form an isolated group, and it has not been possible to prove a connexion with any other family of languages. Such attempts have been made with reference to the Munda family, the Tibeto-Burman languages, and the dialects spoken by the aborigines of the Australian continent. The arguments adduced have not, however, proved to be sufficient, and only the Australian hypothesis can still lay claim to some probability. Till it has been more closely tested we must therefore consider the Dravidian family as an isolated group of languages, with several characteristic features of its own.

The pronunciation is described as soft and mellifluous. Abruptness and hard combinations of sounds are avoided. There is, for example, a distinct tendency to avoid pronouncing a short consonant at the end of a word, a very short vowel being often added after it. Thus the pronoun of the third person singular, which is _avan_, "he," in Tamil, is pronounced _avanu_ in Kanarese; the Sanskrit word _v[=a]k_, "speech," is borrowed in the form _v[=a]ku_ in Tamil; the word _gurram_, "horse," is commonly pronounced _gurramu_ in Telugu, and so on. Combinations of consonants are further avoided in many cases where speakers of other languages do not experience any difficulty in pronouncing them. This tendency is well illustrated by the changes undergone by some borrowed words. Thus the Sanskrit word _br[=a]hmana_, "a Brahmin," becomes _bar[=a]mana_ in Kanarese and _pir[=a]mana_ in Tamil; the Sanskrit _Dramida_, "Dravidian," is borrowed by Tamil under the form _Tir[=a]mida_. _Dramida_, which also occurs as _Dravida_, is in its turn developed from an older _Damila_, which is identical with the word _Tamir_, Tamil.

The forms _pir[=a]mana_ and _Tir[=a]mida_ in Tamil illustrate another feature of Dravidian enunciation. There is a tendency in all of them, and in Tamil and Malay[=a]lam it has become a law, against any word being permitted to begin with a stopped voiced consonant (g, j, [d.], d, b), the corresponding voiceless sounds (k, c, t, [t.], p, respectively) being substituted. In the middle of a word or compound, on the other hand, every consonant must be voiced. Thus the Sanskrit word _danta_, "tooth," has been borrowed by Tamil in the form _tandam_, and the Telugu _anna_, "elder brother," _tammulu_, "younger brother," become when compounded _annadammulu_, "elder and younger brothers."

There is no strongly marked accent on any one syllable, though there is a slight stress upon the first one. In some dialects this equilibrium between the different parts of a word is accompanied by a tendency to approach to each other the sound of vowels in consecutive syllables. This tendency, which has been called the "law of harmonic sequence," is most apparent in Telugu, where the short _u_ of certain suffixes is replaced by _i_ when the preceding syllable contains one of the vowels _i_ (short and long) and _ei_. Compare the dative suffix _ku_, _ki_, in _gurramu-ku_, "to a horse"; but _tammuni-ki_, "to a younger brother." This tendency does not, however, play a prominent rôle in the Dravidian languages.

Words are formed from roots and bases by means of suffixed formative additions. The root itself generally remains unchanged throughout. Thus from the Tamil base _per_, "great," we can form adjectives such as _per-iya_ and _per-um_, "great"; verbs such as _per-u-gu_, "to become increased"; _per-u-kku_, "to cause to increase," and so on.

Many bases can be used at will as nouns, as adjectives, and as verbs. Thus the Tamil _kadu_ can mean "sharpness," "sharp," and "to be sharp." Other bases are of course more restricted in their respective spheres.

The inflection of words is effected by agglutination, i.e. various additions are suffixed to the base in order to form what we would call cases and tenses. Such additions have probably once been separate words. Most of them are, however, now only used as suffixes. Thus from the Tamil base _k[=o]n_, "king," we can form an accusative _k[=o]n-ei_, a verb _k[=o]n-en_, "I am king," and so on.

Dravidian nouns are divided into two classes, which Tamil grammarians called high-caste and casteless respectively. The former includes those nouns which denote beings endowed with reason, the latter all others. Gender is only distinguished in the former class, while all casteless nouns are neuter. The gender of animals (which are irrational) must accordingly be distinguished by using different words for the male and the female, or else by adding words meaning male, female, respectively, to the name of the animal--processes which do not, strictly speaking, fall under the head of grammar.

There are two numbers, the singular and the plural. The latter is formed by adding suffixes. It, however, often remains unmarked in the case of casteless nouns.

Cases are formed by adding postpositions and suffixes, usually to a modified form of the noun which is commonly called the oblique base. Thus we have the Tamil _maram_, "tree"; _maratt-[=a]l_, "from a tree"; _maratt-u-kku_, "to a tree"; _v[=i]du_, "a house"; _v[=i]t[t.]-[=a]l_, "from a house." The case terminations are the same in the singular and in the plural. The genitive, which precedes the governing noun, is often identical with the oblique base, or else it is formed by adding suffixes.

The numeral system is decimal and higher numbers are counted in tens; thus Tamil _pattu_, "ten"; _iru-badu_, "two tens," "twenty."

The personal pronoun of the first person in most dialects has a double form in the plural, one including and the other excluding the person addressed. Thus, Tamil _n[=a]m_, "we," i.e. I and you; _n[=a]ngal_, "we," i.e. I and they.

There is no relative pronoun. Relative clauses are effected by using relative participles. Thus in Telugu the sentence "the book which you gave to me" must be translated _m[=i]ru n[=a]ku iccina pus-takamu_, i.e. "you me-to given book." There are several such participles in use. Thus from the Telugu verb _kot[t.]a_, "to strike," are formed _kot[t.]-ut-unna_, "that strikes," _kot[t.]-i-na_, "that struck," _kot[t.][=e]_, "that would strike," "that usually strikes." By adding pronouns, or the terminations of pronouns, to such forms, nouns are derived which denote the person who performs the action. Thus from Telugu _kot[t.][=e]_ and _v[=a]du_, "he," is formed _kot[t.][=e]-v[=a]du_, "one who usually strikes." Such forms are used as ordinary verbs, and the usual verbal forms of Dravidian languages can broadly be described as such nouns of agency. Thus, the Telugu, _kot[t.]in[=a]du_, "he struck," can be translated literally "a striker in the past."

Verbal tenses distinguish the person and number of the subject by adding abbreviated forms of the personal pronouns. Thus in Kanarese we have _m[=a]did-enu_, "I did"; _m[=a]did-i_, "thou didst"; _m[=a]did-evu_, "we did"; _m[=a]did-aru_, "they did."

One of the most characteristic features of the Dravidian verb is the existence of a separate negative conjugation. It usually has only one tense and is formed by adding the personal terminations to a negative base. Thus, Kanarese _m[=a]d-enu_, "I did not"; _m[=a]d-evu_, "we did not"; _m[=a]d-aru_, "they did not."

The vocabulary has adopted numerous Aryan loan-words. This was a necessary consequence of the early connexion with the superior Aryan civilization.

The oldest Dravidian literature is largely indebted to the Aryans though it goes back to a very early date. Tamil, Malay[=a]lam, Kanarese and Telugu are the principal literary languages. The language of literature in all of them differs considerably from the colloquial. The oldest known specimen of a Dravidian language occurs in a Greek play which is preserved in a papyrus of the 2nd century A.D. The exact period to which the indigenous literature can be traced back, on the other hand, has not been fixed with certainty.

BIBLIOGRAPHY.--Bishop R. Caldwell, _A Comparative Grammar of the Dravidian or South-Indian Family of Languages_ (London, 1856; 2nd edition, 1875); Dr Friedrich Müller, _Reise der österreichischen Fregatte Novara um die Erde in den Jahren 1857, 1858, 1859, unter den Befehlen des Commodore B. von Wüllerstorff-Urbair: Linguistischer Theil._ (Wien, 1867, pp. 73 and ff.); Dr Friedrich Müller, _Grundriss der Sprachwissenschaft_, vol. iii. (Wien, 1884), pp. 106 and ff.; G. A. Grierson, _Linguistic Survey of India_, vol. iv. "Munda and Dravidian Languages" (Calcutta, 1906), pp. 277 and ff. by Sten Konow. (S. K.)

FOOTNOTE:

[1] In Dravidian words a line above a vowel shows that it is long. The dotted consonants t, d, and n are pronounced by striking the tip of the tongue against the centre of the hard palate. The dotted l is distinguished from l in a similar way. Its sound, however, differs in the different districts. A Greek [chi] marks the sound of _ch_ in "loch"; _s_ is the English _sh_; _c_ the _ch_ in "church"; and _ri_ is an _r_ which is used as a vowel. In the list of Dravidian languages the names are spelt fully, with all the necessary diacritical marks. In the rest of the article dots under consonants have been omitted in these words.

DRAWBACK, in commerce, the paying back of a duty previously paid upon the exportation of excisable articles or upon the re-exportation of foreign goods. The object of a drawback is to enable commodities which are subject to taxation to be exported and sold in a foreign country on the same terms as goods from countries where they are untaxed. It differs from a bounty in that the latter enables commodities to be sold abroad at less than their cost price; it may occur, however, under certain conditions that the giving of a drawback has an effect equivalent to that of a bounty, as in the case of the so-called sugar bounties in Germany (see SUGAR). The earlier tariffs contained elaborate tables of the drawbacks allowed on the exportation or re-exportation of commodities, but so far as the United Kingdom is concerned the system of "bonded warehouses" practically abolished drawbacks, as commodities can be warehoused (placed "in bond") until required for subsequent exportation.

DRAWING, in art. Although the verb "to draw" has various meanings, the substantive _drawing_ is confined by usage to its artistic sense, delineation or design. The word "draw," from a root common to the Teutonic languages (Goth, _dragan_, O.H.G. _drahan_, Mod. Ger. _tragen_, which all have the sense of "carry," O. Norse _draga_, A.S. _drazan_, _drazen_, "draw," cf. Lat. _trahere_), means to pull or "drag" (a word of the same origin) as distinct from the action of pushing. It is thus used of traction generally, whether by men, animals or machines. The same idea is preserved in "drawing" as applied to the fine arts. We do not usually say, or think, that a sculptor is drawing when he is using his chisel, although he may be expressing or defining forms, nor that an engraver is drawing when he is pushing the burin with the palm of the hand, although the result may be the rendering of a design. But we do say that an artist is drawing when he uses the lead pencil, and here we have a motion bearing some resemblance to that of traction generally. The action of the artist in drawing the pencil point with his fingers along the paper is analogous, e.g., to that of a horse or man drawing a pole over soft ground and leaving a mark behind. The same analogy may be observed between two of the senses in which the French verb _tirer_ is frequently employed. This word, the origin of which is quite uncertain, was formerly used by good writers in the two senses of the verb to draw. Thus Lafontaine says, "Six forts chevaux _tiraient_ un coche"; and Caillières wrote, "Il n'y a pas longtemps que je me suis fait _tirer_ par Rigaud," meaning that Rigaud had drawn or painted his portrait. At the present day the verb _tirer_ has fallen into disuse amongst cultivated Frenchmen with regard to drawing and painting, but it is still universally used for all kinds of design and even for photography by the common people. The cultivated use it still for printing, as for example "cette gravure sera tirée à cent exemplaires," in the sense of pulling. A verb much more nearly related to the English verb _to draw_ is the French _traire_ (Lat. _trahere_), which has _trait_ for its past participle. _Traire_ is now used exclusively for milking cows and other animals, and though the analogy between this and artistic drawing is not obvious at first, nevertheless there is a certain analogy of motion, since the hand passing down the teat draws the milk downwards. The word _trait_ is much more familiar in connexion with art as "les traits du visage," the natural markings of the face, and it is very often used in a figurative sense, as we say "traits of character." It is familiar in the English _portrait_, derived from _protrahere_. The ancient Romans used words which expressed more clearly the conception that drawing was done in line (_delineare_) or in shade (_adumbrare_), though there are reasons for believing that the words were often indiscriminately applied. Although the modern Italians have both _traire_ and _trarre_, they use _delineare_ still in the sense of artistic drawing, and also _adombrare_. The Greek verb [Greek: graphein] appears in English in "graphic" and in many compounds, such as photograph, &c. It is worth observing that the Greeks seem to have considered drawing and writing (q.v.) as essentially the same process, since they used the same word for both. This points to the early identity of the two arts when drawing was a kind of writing, and when such writing as men had learned to practise was essentially what we should call drawing, though of a rude and simple kind. Even in the present day picture writing is not unfrequently resorted to by travellers as a means of making themselves intelligible. There is also a kind of art which is writing in the modern sense and drawing at the same time, such as the work of the medieval illuminators in their manuscripts. (X.)

_The Art of Drawing._--Rather than attempt here a historical survey of the various so-called "styles" of drawing, or write a personal appreciation of them, it seems of greater use to give a logical account of drawing as an art, applicable to all times and countries. Reference to the teaching of drawing will be occasionally given rather to illustrate the argument than with a view to its being of practical use.

At the outset a distinction must be made between drawing as a means of symbolic or literary expression and drawing as the direct and only means of expressing the beauty of form. If Pharaoh wants to have it known that a hundred ducks were consumed at one meal in his court, he employs a draughtsman to register the fact on a frieze by picturing a row of cooks occupied in preparing the hundred ducks. The artist in this case does not represent the scene as he must have known it in the kitchen, with all its variety of movement and composition (as an early Greek vase painter conceived the interior of a vase factory), but all he does and is required to do is to give the sufficient number of figures and ducks. The more uniform the figures the greater will be the effect of number. Drawing has been employed here to tell a story, and it succeeds in so far as it tells the spectator plainly what could be told, perhaps less conveniently, in words. It matters not whether the figures and objects be feelingly rendered and harmoniously composed. So, to-day, a child, or any one who has a simple trick of symbolizing figures and objects in nature, can describe any event or moral by this process, provided the plot be not too elaborate to be expressed by a scene, or series of scenes, enacted by dumb symbolic figures. It is plain that the amusing pictures in _Punch_ or _Fliegende Blätter_ would be none the more amusing if they were done by the hand of Michelangelo, nor would the mystic designs of Blake be more full of meaning if drawn by Rembrandt, for in neither case do these works depend upon any subtle rendering of the forms of nature for their success, but upon the dramatic or intellectual imagination of the man who conceived them. When the witty or ethical man is at the same time a master draughtsman his work has two values, the "literary" content and the beauty of his drawing of natural objects. But it must be borne in mind that these values are fundamentally distinct; so much so that the spectator who has no appreciation of the forms of nature enjoys the story told and remains blind to the qualities of draughtsmanship, whilst the lover of nature's forms may or may not trouble to unravel the literary plot but finds perfect satisfaction in the drawing. By far the greater part of illustration, and of artistic production generally, must be classed as symbolic art. Magazine stories to-day are sometimes illustrated even by photography, for the hand of the artist is not required. Symbolic art describes indirectly and in a necessarily limited scope what literature can do directly and with unlimited powers. The only content of symbolic drawing is its literary meaning; as drawing it may be quite worthless.

Pure drawing, however, whether it represent a dramatic event or a knee-joint, has a content that cannot be expressed by words, and is not necessarily directed towards literary expression. Just as a fragment of good sculpture pleases the connoisseur without any reference either to the whole original or to its spiritual significance, fine drawing can appeal to the lover of nature independently of indirect considerations.

What is the content of pure drawing? It is held by some that drawing or monochrome can suggest colour, and many people, some consciously, others unconsciously, attempt to represent in drawings the colours of figures and landscape. It seems a strange aberration to argue that by different intensities of the one colour various other colours can be suggested: it would not be more unreasonable to maintain that E flat and F could be suggested by striking the note G with varying strength. Now the draughtsman employs various intensities of his monochrome as light and shade by which to give roundness to his forms. But if on the same drawing he uses the same means in his attempt to express colour, a conflict would be at once set up between that which makes for form and that which would make for colour, and the result would generally be a confusion. Again, let one attempt to give red hair to a monochrome drawing of a man, and if the red be plain and unmistakable to all who are not the artist's accomplices, then the artist has succeeded; otherwise it is bootless to treat of colour and colour values (which of course must depend upon the existence of colour) in monochrome. Apart from theory, if we examine the drawings, etchings and monochromes of great artists, where do we find them attempting to give colour or colour values? The hundreds of costume studies by Rembrandt might have been done from white plaster models, and there are only a few exceptions where a man has, for instance, a black hat or cloak. But in these few instances the "colour" tone is applied with such discretion that the true representation of the form is scarcely, perhaps only theoretically, impaired: they certainly have gained nothing in colour value because no specific colour is manifest in them. In Rembrandt's, Claude's or Turner's drawings of landscapes the formation of the country, the architecture, &c., is expressed by line, light and shade, and enhanced by shadows cast from clouds and trees. If, in the drawings of masters, we should find objects darker or lighter than their position in the light would warrant, they have value (perhaps not quite a legitimate one) for balancing the composition as a flat pattern. They were never intended to suggest colour, nor do they. Yet, in spite of the failure to succeed, and contrary to logical argument and the practice of great draughtsmen, the student of most of the schools of Europe and America still persists in doing the hair dark, and, by attempting to give colour values to the clothes, breaks up the consistency of the whole. For the same reason that the sculptor uses uniformly coloured material in order that the natural light and shade may have full opportunity of making his forms manifest to the spectator, the draughtsman confines himself to giving light and shade only. If a monochrome has "colour tones," the effect is similar to that produced by a draped statue made out of variously coloured marbles--an inartistic jumble.

As the immediate purpose and content of drawing there remains the representation of form only. Drawing is, therefore, essentially the same activity as sculpture, and has no additional scope. "Pupils," says Donatello, "I give you the whole art of sculpture when I tell you to draw" (cited by Holroyd, _Michel Angelo_, p. 2 95), and the only practical teaching of drawing might be summed up by the inversion of the above.

Now if everything in nature--men, mountains or clouds--were as flat targets, i.e. two-dimensional, drawing could be legitimately reduced to a mechanical process,--to trace their contours upon a glass screen or even photograph them would be all that would be required. Indeed, provided the size of the drawing, the local colour and the texture be the same as those of the original, a complete illusion would be the result, in fact the proper end of one's labours. But the presence of the third dimension in all objects causes light and shade, which in their turn bring about radical changes of the local colour, even in uniformly coloured objects. Now since drawing cannot suggest colour, local or atmospherical, any attempt to effect an illusion by a monochrome is at once defeated. If the end of drawing were to approach imitation or illusion as nearly as possible, how is it that a mere "sketch" by a master draughtsman can be for itself as valuable as his highly finished drawing? And surely a masterly outline drawing of a figure or landscape does not pretend to be an illusion. If then the draughtsman does not, and cannot hope to imitate nature, he is compelled to state only his ideas of it, ideas of three-dimensional form. For this reason only drawing must be treated as an art, and not as a mechanical act of getting an illusion.

It is interesting to trace in the history of an indigenous art the development of drawing that shall ultimately express ideas of three-dimensional form. Prof. Emanuel Loewy, in his _Rendering of Nature in Early Greek Art_, demonstrates how the early Greek sculpture (and that of all primitive peoples, children and ungifted artists) shows an aversion from depth. Their reliefs are of the flattest description, almost raised contours, and their figures in the round have at first only one aspect, or flat façade, so to speak, then three and four aspects, and finally at the date of Lysippus the figures are fully rounded out, and the members project at liberty in all directions. Then for the first time Greek sculpture showed a complete conception of the body's corporeity (_Körperlichkeit_). The primitive artist, however well he may be _intellectually_ aware of the three dimensions of an object, does not fully apprehend its true aspect as offered to the eye from one point of view. Following this conclusion, it is easy to see also in the drawing of the early Greeks, children and so on, the same lack of idea of the third dimension. The figures on the vases of the "finest period" (about 475 B.C.), despite occasional foreshortenings, have, when considered as representations of solid forms, a papery appearance. They have not half the draughtsmanship shown by the latter period of the vase industry, where the figures, though careless, stereotyped and ill-composed, come forwards (to use Prof. Loewy's description of later sculpture), go backwards, twist and turn in space in a manner which cannot be excelled. The reproductions in figs. 1, 2, 3 will illustrate the development. The primitive draughtsman is at first bound by the silhouette. Later, he desires to fill out the interior, but this cannot be done without in great part modifying his contour lines, because they are generally merely indications of the disappearing and reappearing inner modelling, i.e. of the figure's third dimension. Finally, the draughtsman in full possession of a feeling for the corporeity of the object will determine his contour entirely from within, a procedure which is the exact opposite to that of his first beginnings. He conceives the length, breadth and depth of an object and all its parts as solid wholes. To him a body in violent foreshortening is as easy as a simple profile, and, though it may not be as attractive, it is perhaps more interesting because its contours are more bound up with, and dependent upon, the inner modelling; in other words, it has more depth. The draughtsman's idea of a form in nature is not a "flat idea," but one containing three dimensions. This idea he seeks to express either by line alone or by light and shade. If an artist has not a three-dimensional "grasp" of forms, and, like a child, confines himself to the primitive tracing of the silhouette, his compositions may be of excellent flat pattern, and equal to any of the designs of ancient carpets or early Greek vases; but in the light of the above argument, and when compared with the productions of mature draughtsmen of all ages and countries, they cannot be said to be complete drawings, any more than the early unifacial statues of the Greeks can be called true plastic, simply because in neither case has the artist yet reached the highest possible development of corporeous conception, by which truly to interpret the solid objects of nature as we know them, and as master draughtsmen see them.

An attempt should be made to explain the psycho-physiological process that must take place in the mind of the real draughtsman. When we look at an object in nature we know its length and breadth by the flat image on the retina; we see also the light and shade, which at once gives us a correct idea of the object's depth or relief. But we do not, nor could we, have this idea from the flat image on the retina alone, i.e. from the mere perception of the light and shade: our knowledge of its depth is the result of experience, i.e. of our having from infancy remarked a certain dispensation of light and shade on, and peculiar to, every form we have touched or traversed, and so, by association and inference, being early enabled to have ideas of the depth of things by their various arrangements of lights and darks without having to touch or traverse them. Nevertheless the act (generally, but by no means always, an unconscious one) of visually touching a form must necessarily take place before we can apprehend the third dimension of a form. It is, then, by the combination of the ideas derived from pure vision and the ideas derived from touch that we know the length, breadth and depth of a solid form. We have shown that the art of drawing is not an imitation, but an expression of the artist's ideas of form; therefore all drawing of forms that merely reproduces the image on the retina, and leaves unconsulted the ideas of touch, is incomplete and primitive, because it does not express a conception of form which is the result of an association of the two senses; in other words, it does not contain an idea of the object's relief or solidity. And all teaching of drawing that does not impress upon the student the necessity of combining the sense of vision with that of touch is erroneous, for it is thereby limiting him to a mechanical task, viz. the tracing of the flat image on the retina, which could be equally well done by mechanical means, or by photography alone.

In most of the schools of Europe and America it is true that great stress is laid upon the importance of giving life-like relief to drawings, but the method by which the students are allowed to get the relief is by employing the sense of vision only. Tracing the silhouette of the figure as minutely as possible, they then fill it out with inner-modelling, which also is done by vision alone, for the lights and darks of the original are copied down as so many flat patterns fitted together and gradated like a child's puzzle, and are not used merely as indication by which to "feel" the depth of the object. Such a procedure is as if in drawing a brick of which three sides were visible, one were first to draw the entire contour (fig. 4, a), the subtle perspective of which he might get correct with some mechanical apparatus or by infinite mechanical pains, and then fill up the interior with its "shading" (fig. 4, b). The method would be plainly laborious, unintelligent and unedifying, and in drawing the most complicated foreshortened forms of the human body it would seem still more illogical. That this principle of instruction does not help the student to grasp the three-dimensional character properly can be proved by the twenty-minute studies of the average student who in his fourth year has won a gold medal for an astounding piece of life-like stippling. They are still unintelligent contour tracings, as if of cardboard figures, with a few irrelevant patches of dark here and there within the silhouette.

But high modelling that would make for illusion of reality is not the first aim of draughtsmanship, nor have the best draughtsmen employed it save by exception. Michelangelo, Ingres, Holbein and Rembrandt have shown us that it is possible to give sufficient relief with a mere outline drawing. Again, the desire for salience often blunts the student's sense of the real character of the forms he is rounding out. So his elaborately modelled portrait may look very "life-like," but when compared with the original it will generally be seen that the whole and each of the individual forms of the drawing lack the peculiar character of those of the original. It is by carefully watching for the character of each fresh variety in figure and feature that great draughtsmen have excelled, and not by "life-like" relief, or even a sophisticated exposition of anatomical details at the expense of character. Can it be seriously maintained that a masterly sudden grasp of true formal character can be developed in a student by a system in which he patiently spends many days and weeks in stippling into plastic appearance one drawing which has originally been "laid in" by a mechanical process?

It has been shown that to attempt to make an illusion of nature is neither within the power of monochrome nor has been the chief aim of draughtsmen, but that the art of drawing consists in giving a plain statement of one's ideas, be they slight or studied, of the solid forms of nature. But the question may still be asked: Why is it that a rigorously accurate and finished drawing by a student or artist with _no_ such ideas or conception is not good drawing, containing as it must do all that can be seen in the original, missing only its complete illusion? Why, in a word, is not a photograph a work of art?

The common explanation of the above important question is that the artist "selects and eliminates from the forms of nature." But surely this is the principle of the caricaturist and virtuoso? A beautiful drawing, however slight, is but the precipitate of the whole in the artist's mind. And a highly finished drawing by a master does not show even any apparent selection or elimination. The adoption of the principle of selection to differentiate art from mechanical reproduction is fundamentally vicious, and could be shown to be wholly inapplicable to the so-called formative arts. Nor could the theory of "selection" be used as a principle of teaching, for if to the first question the pupil would make, "What am I to select?" it were answered, "Only the important things," then the next question, "What are the important things?" could be answered only by saying, "That alone the real artist knows, but cannot teach." Certainly there are important things that can be taught the student in the initial stage of "laying-in" a figure, but _when_ to begin selecting or eliminating no teacher could tell him, simply because he must be aware that a true draughtsman can afford to eliminate nothing when the truth of the whole is at stake. The artist's conception and its expression may be slight or elaborate, but in neither case can selection or elimination take place, for a true conception must be founded upon the character of the whole, which is determined by the entire complex of all the parts.

To explain the essential difference between art and mechanical drawing or mechanical reproduction, a more applicable theory must be found. Compare the art of telling a story. If, to describe an incident in the street you had the entire affair reenacted on the same spot, you would have but made a mechanical reproduction of it, leaving the spectator to simplify the affair, and construct his _own_ conception of it. You have not given _your_ ideas of the event, and so you have not made a work of art. So, if a man draws an object detail for detail by any mechanical process, or traces over its photograph, he has but reduplicated the real aspect of the object, and has failed to give the spectator a simple and intelligible idea of it. Starting out with the generous notion of giving all, that there may be "something for everyone," he has given nothing. He did not originally form an intelligible and simplified idea of the figure, so how can his drawing be expected to give one to others?

But how can forms be made _more_ simple and intelligible than by reproducing their aspect with absolute accuracy? Our combined sense of vision and touch comprehends very easily certain elementary solid forms, the sphere, the cube, the pyramid and the cylinder. No forms but these, and their modifications, can be apprehended by the mind in one and the same act of vision. Every complex form, even so simple as that of a kidney, for instance, must be first broken up into its component parts before it can be fully apprehended or remembered. Analogously with the above, Prof. Wundt has shown how the mind can apprehend _as separate units_ any number, of marbles for instance, up to five, after which every number must be split up into lots of twos, threes, fours and fives, or twenties, thirties and so on, before it can realize the full content of that number in one and the same mental picture. So the only way to receive an intelligible idea of a complex form, such as a human figure, is first to discover in the figure itself, and then in all its parts, only modifications of the above elementary solid forms, and the drawing of a conception thus informed must needs be a very clear and intelligible one. The more the artist is capable and practised, the more clearly will he conceive and distinguish in nature each subtle modification of these elementary forms, their direction, their relation to, and their dependence upon one another. The only difference between a good draughtsman and a bad one is the degree of subtlety of his apprehension. Unless the draughtsman has seen some such clear forms in his original, his labour to produce a work of art will be grievous and fruitless. All good drawing is stamped with this kind of structural insight. The more the artist adheres to nature, and the more finished his drawing, the more will the lines and forms that he makes be, so to speak, _in excess_ of those of nature, or dull imitation or photography. It is not to be supposed that able draughtsmen work, or need ever have worked, consciously in this manner. It is, indeed, the virtue peculiar to the artist, as interpreter of form, that he instinctively comprehends the real elemental character of complex forms, whilst the majority of people (on the showing of their own drawings) entertain but confused or _no_ ideas of them. It is because a good drawing reduces the chaos of ideas supplied by the raw material of nature, to one intelligible manner of seeing it, that all lovers of nature welcome it with joy. It is this process of discovery and interpretation that marks the essential difference between art and mechanical drawing or reproduction. Art gives intelligible ideas of the forms of nature, mechanism attempts to reduplicate their aspects.

There are some who hold that drawing is not exclusively a matter of interpreting form, but that great artists have their own "personalities" which they infuse into their work. They will ask, How is it otherwise to be explained that two equally good draughtsmen will invariably make different drawings of the same figure? Is it not for the same reason that one man will divide up a row of eight marbles into groups of four, and another into five and three? The subjectivity of experience governs the different conceptions that good draughtsmen will form of the same object. Accordingly as a draughtsman feels form so will he draw it, and it is only because our sense apparatuses are more or less similarly constituted that we can understand and appreciate one another's conceptions.

But if the master draughtsman gives the true character of his model's form, why is it that his drawings are not pleasing to all alike? Whence the doubts and criticism that have been called forth by all original artists? If we first examine the attitude of the average man, artist or layman, towards nature, we can better explain his attitude towards works of art. The average man or artist has not a highly developed appreciation of form _per se_, whether it be the form of natural or manufactured objects. And it would seem that he is still less a disinterested spectator of the forms and features of his fellow beings and animals, their movements, their colour, their value in a room or landscape. He has sentimental, moral or intellectual preferences. In other words, he likes or dislikes only those faces or figures which hundreds of personal associations have taught him to like or dislike. The riding man's admiration for the look of a particular horse is based upon the fact that it looks like "a horse to go," and hence it is what he calls beautiful, while the artist, in the capacity of artist and not of sportsman, is not particular in his choice of horse-flesh, but finds each animal equally interesting for itself alone. Consequently in art any face, figure or object that does not come into the category of what the average man cares for is condemned by him even as it would be in real life, since he is no lover of form for form's sake, but provided the subject or moral be pleasing the quality of the draughtsmanship is of small account. The picture of a dwarf, or of an anatomy lesson, or of a group of ordinary bourgeois folk would not really please him, even though he were told that the work was by Velazquez, Rembrandt or Manet. We have only to listen to the common criticism of works of art to know that it is founded upon personal predilection only. We do not hear such personal criticism upon drawings of landscape, not because artists do them better, but because natural landscape has no interest for any one other than for its form, or, at least, people do not hold such definite personal likes or dislikes with regard to its various manifestations. But the artist, though his own personal predilections may, and generally do, lead him to work within that agreeable _milieu_, has, in the capacity of artist, no subjective prejudices; indeed, if he had them, he could not represent them by line, light and shade. He seeks always new varieties of form; hence his subjects, and his manner of posing them, are often unpleasing to the man who is busy with other affairs, and has no great experience of nature's forms. Let a good draughtsman make a successful likeness of the mother of some average man, and the latter will be delighted, but it by no means follows that he will delight in a drawing of the wife of the artist, though done by the same hand and with equal skill.

If drawing is the art of giving one's ideas of the forms of nature, then all criticism of drawing must be based upon the question, "How far does such and such a work show an intimate knowledge of or intelligent visualization of the forms we know in nature?" and no other principle of judgment can be applicable to all drawing alike. Hence only those who have by natural endowment a clear sense of the forms of things, and who have made more than ordinary study of them, are in a position to apply to drawings the above criterion with any approach to infallibility. It is a fact that there are, and always have been, a certain number of people who agree perfectly in their appreciation of the works of certain draughtsmen of different times and countries, and who can state reasons for their appreciation in definite and almost identical terms, for it is based upon knowledge and experience. To such people all fine draughtsmanship owes its public fame, and its immortality lies in their safe keeping.

It may be argued that each has a right to his own opinion about form and its representation, on the supposed ground that we all see form in different ways. But there is a fallacy in this argument. If we take the average man's drawing of any form more complex than a loaf of bread as a fair and only testimony of his power of visualization of forms, we must conclude that most of us see not differently, but _wrongly_, or rather confusedly and disconnectedly, and that some can visualize form scarcely at all. If this be true, the average person's sight and ability to judge drawing is seriously diminished. If, then, drawing can be judged and appreciated only by knowledge and experience of the forms of nature, no critical formula could be made out so as to enable a child or savage or ordinary civilized adult to estimate or enjoy it. If it be argued that drawings are to be judged from some abstract or symbolic point of view, independently of its subtle representation of form, then incompetent drawing might be as beautiful as the competent, which would be absurd. However, if the competent characterization of form were admitted as at least the first condition of beautiful drawing, it would follow that any abstract value it might have must be wholly dependent upon the manner in which form is represented, and so it would be superfluous to judge it by any standard other than the direct, definite and concrete one of form. Abstract beauty, since no one has yet defined it agreeably to all, is, apparently, with those who affect a feeling for it, a matter of individual taste, and therefore cannot be questioned. But the clear visualization of the forms of nature is based upon a special endowment and knowledge, and can be criticized by demonstration. People may differ in their tastes, but they may not, nor do they, differ upon questions of real knowledge. Drawing, as the activity of giving one's ideas of form, must therefore be judged not by taste but by knowledge.

In view of the purpose and content of drawing as here demonstrated, there is no other principle of judgment that is relevant. Yet we often hear drawing judged by criteria which are founded upon no such concrete base but upon certain vague abstractions; or, again, upon a literary or moral base which could be applicable only to symbolic art.

It is said that this or that draughtsman excels in "beauty of line." Now in spite of the labours of many painters and theorists, it cannot reasonably be held that one purely abstract line or curve is more beautiful than another, for the simple reason that people have no common ground upon which to establish the nature of abstract beauty. It may be, however, that even as certain simple forms are more easily apprehended than complex ones, there is the same distinction with regard to lines. If then an artist of clean vision sees in an object of reality such clear characteristic lines, he draws them not for their abstract beauty, but merely because by them alone can he express his idea of the form before him. The early Greek vase painters, and all great artists of primitive periods, being attracted only by the silhouette, became very subtle to observe nature's outlines in their most intelligible character, and to this capacity is due their "beauty of line," and not to any preconceived notion of an abstract line of perfect beauty, and nowhere will "beauty of line" be found on Greek vases, or elsewhere, that is not informed by, and does not express, a fine conception of nature's contours. So too in later three-dimensional drawing there is no beauty of line which does not intelligibly express not only the directions and angles of the main contour, but the inner modelling, i.e. the relief of the figure. It is only a superficial judgment that would prefer one drawing to another, even if both may be equally good, because the line of one is neat and the other "tormented." Contour being _in nature_ an ideal line between one form and another, it is illogical to treat it or criticize it in a _drawing_ as an actual and specific thing, apart from the forms that make it and are made by it. If an artist drew a dragon with deliberate disregard for animal construction, his drawing would be silly, and only by a profound knowledge of the forms of nature could it be made to have beautiful lines. Truth to nature is always originality, and it is the only originality worth the name.

Again, some people judge one drawing as better than another in that it shows more "individuality" or "temperament." Now a man's individuality is, presumably, a vague feeling in our minds produced by the net result of the ways in which he sees, hears, loves, thinks and so on, so that we could not tell a man's individuality from any single one of his manifestations. With his entire work as an artist before us, i.e. his manner of seeing, we could do no more than infer, with the help of outside data, from the subjects he chooses, and the neatness or boldness of his line, something about his general character, and that with small degree of certainty. To regard a man's works of art, or indeed any of his manifestations, from this point of view, is, after all, nothing but a kind of inquisitive cheiromancy. Those who pretend to like the drawings of Watteau or Michelangelo "because they show more individuality" than the incompetent work of a beginner or poor artist cannot be skilled in their own business, because the lady who tells your character by your handwriting finds as much individuality in bad writing as in good,--sometimes even more. It may be entertaining to some to guess at the artist's character from his works by this process of inference and comparison, but it is unreasonable to imagine that "individuality," as such, can be made a serious criterion of aesthetic judgment. The only individuality a draughtsman can show directly by his drawing is his individual way of conceiving the forms of nature, and even this is immaterial provided the conception and drawing be good.

A word or two are necessary upon "style," which unfortunate word has made much mystery in criticism. The great draughtsmen of every time and country are known by their own words, as well as their works, to have been infinitely respectful to the form of every detail in nature. Their drawings always recall to our minds reality as we ourselves have seen it (provided we have studied from nature and not from pictures). The drawing of a hand, for instance, by Hokusai, Ingres or Dürer, revives in us our own impressions of the forms and aspects of real hands. In short there is manifest in all good drawings, whatever their difference of medium or superficial appearance, an entire dependence upon the forms of nature. Hence we cannot imagine that they were conceived and executed with the conscious effort to obtain some abstract style independent of the material treated. The style they plainly have can spring from this common quality, their truthful and well understood representation of forms. Style, then, is the expression of a clear understanding of the material from which the artist works. Unless a drawing shows this understanding it would be as impossible as it would be gratuitous to argue that it could have style. But it would seem that some people mean by style nothing more than the mere superficial appearance of the work. They would have a draughtsman draw "in the style of Holbein," but not "in the style" of Rembrandt. This kind of preference, as remarked above, is superficial, for it overlooks the main issue and purpose of drawing, viz. the representation, by any means whatever, of the artist's ideas of form. It is as though one should prefer a letter from Holbein to one from Rembrandt, though both were equally expressive, simply because Holbein's handwriting was prettier than Rembrandt's. Each draughtsman manifests a kind of handwriting peculiar to himself even in his most faithful rendering of form; and by this we can immediately recognize the artist; many, for instance Hogarth and some Japanese, seem to have let their quirks, full stops and so on, get the upper hand at the expense of serious, sensitive draughtsmanship.

It is fair to suppose that all abstract principles of aesthetic judgment, such as beauty of line, personality, style, nobility of thought, romanticism, are merely pretexts set up by people who would still affect to admire the drawings of recognized masters when they have neither the knowledge of, nor the care for, the forms of nature by virtue of which alone these drawings are what they are, and by which alone they can be immediately appreciated. (J. R. FO.)

_Drawing-Office Work._--In modern engineering, few pieces of mechanism are ever produced in the shops until their design has been settled in the "drawing office," and embodied in suitable drawings showing general and detailed views. This is a broad statement to which there are exceptions, to be noted presently.

Drawing-office work is divisible into four principal groups. First, there is the actual designing, by far the most difficult work, which is confined to relatively few well-paid men. The qualifications necessary for it are a good scientific, mathematical and engineering training, and a specialized experience gathered in the particular class of mechanism to which the designing relates. Second, there is the work of the rank and file who take instructions from the chiefs, and elaborate the smaller details and complete the drawings. Third, there are the tracers, either youths or girls, who copy drawings on tracing paper without necessarily understanding them. Fourth, there is a printing department in which phototypes are produced on sensitized paper from tracings.

The character of the drawings used includes the general drawings, or those which show a mechanism complete; and the detailed drawings, which illustrate portions isolated from their connexions and relationships. The first are retained in the office for reference, and copies are only sent out to the men who have to assemble or erect and complete mechanisms. The second are distributed to the several shops and departments where sectional portions are being prepared, as pattern shop, smithy, turnery, machine shop, &c. General drawings are, as a rule, drawn to a small scale, ranging say from 1/8 in. to 1 in. to the foot; but details are either to actual size, or to a large scale, as from 1½ in. to the foot or 3 in. or 6 in. to the foot.

A large number of minutiae are omitted from general drawings, but in the detailed ones that are sent into the shops nothing is apparently too trivial for insertion. In this respect, however, there is much difference observable in the practice of different firms, and in the best practice of the present compared with that of former years. In the detailed drawings issued by many firms now, every tiny element and section is not only drawn to actual size, but also fully dimensioned, and the material to be used is specified in every case. This practice largely adds to the work of the drawing-office staff, but it pays.

The present tendency therefore is to throw more responsibility than of old on the drawing-office staff, in harmony with the tendency towards greater centralization of authority. Much of detail that was formerly left to the decision of foremen and skilled hands is now determined by the drawing-office staff. Heterogeneity in details is thus avoided, and the drawings reflect accurately and fully the past as well as the present practice of the firm. To so great an extent is this the case that the preparation of the tools, appliances, templets, jigs and fixtures used in the shops is often now not permitted to be undertaken until proper drawings have been prepared for them, though formerly the foreman's own hand sketches generally sufficed. The practice of turret work has been contributory to this result. In many establishments now the designing of shop tools and fixtures is done in a department of the office specially set apart for that kind of work.

The growing specialization of the engineer's work is reflected in the drawing office. Specialists are sought after, and receive the highest rates of pay. A man is required to be an expert in some one branch, as electric cranes or hydraulic machines, steel works plant, lathes, or heavy or light machine tools. The days are past in which all-round men were in request. In those firms which manufacture a large range of machinery, the drawing-office staff is separated into departments, each under its own chief, and there is seldom any transference of men from one to another.

Although in the majority of instances designs and drawings are completed before the manufacture is undertaken, exceptions to this rule occur in connexion with the work of standardizing machines and motors, for repetitive and interchangeable manufacture on a large scale. Here it is so essential to secure the most minute economies in manufacture that the first articles made are of a more or less experimental character. Only after no further improvement seems for the time being possible are the drawings made or completed for standard use and reference. In some modern shops even standardized drawings are scarcely used, but their place is taken by the templets, jigs and fixtures which are employed by the workmen as their sole guides in machining and assembling parts. By the employment of these aids locations and dimensions are embodied and fixed absolutely for any number of similar parts; reference to drawings thus becomes unnecessary, and they therefore fall into disuse.

The mechanical work of the drawing office is confined strictly to orthographic projections and sections of objects. Perspective views are of no value, though occasionally an object is sketched roughly in perspective as an aid to the rapid grasp of an idea. Drawings involve plans, elevations, and sectional views, in vertical and angular relations.

There are a good many conventionalities adopted which have no correspondences in fact, with the object of saving the draughtsman's time; or else, as in the case of superposition of plans and sections, to show in one view what would otherwise require two drawings. Among the convenient conventionalities are the indications of toothed wheels by their pitch lines only, of screws by parallel lines and by diagonal shade lines; and of rivets, bolts and studs by their centres only. The adoption of this practice never leads to error.

In the preliminary preparation of drawings in pencil no distinction is made between full or unbroken lines, and dotted or centre lines, and the actual outlines of the objects. These differences are made when the inking-in is being done. Indian or Chinese ink is used, because it does not run when colours are applied. There are conventional colours used to indicate different materials. But colouring is not adopted so much as formerly, because of the practice of making sun prints instead of the more expensive tracings for the multiplication of drawings. When tracings are coloured the colour is applied on the back instead of on the side where the ink lines are drawn.

The economical importance of the printing department of the drawing office cannot be overestimated. Before its introduction drawings could only be reproduced by laborious tracing on paper or cloth, the first being flimsy, the second especially liable to absorb grease from the hands of the workmen. By the sun copying processes (see SUN COPYING) any number of prints can be taken from a single tracing. But even the fickle sun is being displaced by electricity, so that prints can be made by night as well as day, on cloudy days as well as on bright ones. Twenty minutes of bright sunshine is required for a print, but the electric light produces the same result within five minutes. Prints are blue, white or brown. The advantage of white is that they can be coloured. But the majority are blue (white lines on blue ground). All can be had on stout, thin or medium paper.

An innovation in drawing-office equipment is that of vertical boards, displacing horizontal or sloping ones. They have the advantage that the draughtsman is able to avoid a bending posture at his work. The objection on the ground that the tee-square must be held up constantly with one hand is overcome by supporting and balancing it with cords and weights. (J. G. H.)

DRAWING AND QUARTERING, part of the penalty anciently ordained in England for treason. Until 1870 the full punishment for the crime was that the culprit be dragged on a hurdle to the place of execution; that he be hanged by the neck but not till he was dead; that he should be disembowelled or drawn and his entrails burned before his eyes; that his head be cut off and his body divided into four parts or quartered. This brutal penalty was first inflicted in 1284 on the Welsh prince David, and on Sir William Wallace a few years later. In Richard III.'s reign one Collingbourne, for writing the famous couplet "The Cat, the Rat and Lovel the Dog, Rule all England under the Hog," was executed on Tower Hill. Stow says, "After having been hanged, he was cut down immediately and his entrails were then extracted and thrown into the fire, and all this was so speedily done that when the executioners pulled out his heart he spoke and said 'Jesus, Jesus.'" Edward Marcus Despard and his six accomplices were in 1803 hanged, drawn and quartered for conspiring to assassinate George III. The sentence was last passed (though not carried out) upon the Fenians Burke and O'Brien in 1867. There is a tradition that Harrison the regicide, after being disembowelled, rose and boxed the ears of the executioner.

DRAWING-ROOM (a shortened form of "with-drawing room," the longer form being usual in the 16th and 17th centuries), the English name generally employed for a room used in a dwelling-house for the reception of company. It originated in the setting apart of such a room, as the more private and exclusive preserve of the ladies of the household, to which they withdrew from the dining-room. The term "drawing-room" is also used in a special sense of the formal receptions or "courts" held by the British sovereign or his representative, at which ladies are presented, as distinguished from a "levee," at which men are presented.

DRAYTON, MICHAEL (1563-1631), English poet, was born at Hartshill, near Atherstone, in Warwickshire in 1563. Even in childhood it was his great ambition to excel in writing verses. At the age of ten he was sent as page into some great family, and a little later he is supposed to have studied for some time at Oxford. Sir Henry Goodere of Powlesworth became his patron, and introduced him to the countess of Bedford, and for several years he was esquire to Sir Walter Aston. How the early part of his life was spent, however, we possess no means of ascertaining. It has been surmised that he served in the army abroad. In 1590 he seems to have come up to London, and to have settled there.

In 1591 he produced his first book, _The Harmony of the Church_, a volume of spiritual poems, dedicated to Lady Devereux. The best piece in this is a version of the Song of Solomon, executed with considerable richness of expression. A singular and now incomprehensible fate befell the book; with the exception of forty copies, seized by the archbishop of Canterbury, the whole edition was destroyed by public order. It is probable that he had come up to town laden with poetic writings, for he published a vast amount within the next few years. In 1593 appeared _Idea: The Shepherd's Garland_, a collection of nine pastorals, in which he celebrated his own love-sorrows under the poetic name of Rowland. The circumstances of this passion appear more distinctly in the cycle of 64 sonnets, published in 1594, under the title of _Idea's Mirror_, by which we learn that the lady lived by the river Ankor in Warwickshire. It appears that he failed to win his "Idea," and lived and died a bachelor. In 1593 appeared the first of Drayton's historical poems, _The Legend of Piers Gaveston_, and the next year saw the publication of _Matilda_, an epical poem in rhyme royal. It was about this time, too, that he brought out _Endimion and Phoebe_, a volume which he never republished, but which contains some interesting autobiographical matter, and acknowledgments of literary help from Lodge, if not from Spenser and Daniel also. In his _Fig for Momus_, Lodge has reciprocated these friendly courtesies. In 1596 Drayton published his long and important poem of _Mortimerades_, which deals with the Wars of the Roses, and is a very serious production in _ottava rima_. He afterwards enlarged and modified this poem, and republished it in 1603 under the title of _The Barons' Wars_. In 1596 also appeared another historical poem, _The Legend of Robert, Duke of Normandy_, with which _Piers Gaveston_ was reprinted. In 1597 appeared _England's Heroical Epistles_, a series of historical studies, in imitation of those of Ovid. These last poems, written in the heroic couplet, contain some of the finest passages in Drayton's writings.

With the year 1597 the first half of the poet's literary life closes. He had become famous by this rapid production of volumes, and he rested on his oars. It would seem that he was much favoured at the court of Elizabeth, and he hoped that it would be the same with her successor. But when, in 1603, he addressed a poem of compliment to James I., on his accession, it was ridiculed, and his services rudely rejected. His bitterness of spirit found expression in a satire, _The Owl_, which he printed in 1604, although he had no talent in this kind of composition. Not much more entertaining was his scriptural narrative of _Moses in a Map of his Miracles_, a sort of epic in heroics printed the same year. In 1605 Drayton reprinted his most important works, that is to say, his historical poems and the _Idea_, in a single volume which ran through eight editions during his lifetime. He also collected his smaller pieces, hitherto unedited, in a volume undated, but probably published in 1605, under the title of _Poems Lyric and Pastoral_; these consisted of odes, eclogues, and a fantastic satire called _The Man in the Moon_. Some of the odes are extremely spirited. In this volume he printed for the first time the famous _Ballad of Agincourt_.

He had adopted as early as 1598 the extraordinary resolution of celebrating all the points of topographical or antiquarian interest in the island of Great Britain, and on this laborious work he was engaged for many years. At last, in 1613, the first part of this vast work was published under the title of _Poly-Olbion_, eighteen books being produced, to which the learned Selden supplied notes. The success of this great work, which has since become so famous, was very small at first, and not until 1622 did Drayton succeed in finding a publisher willing to undertake the risk of bringing out twelve more books in a second part. This completed the survey of England, and the poet, who had hoped "to crown Scotland with flowers," and arrive at last at the Orcades, never crossed the Tweed. In 1627 he published another of his miscellaneous volumes, and this contains some of his most characteristic and exquisite writing. It consists of the following pieces: _The Battle of Agincourt_, an historical poem in _ottava rima_ (not to be confused with his ballad on the same subject), and _The Miseries of Queen Margaret_, written in the same verse and manner; _Nimphidia, the Court of Faery_, a most joyous and graceful little epic of fairyland; _The Quest of Cinthia_ and _The Shepherd's Sirena_, two lyrical pastorals; and finally _The Moon Calf_, a sort of satire. Of these _Nimphidia_ is perhaps the best thing Drayton ever wrote, except his famous ballad on the battle of Agincourt; it is quite unique of its kind and full of rare fantastic fancy.

The last of Drayton's voluminous publications was _The Muses' Elizium_ in 1630. He died in London on the 23rd of December 1631, was buried in Westminster Abbey, and had a monument placed over him by the countess of Dorset, with memorial lines attributed to Ben Jonson. Of the particulars of Drayton's life we know almost nothing but what he himself tells us; he enjoyed the friendship of some of the best men of the age. He corresponded familiarly with Drummond; Ben Jonson, William Browne, George Wither and others were among his friends. There is a tradition that he was a friend of Shakespeare, supported by a statement of John Ward, once vicar of Stratford-on-Avon, that "Shakespear, Drayton and Ben Jonson had a merry meeting, and it seems, drank too hard, for Shakespear died of a feavour there contracted." In one of his poems, an "elegy" or epistle to Mr Henry Reynolds, he has left some valuable criticisms on poets whom he had known. He was even engaged in the labour of the dramatists; at least he had a share, with Munday, Chettle and Wilson, in writing _Sir John Oldcastle_, which was printed in 1600. That he was a restless and discontented, as well as a worthy, man may be gathered from his own admissions.

The works of Drayton are bulky, and, in spite of the high place that he holds in critical esteem, it cannot be pretended that he is much read. For this his ponderous style is much to blame. The _Poly-Olbion_, the most famous but far from the most successful of his writings, is tedious and barren in the extreme. It was, he tells us, a "Herculean toil" to him to compose it, and we are conscious of the effort. The metre in which it is composed, a couplet of alexandrines, like the French classical measure, is wholly unsuited to the English language, and becomes excessively wearisome to the reader, who forgets the learning and ingenuity of the poet in labouring through the harsh and overgrown lines. His historical poems, which he was constantly rewriting and improving, are much more interesting, and often rise to a true poetic eloquence. His pastorals are brilliant, but overladen with colour and sweet to insipidity. He is, with the one magnificent exception of "Since there's no help, come let us kiss and part," which was first printed in 1619, an indifferent sonneteer. The poet with whom it is most natural to compare him is Daniel; he is more rough and vigorous, more varied and more daring than the latter, but Daniel surpasses him in grace, delicacy and judgment. In their elegies and epistles, however, the two writers frequently resemble each other. Drayton, however, approaches the very first poets of the Elizabethan era in his charming _Nimphidia_, a poem which inspired Herrick with his sweet fairy fancies and stands alone of its kind in English literature; while some of his odes and lyrics are inspired by noble feeling and virile imagination.

In 1748 a folio edition of Drayton's complete works was published under the editorial supervision of William Oldys, and again in 1753 there appeared an issue in four volumes. But these were very unintelligently and inaccurately prepared. A complete edition of Drayton's works with variant readings was projected by Richard Hooper in 1876, but was never carried to a conclusion; a volume of selections, edited by A. H. Bullen, appeared in 1883. See especially Oliver Elton, _Michael Drayton_ (1906). (E. G.)

DREAM (from a root _dreug_, connected with Germ. _trügen_, to deceive), the state of consciousness during sleep; it may also be defined as a hallucination or illusion peculiarly associated with the condition of sleep, but not necessarily confined to that state. In sleep the withdrawal of the mind from the external world is more complete and the objectivity of the dream images is usually unquestioned, whereas in the waking state the hallucination is usually recognized as such; we may, however, be conscious that we are dreaming, and thus in a measure be aware of the hallucinatory character of our percepts. The physiological nature of sleep (q.v.; see also MUSCLE AND NERVE) and of dreaming is obscure. As a rule the control over the voluntary muscles in dreams is slight; the sleep-walker is the exception and not the rule, and the motor activity represented in the dream is seldom realized in practice, largely, no doubt, because we are ignorant, under these circumstances, of the spatial relations of our bodies. Among the psychological problems raised by dreams are the condition of attention, which is variously regarded as altogether absent or as fixed, the extent of mental control, and the relation of ideas and motor impulses. There is present in all dreams a certain amount of dissociation of consciousness, or of obstructed association, which may manifest itself in the preliminary stage of drowsiness by such phenomena as the apparent transformation or inversion of the words of a book. We may distinguish two types of dreams, (a) representative or centrally initiated, (b) presentative or due to the stimulation of the end organs of sense. In both cases, the dream having once been initiated, we are concerned with a process of reasoning, i.e. the combination of ideas suggested by resemblances or other associative elements. The false reasoning of dreams is due in the first place to the absence, to a large extent, of the memory elements on which our ordinary reasoning depends, and, secondly, to the absence of sensory elements.

_Objectivity of Dreams._--In waking life we distinguish ideas or mental images from real objects by the fact that we are able under normal circumstances to dismiss the former at will. In sleep, on the other hand, we have, in the first place, no real objects with which to compare the images, which therefore take on a character of reality comparable to the hallucination of waking life; moreover, powers of visualization and other faculties are enhanced in sleep, so that the strength of dream images considerably exceeds those of the mental images of the ordinary man; changes in powers of attention, volition and memory help to increase the hallucinatory force of the dream. In the second place, the ideas of our dreams are presented in the form of images, which we are unable to dismiss; we therefore mistake them for realities, exactly as the sufferer from delirium tremens in waking life is apt to regard his phantoms as real.

_Relations of Dreaming and Sleep._--It has been maintained by Hamilton and others (see below, Modern Views) that dreams invariably accompany sleep, and that we always find ourselves dreaming when we are awakened. But even if it were true that dreams were invariably experienced at the moment of waking, this would not by any means establish the invariable concomitance of dreams and sleep of all sorts; at most it would show that imperfect sleep is a condition of dreaming; in the same way, dreams before wakening, known to have taken place either from the recollection of the dreamer or from the observation of another person, may clearly be due to imperfect wakening, followed by a deepening of sleep. It is, however, by no means true that awakening from sleep is invariably accompanied by a dream; in considering the question it must be recollected that it is complicated by the common experience of very rapid forgetfulness of even a vivid and complicated dream, only the fact of having dreamt remaining in the memory; it is clear that amnesia may go so far that even the fact of dreaming may be forgotten. On the whole, however, there appear to be no good grounds for the assertion that we always dream when we are asleep. On the other hand, there is no proof that partial awakening is a necessary condition of dreaming.

_Representative Dreams._--Centrally initiated dreams may be due to a kind of automatic excitation of the cerebral regions, especially in the case of those clearly arising from the occupations or sensations of the day or the hours immediately preceding the dream. To the same cause we may attribute the recalling of images apparently long since forgotten. Some of these revivals of memory may be due to the fact that links of association which are insufficient to restore an idea to consciousness in the waking state may suffice to do so in sleep. Just as a good visualizer in his waking moments may call up an object never clearly seen and yet distinguish the parts, so in sleep, as L. F. A. Maury (1817-1892) and others have shown, an image may be more distinct in a dream than it was when originally presented (see also below, Memory).

_Presentative Dreams._--The dreams due to real sensations, more or less metamorphosed, may arise (a) from the states of the internal organs, (b) from muscular states, (c) from subjective sensations due to the circulation, &c., or (d) from the ordinary cause of the action of external stimuli on the organs of sense.

(a) The state of the stomach, heart, &c., has long been recognized as important in the causation of dreams (see below, Classical Views). The common sensation of flying seems to be due in many cases to the disturbance of these organs setting up sensations resembling those felt in rapidly ascending or descending, as in a swing or a lift. Indigestion is a frequent cause of nightmare--the term given to oppressive and horrible dreams--and bodily discomfort is sometimes translated into the moral region, giving rise to the dream that a murder has been committed. (b) Dreams of flying, &c., have also been attributed to the condition of the muscles during sleep; W. Wundt remarks that the movements of the body, such as breathing, extensions of the limbs and so on, must give rise to dream fancies; the awkward position of the limbs may also excite images. (c) Especially important, probably, for the dreams of the early part of the night are the retinal conditions to which are due the _illusions hypnagogiques_ of the preliminary drowsy stage; but probably Ladd goes too far in maintaining that entoptic stimuli, either intra- or extra-organic in origin, condition all dreams. _Illusions hypnagogiques_, termed popularly "faces in the dark," of which Maury has given a full account, are the not uncommon sensations experienced, usually visual and seen with both open and closed eyes, in the interval between retiring to rest and actually falling asleep; they are comparable to the crystal-gazing visions of waking moments; though mainly visual they may also affect other senses. Besides the eye the ear may supply material for dreams, when the circulation of the blood suggests rushing waters or similar ideas. (d) It is a matter of common observation that the temperature of the surface of the body determines in many cases the character of the dreams, the real circumstances, as might be expected from the general character of the dream state, being exaggerated. In the same way the pressure of bed-clothes, obstruction of the supply of air, &c., may serve as the starting-point of dreams. The common dream of being unclothed may perhaps be due to this cause, the sensations associated with clothing being absent or so far modified as to be unrecognizable. In the same way the absence of foot-gear may account for some dreams of flying. It is possible to test the influence of external stimuli by direct experiment; Maury made a number of trials with the aid of an assistant.

_Rapidity of Dreams._--It has often been asserted that we dream with extreme rapidity; but this statement is by no means borne out by experiment. In a trial recorded by J. Clavière the beginning of the dream was accurately fixed by the sounding of an alarm clock, which rang, then was silent for 22 seconds, and then began to ring continuously; the dream scene was in a theatre, and he found by actual trial that the time required in ordinary life for the performance of the scenes during the interval of silence was about the same as in ordinary life. Spontaneous dreams seem to show a different state of things; it must be remembered that (1) dreams are commonly a succession of images, the number of which cannot be legitimately compared with the number of extra-organic stimuli which would correspond to them in ordinary life; the real comparison is with mental images; and (2) the rapidity of association varies enormously in ordinary waking life. No proof, therefore, that some dreams are slow can show that this mentation in others is not extremely rapid. The most commonly quoted case is one of Maury's; a bed-pole fell on his neck, and (so it is stated) he dreamt of the French Revolution, the scenes culminating in the fall of the guillotine on his neck; this has been held to show that (1) dreams are extremely rapid; and (2) we construct a dream story leading up to the external stimulus which is assumed to have originated the dream. But Maury's dream was not recorded till many years after it had occurred; there is nothing to show that the dream, in this as in other similar cases, was not in progress when the bed-pole fell, which thus by mere coincidence would have intervened at the psychological moment; Maury's memory on waking may have been to some extent hallucinatory. But there are records of waking states, not necessarily abnormal, in which time-perception is disturbed and brief incidents seem interminably long; on the other hand, it appears from the experiences of persons recovered from drowning that there is great rapidity of ideation before the extinction of consciousness; the same rapidity of thought has been observed in a fall from a bicycle.

_Reason in Dreams._--Studies of dreams of normal individuals based on large collections of instances are singularly few in number; such as there are indicate great variations in the source of dream thoughts and images, in the coherence of the dream, and in the powers of memory. In ordinary life attention dominates the images presented; in dreams heterogeneous and disconnected elements are often combined; a resemblance need not even have been consciously recognized for the mind to combine two impressions in a dream; for example, an aching tooth may (according to the dream) be extracted, and found to resemble rocks on the sea-shore, which had not struck the waking mind as in any way like teeth. Incongruence and incoherence are not, however, a necessary characteristic of dreams, and individuals are found whose dream ideas and scenes show a power of reasoning and orderliness equal to that of a scene imagined or experienced in ordinary life. In some cases the reasoning power may attain a higher level than that of the ordinary conscious life. In a well-authenticated case Professor Hilprecht was able in a dream to solve a difficulty connected with two Babylonian inscriptions, which had not previously been recognized as complementary to each other; a point of peculiar interest is the dramatic form in which the information came to him--an old Babylonian priest appeared in his dream and gave him the clue to the problem (see also below, Personality).

_Memory in Dreams._--Although prima facie the dream memory is fragmentary and far less complete than the waking memory, it is by no means uncommon to find a revival in sleep of early, apparently quite forgotten, experiences: more striking is the recollection in dreams of matters never supraliminally (see SUBLIMINAL SELF) apperceived at all.

The relation between the memory in dreams and in the hypnotic trance is curious: suggestions given in the trance may be accepted and then forgotten or never remembered in ordinary life; this does not prevent them from reappearing occasionally in dreams; conversely dreams forgotten in ordinary life may be remembered in the hypnotic trance. These dream memories of other states of consciousness suggest that dreams are sometimes the product of a deeper stratum of the personality than comes into play in ordinary waking life. It must be remembered in this connexion that we judge of our dream consciousness by our waking recollections, not directly, and our recollection of our dreams is extraordinarily fragmentary; we do not know how far our dream memory really extends. Connected with memory of other states is the question of memory in dreams of previous dream states; occasionally a separate chain of memory, analogous to a secondary personality, seems to be formed. We may be also conscious that we have been dreaming, and subsequently, without intermediate waking, relate as a dream the dream previously experienced. In spite of the irrationality of dreams in general, it by no means follows that the earlier and later portions of a dream do not cohere; we may interpolate an episode and again take up the first motive, exactly as happens in real life. The strength of the dream memory is shown by the recurrence of images in dreams; a picture, the page of a book, or other image may be reproduced before our eyes several times in the course of a dream without the slightest alteration, although the waking consciousness would be quite incapable of such a feat of visualizing. In this connexion may be mentioned the phenomenon of redreaming; the same dream may recur either on the same or on different nights; this seems to be in many cases pathological or due to drugs, but may also occur under normal conditions.

_Personality._--As a rule the personality of the dreamer is unchanged; but it also happens that the confusion of identity observed with regard to other objects embraces the dreamer himself; he imagines himself to be some one else; he is alternately actor and observer; he may see himself playing a part or may divest himself of his body and wander incorporeally. Ordinary dreams, however, do not go beyond a splitting of personality; we hold conversations, and are intensely surprised at the utterances of a dream figure, which, however, is merely an _alter ego_. As in the case of Hilprecht (see above) the information given by another part of the personality may not only appear but actually be novel.

_Supernormal Dreams._--In addition to dreams in which there is a revival of memory or a rise into consciousness of facts previously only subliminally cognized, a certain number of dreams are on record in which telepathy (q.v.) seems to play a part; much of the evidence is, however, discounted by the possibility of hallucinatory memory. Another class of dreams (prodromic) is that in which the abnormal bodily states of the dreamer are brought to his knowledge in sleep, sometimes in a symbolical form; thus a dream of battle or sanguinary conflict may presage a haemorrhage. The increased power of suggestion which is the normal accompaniment of the hypnotic trance may make its appearance in dreams, and exercise either a curative influence or act capriciously in producing hysteria and the tropic changes known as "stigmata." We may meet with various forms of hyperaesthesia in dreams; quite apart from the recovery of sight by those who have lost it wholly or in part (see below, Dreams of the Blind), we find that the powers of the senses may undergo an intensification, and, e.g., the power of appreciating music be enormously enhanced in persons usually indifferent to it. Mention must also be made of the experience of R. L. Stevenson, who tells in _Across the Plains_ how by self-suggestion he was able to secure from his dreams the motives of some of his best romances.

_Voluntary Action in Dreams._--Connected with dreams voluntarily influenced is the question of how far dreams once initiated are modifiable at the will of the dreamer. Some few observers, like F. W. H. Myers and Dr F. van Eeden, record that they can at longer or shorter intervals control their actions in their dreams, though usually to a less extent than their imagined actions in waking life. Dr van Eeden, for example, tells us that he has what he calls a "clear dream" once a month and is able to predetermine what he will do when he becomes aware that he is dreaming.

_Dreams of Children._--Opinions differ widely as to the age at which children begin to dream; G. Compayré maintains that dreaming has been observed in the fourth month, but reflex action is always a possible explanation of the observed facts. S. de Sanctis found that in boys of eleven only one out of eight said that he dreamt seldom, as against four out of seven at the age of six; but we cannot exclude the possibility that dreams were frequent but forgotten. If correct, the observation suggests that dreams appear comparatively late. Individual cases of dreaming, or possibly of waking hallucination, are known as early as the age of two and a half years; according to de Sanctis dreams occur before the fifth year, but are seldom remembered; as a rule the conscious dream age begins with the fourth year; speech or movement, however, in earlier years, though they may be attributed to reflex action, are more probably due to dreams.

_Dreams of the Old._--In normal individuals above the age of sixty-five de Sanctis found dreams were rare; atmospheric influences seem to be important elements in causing them; memory of them is weak; they are emotionally poor, and deal with long past scenes.

_Dreams of Adults._--Any attempt to record or influence our dreams may be complicated by (a) direct suggestion, leading to the production of the phenomena for which we are looking, and (b) indirect suggestion leading to the more lively recollection of dreams in general and of certain dreams in particular. Consequently it cannot be assumed that the facts thus ascertained represent the normal conditions. According to F. Heerwagen's statistics women sleep more lightly and dream more than men; the frequency of dreams is proportional to their vividness; women who dream sleep longer than those who do not; dreams tend to become less frequent with advancing age. The total number of remembered dreams varies considerably with different observers, some attaining an average of ten per night. The senses mainly active in dreams are, according to one set of experiments, vision in 60%, hearing in 5%, taste in 3%, and smell in 1.5%, where the dreamers had looked at coloured papers before falling asleep; when taste or smell had been stimulated, the visual dreams fell to about 50%, and the sense stimulated was active twice as often as it would otherwise be; dreams in which motion was a prominent feature were 10% of the former class, 14% and 18% of the two latter. Experiments by J. Mourly Vold show even more distinctly the influence of suggestion both as to the form, visual or otherwise, and the content (colours and forms of objects) of dreams. According to most observers dreams are most vivid and frequent between the ages of 20 and 25, but H. Maudsley puts the maximum between 30 and 35. De Sanctis got replies from 165 men and 55 women: the proportion between the sexes closely agrees with the results attained by Heerwagen and M. W. Calkins; 13% of men and 33% of women said they always dreamt, 27% and 45% often, 50% and 13% rarely, and the remainder (precisely the same percentage for men and women--9.09) either did not dream or did not remember that they dreamt. Nearly twice as many women as men had vivid dreams; in the matter of complication of the dream experiences the sexes are about equal; daily life supplies more material in the dreams of men; nearly twice as many women as men remember their dreams clearly, a fact which hangs together to some extent with the vividness of the dreams, though it by no means follows that a vivid dream is well remembered. There are great variations in the emotional character of dreams; some observers report twice as many unpleasant dreams as the reverse; in other cases the emotions seem to be absent; others again have none but pleasing dreams. Individual experience also varies very largely as to the time when most dreams are experienced; in some cases the great majority are subsequent to 6.30 A.M.; others find that quite half occur before 4.0 A.M.

_Dreams of the Neuropathic, Insane, Idiots, &c._--Much attention has been given to the dreams of hysterical subjects. It appears that their dreams are specially liable to exercise an influence over their waking life, perhaps because they do not distinguish them, any more than their waking hallucinations, from reality. P. Janet maintains that the cause of hysteria may be sought in a dream. The dreams of the hysterical have a tendency to recur. Epileptic subjects dream less than the hysterical, and their dreams are seldom of a terrifying nature; certain dreams seem to take the place of an epileptic attack. Dreaming seems to be rare in idiots. De Sanctis divides paranoiacs into three classes: (a) those with systematized delusions, (b) those with frequent hallucinations, and (c) degenerates;--the dreams of the first class resemble their delusions; the second class is distinguished by the complexity of its dreams; the third by their vividness, by their delusions of megalomania, and by their influence on daily life. Alcoholic subjects have vivid and terrifying dreams, characterized by the frequent appearance of animals in them, and delirium tremens may originate during sleep.

_Dreams of the Blind, Deaf, &c._--As regards visual dreams the blind fall into three classes--(1) those who are blind from birth or become blind before the age of five; (2) those who become blind at the "critical age" from five to seven; (3) those who become blind after the age of seven. The dreams of the first class are non-visual; but in the dreams of Helen Keller there are traces of a visual content; the second class sometimes has visual dreams; the third class does not differ from normal persons, though visual dreams may fade away after many years of blindness. In the case of the partially blind the clearness of vision in a dream exceeds that of normal life when the partial loss of sight occurred in the sixth or later years. The education of Helen Keller is interesting from another point of view; after losing the senses of sight and hearing in infancy she began her education at seven years and was able to articulate at eleven; it is recorded that she "talked" in her dreams soon after. This accords with the experience of normal individuals who acquire a foreign language. Her extraordinary memory enables her to recall faintly some traces of the sunlit period of her life, but they hardly affect her dreams, so far as can be judged. The dreams of the blind, according to the records of F. Hitschmann, present some peculiarities; animals as well as man speak; toothache and bodily pains are perceived as such; impersonal dreaming, taking the form of a drama or reading aloud, is found; and he had a strong tendency to reproduce or create verse.

_Dreams of Animals._--We are naturally reduced to inference in dealing with animals as with very young children; but various observations seem to show that dreams are common in older dogs, especially after hunting expeditions; in young dogs sleep seems to be quieter; dogs accustomed to the chase seem to dream more than other kinds.

_Dreams among the Non-European Peoples._--In the lower stages of culture the dream is regarded as no less real and its personages as no less objective than those of the ordinary waking life; this is due in the main to the habit of mind of such peoples (see ANIMISM), but possibly in some measure also to the occurrence of veridical dreams (see TELEPATHY). In either case the savage explanation is animistic, and animism is commonly assumed to have been developed very largely as a result of theorising dreams. Two explanations of a dream are found among the lower races: (1) that the soul of the dreamer goes out, and visits his friends, living or dead, his old haunts or unfamiliar scenes and so on; or (2) that the souls of the dead and others come to visit him, either of their own motion or at divine command. In either of the latter cases or at a higher stage of culture when the dream is regarded as god-sent, though no longer explained in terms of animism, it is often regarded as oracular (see ORACLE), the explanation being sometimes symbolical, sometimes simple.

There are two classes of dreams which have a special importance in the lower cultures: (1) the dream or vision of the initiation fast; and (2) the dream caused by the process known as incubation, which is often analogous to the initiation fast. In many parts of North America the individual Indian acquires a tutelary spirit, known as _manito_ or _nagual_, by his initiation dream or vision; the idea being perhaps that the spirit by the act of appearing shows its subjection to the will of the man. Similarly, the magician acquires his familiar in North America, Australia and elsewhere by dreaming of an animal. Incubation consists in retiring to sleep in a temple, sometimes on the top of a mountain or other unusual spot, in order to obtain a revelation through a dream. Fasting, continence and other observances are frequently prescribed as preliminaries. Certain classes of dreams have, especially in the middle ages, been attributed to the influence of evil spirits (see DEMONOLOGY).

_Classical and Medieval Views of Dreams._--Side by side with the prevalent animistic view of dreams we find in antiquity and among the semi-civilized attempts at philosophical or physiological explanations of dreams. Democritus, from whom the Epicureans derived their theory, held the cause of them to be the simulacra or phantasms of corporeal objects which are constantly floating about the atmosphere and attack the soul in sleep--a view hardly distinguishable from animism. Aristotle, however, refers them to the impressions left by objects seen with the eyes of the body; he further remarks on the exaggeration of slight stimuli when they are incorporated into a dream; a small sound becomes a noise like thunder. Plato, too, connects dreaming with the normal waking operations of the mind; Pliny, on the other hand, admits this only for dreams which take place after meals, the remainder being supernatural. Cicero, however, takes the view that they are simply natural occurrences no more and no less than the mental operations and sensations of the waking state. The pathological side of dreams attracted the notice of physicians. Hippocrates was disposed to admit that some dreams might be divine, but held that others were premonitory of diseased states of the body. Galen took the same view in some of his speculations.

Symbolical interpretations are combined with pathological no less than animistic interpretations of dreams; they are also extremely common among the lower classes in Europe at the present day, but in this case no consistent explanation of their importance for the divination of future events is usually discoverable. Among the Greeks Plato in the _Timaeus_ (ch. xlvi, xlvii) explains dreams as prophetic visions received by the lower appetitive soul through the liver; their interpretation requires intelligence. The Stoics seem to have held that dreams may be a divine revelation and more than one volume on the interpretation of dreams has come down to us, the most important being perhaps the [Greek: Oneirokritika] of Daldianus Artemidorus. We find parallels to this in a Mussulman work by Gabdorrachaman, translated by Pierre Vattier under the name of _Onirocrite mussulman_, and in the numerous books on the interpretation of dreams which circulate at the present day. In Siam dream books are found (_Intern. Archiv für Anthr._ viii 150); one of the functions of the Australian medicine man is to decide how a dream is to be interpreted.

_Modern Views._--The doctrine of Descartes that existence depended upon thought naturally led his followers to maintain that the mind is always thinking and consequently that dreaming is continuous. Locke replied to this that men are not always conscious of dreaming, and it is hard to be conceived that the soul of the sleeping man should this moment be thinking, while the soul of the waking man cannot recollect in the next moment a jot of all those thoughts. That we always dream was maintained by Leibnitz, Kant, Sir W. Hamilton and others; the latter refutes the argument of Locke by the just observation that the somnambulist has certainly been conscious, but fails to recall the fact when he returns to the normal state.

It has been commonly held by metaphysicians that the nature of dreams is explained by the suspension of volition during sleep; Dugald Stewart asserts that it is not wholly dormant but loses its hold on the faculties, and he thus accounts for the incoherence of dreams and the apparent reality of dream images.

Cudworth, from the orderly sequence of dream combinations and their novelty, argues that the state arises, not from any "fortuitous dancings of the spirits," but from the "phantastical power of the soul." According to K. A. Scherner, dreaming is a decentralization of the movement of life; the ego becomes purely receptive and is merely the point around which the peripheral life plays in perfect freedom. Hobbes held that dreams all proceed from the agitation of the inward parts of a man's body, which, owing to their connexion with the brain, serve to keep the latter in motion. For Schopenhauer the cause of dreams is the stimulation of the brain by the internal regions of the organism through the sympathetic nervous system. These impressions the mind afterwards works up into quasi-realities by means of its forms of space, time, causality, &c.

BIBLIOGRAPHY.--For full lists of books and articles see J. M. Baldwin's _Dictionary of Philosophy_, bibliography volume (1906), and S. de Sanctis, _I Sogni_, also translated in German with additions as _Die Träume_. Important works are--Binz, _Über den Traum_, Giessler _Aus den Tiefen des Traumlebens_, Maury, _Le Sommeil et les rêves_, Radestock, _Schlaf und Traum_, Tessié, _Les Rêves_, Spitta, _Schlaf und Traumzustande_. For super-normal dreams see F. W. H. Myers, _Human Personality_, vol i, and _Proc S P R_ viii 362. For voluntary dreams see _Proc. S P R_ iv 241, xvii. 112. On prophetic dreams see _Monist_, xi 161, _Bull. Soc. Anth._ (Paris, 1901), 196, (1902), 228, _Rev. de synthèse historique_ (1901), 151, &c. On incubation see Deubner, _De incubatione_, Maury, La Magie. On the dreams of American Indians see _Handbook of American Indians_ (Washington, 1907), s v "Dreams" and "Manito." On the interpretation of dreams see Freud, _Die Traumdeutung_. Other works are F. Greenwood, _Imagination in Dreams_, Hutchinson, _Dreams and their Meanings_. (N. W. T.)

DREDGE AND DREDGING. The word "dredge" is used in two senses. (1) From Mid. Eng. _dragie_, through Fr. _dragée_, from Gr. [Greek: tragêmata], sweetmeats, it means a confection of sugar formed with seeds, bits of spice or medicinal agents. The word in this sense is obsolete, but survives in "dredger," a box with a perforated top used for sprinkling such a sugar-mixture, flour or other powdered substance. "Dredge" is also a local term for a mixed crop of oats and barley sown together ("maslin" or "meslin," cf. Fr. _dragée_), and in mining is applied to ore of a mixed value. (2) Connected with "drag," or at least derived from the same root, dredge or dredger is a mechanical appliance for collecting together and drawing to the surface ("dredging") objects and material from the beds of rivers or the bottom of the sea. In the following account the operations of dredging in this sense are discussed (1) as involved in hydraulic engineering, (2) in connexion with the work of the naturalist in marine biology.

1. HYDRAULIC ENGINEERING

Dredging is the name given by engineers to the process of excavating materials under water, raising them to the surface and depositing them in barges, or delivering them through a shoot, a longitudinal conveyor, or pipes, to the place where it is desired to deposit them. It has long been useful in works of marine and hydraulic engineering, and has been brought in modern times to a state of high perfection.

The employment of dredging plant and the selection of special appliances to be used in different localities and in varying circumstances require the exercise of sound judgment on the part of the engineer. In rivers and estuaries where the bottom is composed of light soils, and where the scour of the tide can be governed by training walls and other works constructed at reasonable expense, so as to keep the channel clear without dredging, it is manifest that dredging machinery with its large cost for working expenses and for annual upkeep should be as far as possible avoided. On the other hand, where the bottom consists of clay, rock or other hard substances, dredging must, in the first instance at any rate, be employed to deepen and widen the channel which it is sought to improve. In some instances, such as the river Mississippi, a deep channel has for many years been maintained by jetties, with occasional resort to dredging to preserve the required channel section and to hasten its enlargement. The bar of the river Mersey is 11 m. from land, and the cost of training works would be so great as to forbid their construction; but, by a capital expenditure of £120,000 and an annual expense of £20,000 for three years, the depth of water over the bar at low tide has been increased by dredging from 11 ft. to 27 ft., the channel being 1500 ft. wide.

_"Bag and Spoon" Dredger._--The first employment of machinery for dredging is, like the discovery of the canal lock, claimed by Holland and Italy, in both of which countries it is believed to have been in use before it was introduced into Britain. The Dutch, at an early period, used what is termed the "bag and spoon" dredger for cleansing their canals. The "spoon" consisted of a ring of iron about 2 ft. in diameter flattened and steeled for about a third of its circumference and having a bag of strong leather attached to it by leathern thongs. The ring and bag were fixed to a pole which was lowered to the bottom from the side of a barge moored in the canal or river. The "spoon" was then dragged along the bottom by a rope made fast to the iron ring actuated by a windlass placed at the other end of the barge, the pole being prevented from rising by a hitched rope which caused the "spoon" to penetrate the bottom and fill the bag. When the "spoon" reached the end of the barge where the windlass was placed, the winding was still continued, and the suspended rope being nearly perpendicular the "bag" was raised to the gunwale of the barge and the excavated material emptied into the barge. The "bag" was then hauled back to the opposite end to be lowered for another supply. This system is still in use, but is only adaptable to a limited depth of water and a soft bottom; it has been largely used in canals and frequently in the Thames. At the Fosdyke Canal in Lincolnshire 135,000 tons were raised in the manner described. According to J. J. Webster (_Proc. Inst. C. E._ vol. 89), the first application of steam power for dredging operations was to a "spoon & bag" dredger for cleansing Sunderland harbour, the engine being made by Messrs Boulton & Watt of Soho, Birmingham.

_Dredging by Bucket between Two Lighters._--Another plan of dredging, practised at an early period in rivers of considerable breadth, was to moor two barges, one on each side of the river. Between them was slung an iron dredging bucket, which was attached to both barges by chains wound on the barrels of a crab winch worked by six men in one barge and round a simple windlass worked by two men in the other barge. The bucket, being lowered at the side of the barge carrying the windlass, was drawn across the bottom of the river by the crab winch on the other barge; and having been raised and emptied, it was hauled across by the opposite windlass for repetition of the process. This process was in use in the River Tay until 1833.

_Bucket Ladder Dredgers._--The earliest record of a bucket ladder dredger is contained in the first paper of the first volume (1836) of the _Transactions_ of the Institution of Civil Engineers. This machine was brought into use at the Hull Docks about 1782. The bucket chain was driven by two horses working a horse-gear on the deck of the vessel. The buckets were constructed of 5/8 in. bars of iron spaced 1/8 in. apart, and were 4 ft. long, 13 in. deep, 12 in. wide at the mouth and about 6 in. wide at the bottom. This dredger raised about 30 tons per hour at the cost of 2½d. per ton, which covered the wages of three men working the dredger, eight men working the lighters and the keep of three horses. A dredger of this kind and power would only work in ballast, mud or other soft material, but the machine was gradually improved and increased in capacity and power by different manufacturers until it became a very efficient machine in skilful hands, excavating and raising material from depths of 5 ft. to 60 ft. of water at a cost not very different from, and in many cases less than, that at which the same work could be performed on land. With the powerful dredgers now constructed, almost all materials, except solid rock or very large boulders, can be dredged with ease. Loose gravel is perhaps the most favourable material to work in, but a powerful dredger will readily break up and raise indurated beds of gravel, clay and boulders, and has even found its way through the surface of soft rock, though it will not penetrate very far into it. In some cases steel diggers alternating with the buckets on the bucket frame have been successfully employed. The construction of large steam dredgers is now carried on by many engineering firms. The main feature of the machine is the bucket ladder which is hung at the top end by eye straps to the frame of the vessel, and at the lower end by a chain reived in purchase blocks and connected to the hoisting gear, so that the ladder may be raised and lowered to suit the varying depths of water in which the dredger works. The upper tumbler for working the bucket chain is generally square or pentagonal in form and made of steel with loose steel wearing pieces securely bolted to it. The tumbler is securely keyed to the steel shaft which is connected by gearing and shafting to the steam engine, a friction block being inserted at a convenient point to prevent breakage should any hidden obstacle causing unusual strain be met with in the path of the buckets. The lower tumbler is similar in construction to the upper tumbler, but is usually pentagonal or hexagonal in shape. The buckets are generally made with steel backs to which the plating of the buckets is riveted; the cutting edge of the buckets consists of a strong steel bar suitably shaped and riveted to the body. The intermediate links are made of hammered iron or steel with removable steel bushes to take the wear of the connecting pins, which are also of steel. The hoisting gear may be driven either from the main engine by frictional gearing or by an independent set of engines. Six anchors and chains worked by powerful steam crabs are provided for regulating the position of the dredger in regard to its work.

_Barge-loading Dredgers_ used formerly to be provided with two ladders, one on each side of the vessel, or contained in wells formed in the vessel near each side. Two ladders were adopted, partly to permit the dredger to excavate the material close to a quay or wall, and partly to enable one ladder to work while the other was being repaired. Bucket ladder dredgers are now, however, generally constructed with one central ladder working in a well; frequently the bucket ladder projects at either the head or stern of the vessel, to enable it to cut its own way through a shoal or bank, a construction which has been found very useful. In one modification of this method the bucket ladder is supported upon a traversing frame which slides along the fixed framing of the dredger and moves the bucket ladder forward as soon as it has been sufficiently lowered to clear the end of the well. In places where a large quantity of dredging has to be done, a stationary dredger with three or four large hopper barges proves generally to be the most economical kind of plant. It has, however, the disadvantage of requiring large capital expenditure, while the dredger and its attendant barges take up an amount of space which is sometimes inconvenient where traffic is large and the navigable width narrow. The principal improvements made in barge-loading dredgers have been the increase in the size of the buckets and the strength of the dredging gear, the application of more economical engines for working the machinery, and the use of frictional gearing for driving the ladder-hoisting gear. It is very important that the main drive be fitted with the friction blocks or clutches before alluded to.

Up to the year 1877 dredgers were seldom made with buckets of a capacity exceeding 9 cub. ft., but since that time they have been gradually increased in capacity. In the dredger "Melbourne," constructed by Messrs William Simons & Co. to the design and specification of Messrs Coode, Son & Matthews, about the year 1886, the buckets had a capacity of 22 cub. ft., the dredger being capable of making 37 ft. of water. The driving power consists of two pairs of surface-condensing engines, each of 250 i.h.p., having cylinders 20 in. and 40 in. in diameter respectively, with a 30 in. stroke, the boiler pressure being 90 lb. per sq. in. The vessel is 200 ft. long by 36 ft. wide and 11 ft. 6 in. deep, and is driven by twin screw propellers. The gearing is arranged so that either pair of engines can be employed for dredging. The speed under steam is 7 knots, and in free-getting material 800 tons per hour can be dredged with ease. On one occasion the dredger loaded 400 tons in 20 minutes. The speed of the bucket chain is 83 lineal ft. per minute. The draught of the dredger in working trim is 7 ft. forward and 9 ft. aft. The efficiency of the machine, or the net work in raising materials compared with the power exerted in the cylinders, is about 25%. The dredged material is delivered into barges moored alongside. Contrasting favourably with former experience, the "Melbourne" worked for the first six months without a single breakage. She is fitted with very powerful mooring winches, a detail which is of great importance to ensure efficiency in working.

The "St Austell" (Plate I. fig. 3), a powerful barge-loading dredger 195 ft. long by 35 ft. 6 in. beam by 13 ft. deep, fitted with twin-screw compound surface-condensing propelling engines of 1000 i.h.p., either set of engines being available for dredging, was constructed for H.M. Dockyard, Devonport, by Messrs Wm. Simons & Co. in 1896. This dredger loaded thirty-five 500-ton hopper barges in the week ending April 2, 1898, dredging 17,500 tons of material in the working time of 29 hours 5 minutes.

An instance of a still larger and more powerful dredger is the "Develant," constructed by Messrs Wm. Simons & Co., for Nicolaiev, South Russia. She is a bow-well, barge-loading, bucket ladder dredger, with a length of 186 ft., a breadth, moulded, of 36 ft., and a depth, moulded, of 13 ft. The bucket ladder is of sufficient length to dredge 36 ft. below the water level. The buckets are exceptionally large, each having a capacity of 36 cub. ft., or fully two tons weight of material, giving a lifting capacity of 1890 tons per hour. At the dredging trials 2000 tons of spoil were lifted in one hour with an expenditure of 250 i.h.p. The propelling power is supplied by one pair of compound surface-condensing marine engines of 850 i.h.p., having two cylindrical boilers constructed for a working pressure of 120 lb. per sq. in. Each boiler is capable of supplying steam to either the propelling or dredging machinery, thus allowing the vessel to always have a boiler in reserve. On the trials a speed of 8½ knots was obtained. The bucket ladder, which weighs over 100 tons, exclusive of dredgings, is raised and lowered by a set of independent engines. For manoeuvring, powerful winches driven by independent engines are placed at the bow and stern. The vessel is fitted throughout with electric light, arc lamps being provided above the deck to enable dredging to be carried on at night. Steam steering gear, a repairing shop, a three-ton crane, and all the latest appliances are installed on board.

The "Dérocheuse" (Plate II. fig. 12), constructed by Messrs Lobnitz & Co., is a good example of the dredger fitted with their patent rock cutters, as used on the Suez Canal. These rock cutters consist of stamps passing down through the bottom of the dredger, slightly in advance of the bucket chain, and are employed for breaking up rock in front of the bucket ladder so that it may be raised by buckets afterwards. This system of subaqueous rock cutting plant, on Messrs Lobnitz's patent system, was effectively employed in deepening the Manchester Ship Canal, and removed a considerable length of rock, increasing the depth of water from 26 ft. to 28 ft. at a cost of about 9d. per cub. yd. A full and illustrated description of this plant, and of a similar plant supplied to the Argentine Government, was published in _Engineering_ of August 17, 1906. An illustration of a bucket of 54 cub. ft. capacity constructed by Messrs Lobnitz & Co. is given (Plate II fig. 11), from which some idea of the size of dredging machinery as developed in recent practice may be obtained. In regard to the depth of water that can be obtained by dredging, it is interesting to note that the dredger "Diver," constructed by Messrs. Hunter & English for Mr Samuel Williams of London, is capable of working in 60 ft. of water. In this vessel an ingenious arrangement was devised by Mr Williams, by which part of the weight of the dredger was balanced while the ladder itself could be drawn up through the bucket well and placed upon the deck, enabling a long ladder to be used for a comparatively short vessel. The "Tilbury" dredger, also constructed by Messrs Hunter & English, was able to dredge to a depth of 45 ft. below the surface of the water.

_Hopper Barges._--To receive the materials excavated by barge-loading dredgers, steam hopper barges are now generally employed, capable of carrying 500 tons or more of excavation and of steaming loaded at a speed of about 9 m. per hour. These hopper barges are made with hinged flaps in their bottoms, which can be opened when the place of deposit is reached and the dredgings easily and quickly discharged.

Good examples of these vessels are the two steam hopper barges built for the Conservators of the river Thames in 1898. The dimensions are: length 190 ft., breadth 30 ft., depth 13 ft. 3 in., hopper capacity 900 tons. They are propelled by a set of triple expansion engines of 1200 i.h.p., with two return-tube boilers having a working pressure of 160 lb. Special appliances are provided to work the hopper doors by steam power from independent engines placed at the forward end of the hopper. A steam windlass is fixed forward and a steam capstan aft. The vessels are fitted with cabins for the officers and crew. On their trial trip, the hoppers having their full load, a speed of 11 knots was obtained, the coal consumption being 1.44 lb. per i.h.p.

_Methods of Dredging._--In river dredging two systems are pursued. One plan consists in excavating a series of longitudinal furrows parallel to the axis of the stream; the other in dredging cross furrows from side to side of the river. It is found that inequalities are left between the longitudinal furrows when that system is practised, which do not occur, to the same extent, in side or cross dredging; and cross dredging leaves a more uniform bottom. In either case the dredger is moored from the head and stern by chains about 250 fathoms in length. These chains in improved dredgers are wound round windlasses worked by the engine, so that the vessel can be moved ahead or astern by simply throwing them into or out of gear. In longitudinal dredging the vessel is worked forward by the head chain, while the buckets are at the same time performing the excavation, so that a longitudinal trench is made in the bottom of the river. After proceeding a certain length, the dredger is stopped and permitted to drop down and commence a new longitudinal furrow, parallel to the first one. In cross dredging, on the other hand, the vessel is supplied with four additional moorings, two on each side, and these chains are, like the head and stern chains, wound round barrels worked by steam power. In cross dredging we may suppose the vessel to be moored at one side of the channel to be excavated. The bucket frame is set in motion, but instead of the dredger being drawn forward by the head chain, she is drawn across the river by the starboard chains, and, having reached the extent of her work in that direction, she is then drawn a few feet forward by the head chain, and the bucket frame being still in motion the vessel is hauled across by the port chains to the side whence she started. By means of this transverse motion of the dredger a series of cross cuts is made; the dredger takes out the whole excavation from side to side to a uniform depth and leaves no protuberances such as are found to exist between the furrows in longitudinal dredging, even when it is executed with great care. The two systems will be understood by reference to fig. 1, where A and B are the head and stern moorings, and C, D, E and F the side moorings. The arc e f represents the course of the vessel in cross dredging; while in longitudinal dredging, as already explained, she is drawn forward towards A, and again dropped down to commence a new longitudinal furrow.

_Hopper Dredgers._--In places where barge-loading dredgers are inconvenient, owing to confined space and interference with navigation, and where it is necessary to curtail capital expenditure, hopper dredgers are convenient and economical. These dredgers were first constructed by Messrs. Wm. Simons & Co. of Renfrew, who patented and constructed what they call the "Hopper Dredger," combining in itself the advantages of a dredger for raising material and a scow hopper vessel for conveying it to the place of discharge, both of which services are performed by the same engines and the same crew.

The vessel for this type of dredger is made of sufficient length and floating capacity to contain its own dredgings, which it carries out to the depositing ground as soon as its hopper is full. Considerable time is of course occupied in slipping and recovering moorings, and conveying material to the depositing ground, but these disadvantages are in many instances counterbalanced by the fact that less capital is required for plant and that less room is taken up by the dredger. If the depositing ground is far away, the time available for dredging is much curtailed, but the four-screw hopper dredger constructed by Messrs Wm. Simons & Co. for Bristol has done good work at the cost of 5d. per ton, including wages, repairs, coals, grease, sundries and interest on the first cost of the plant, notwithstanding that the material has to be taken 10 m. from the Bristol Dock. She can lift 400 tons of stiff clay per hour from a depth of 36 ft. below the water line, and the power required varies from 120 i.h.p. to 150 i.h.p., according to the nature of the material. The speed is 9 knots, and 4 propellers are provided, two at the head and two at the stern, to enable the vessel to steam equally well either way, as the river Avon is too narrow to permit her to be turned round.

The hopper dredger "La Puissante" (Plate I. fig. 4), constructed by Messrs Wm. Simons & Co. for the Suez Canal Co. for the improvement of Port Said Roads, is a fine example of this class of dredger. She is 275 ft. long by 47 ft. beam by 19 ft. deep. The hopper capacity is 2000 tons, and the draught loaded 16 ft. 5 in. The maximum dredging depth is 40 ft., and the minimum dredging depth is only limited by the vessel's draught, she being able to cut her own way. The bucket ladder works through the well in the stern and weighs with buckets 120 tons. The buckets have each a capacity of 30 cub. ft. and raised on trial 1600 tons per hour. The dredger is propelled by two sets of independent triple expansion surface-condensing engines of 1800 i.h.p. combined, working with steam at 160 lb. pressure, supplied by two mild steel multitubular boilers. Each set of engines is capable of driving the buckets independently at speeds of 16 and 20 buckets per minute. The bucket ladder is fitted with buffer springs at its upper end to lessen the shock when working in a seaway. The dredger can deliver the dredged material either into its own hopper or into barges lying on either side. The vessel obtained a speed of 9¾ knots per hour on trial. The coal consumption during 6 hours' steaming trial was 1.66 lb. per i.h.p. hour. Fig. 9 (Plate I.) shows a still larger hopper dredger by the same constructors.

_Dredgers fitted with Long Shoot or Shore Delivering Apparatus._--The first instance of dredgers being fitted with long shoots was in the Suez Canal. The soil in the lakes was very variable, the surface being generally loose mud which lay in some places in the sand, but frequently more or less on hard clay. Resort was had to shoots 230 ft. long, supported on pontoons connected with the hull of the dredger. The sand flowed away with a moderate supply of water to the shoots when they were fixed at an inclination of about 1 in 20, but when the sand was mixed with shells these formed a coating which prevented the stream of water from washing out the shoot, and even with an inclination of 1 in 10 material could not be delivered. A pair of endless chains working down the long shoot overcame the difficulty, and also enabled hard clay in lumps to be dealt with. One dredger turned out about 2000 cub. yds. of thick clay in 15 hours, and when the clay was not hard it could deliver 150,000 cub. yds. in a month for several consecutive months.

Shore delivery has been successfully effected by raising the material by buckets in the ordinary way and delivering it into a vertical cylinder connected with floating jointed pipes through which the dredgings pass to the shore. This, of course, can only be done where the place of deposit is near the spot where the material is dredged. Two plans have been satisfactorily employed for this operation. At the Amsterdam Canal the stuff was discharged from the buckets into a vertical cylinder, and after being mingled with water by a revolving Woodford pump was sent off under a head of pressure of 4 or 5 ft. to the place of deposit in a semi-fluid state through pipes made of timber, hooped with iron. These wooden pipes were made in lengths of about 15 ft., connected with leather joints, and floated on the surface of the water. A somewhat similar process was also employed on the Suez Canal.

A dredger (Plate I. fig. 5), constructed by Messrs Hunter & English for reclamation works on Lake Copais in Greece was fitted with delivery belts running on rollers in steel lattice frames on each side of the vessel supported by masts and ropes. It could deliver 100 cub. metres per hour at 85 ft. from the centre of the dredger, at a cost of 1.82d. per cub. metre for working expenses, with coal at 45s. per ton, including 0.66d. per cub. metre for renewal of belts, upon which the wear and tear was heavy.

Another instance of the successful application of shore delivery apparatus is that of a dredger for Lake Titicaca, Peru, constructed by Messrs Hunter & English, which was fitted with long shoots on both sides, conveying the dredged material about 100 ft. from the centre of the dredger upon either side. The shoots were supported by shear-legs and ropes, and were supplied with water from a centrifugal pump in the engine room. This dredger could excavate and deliver 120 cub. yds. per hour at a cost of 1.725d. per cub. yd. with coal costing 40s. per ton. If coal had been available at the ordinary rate in England of 20s. per ton, the cost of the dredging and delivery would have been 0.82d. per cub. yd. for wages, coal, oil, &c., but not including the salary of the superintendent.

An interesting example of a shore delivering dredger is a light draught dredger constructed by Messrs Hunter & English for the Lakes of Albufera at the mouth of the river Ebro in Spain (Plate I. fig. 6). The conditions laid down for this dredger were that it should float in 18 in. of water and deliver the dredged material at 90 ft. from the centre of its own hull. In order to meet these requirements the vessel was made of steel plates 1/8 in. thick, and longitudinal girders from end to end of the vessel, the upward strain of flotation being conveyed to them from the skin plating by transverse bulkheads at short intervals. The dredger was 94 ft. long, 25 ft. wide, and 3 ft. deep, and the height of the top tumbler above the water was 25 ft. When completed the dredger drew 17 in. of water. The dredgings were delivered by the buckets upon an endless belt, driven from the main compound surface-condensing engine, which ran over pulleys supported upon a steel lattice girder, the outer end of which rested upon an independent pontoon. This belt delivered the dredgings at 90 ft. from the centre of the dredger round an arc of 180°. The dredger delivered 125 cub. yds. per hour of compact clay at a cost of 1.16d. per cub. yd. or 0.86d. per ton for wages, coal and stores. Another method of delivering dredgings is that of pneumatic delivery, introduced by Mr F. E. Duckham, of the Millwall Dock Co., by which the dredgings are delivered into cylindrical tanks in the dredger, closed by air-tight doors, and are expelled by compressed air either into the sea or through long pipes to the land. The Millwall Dock dredger is 113 ft. long, with a beam of 17 ft. and a depth of 12 ft. The draught loaded is 8 ft. It contains two cylindrical tanks, having a combined capacity of 240 cub. yds., and is fitted with compound engines of about 200 i.h.p., with a 20 in. air-compressing cylinder. The discharge pipe is 15 in. diameter by 150 yds. long. The nozzles of the air-injection pipes must not be too small, otherwise the compressed air, instead of driving out the material, simply pierces holes through it and escapes through the discharging pipe, carrying with it all the liquid and thin material in the tanks. The cost of working the Millwall Dock dredger is given by Mr Duckham at 1.75d. per cub. yd. of mud lifted, conveyed and deposited on land 450 ft. from the water-side, for working expenses only. This dredger is believed to be the first machine constructed with a traversing ladder, as suggested by Captain Gibson when dock-master of the Millwall Docks.

_Blasting combined with Dredging._--In some cases it has been found that the bottom is too hard to be dredged until it has been to some extent loosened and broken up. Thus at Newry, John Rennie, after blasting the bottom in a depth of from 6 to 8 ft. at low water, removed the material by dredging at an expense of from 4s. to 5s. per cub. yd. The same process was adopted by Messrs Stevenson at the bar of the Erne at Ballyshannon, where, in a situation exposed to a heavy sea, large quantities of boulder stones were blasted, and afterwards raised by a dredger worked by hand at a cost of 10s. 6d. per cub. yd. Sir William Cubitt also largely employed blasting in connexion with dredging on the Severn (see _Proc. Inst. C.E._ vol. iv. p. 362). The cost of blasting and dredging the marl beds is given as being 4s. per cub. yd. A combination of blasting and dredging was employed in 1875 by John Fowler of Stockton at the river Tees. The chief novelty was in the barge upon which the machinery was fixed. It was 58 ft. by 28 ft. by 4 ft., and had eight legs which were let down when the barge was in position. The legs were then fixed to the barge, so that on the tide falling it became a fixed platform from which the drilling was done. Holes were bored and charged, and when the tide rose the legs were heaved up and the barge removed, after which the shots were discharged. There were 24 boring tubes on the barge, and that was the limit which could at any time be done in one tide. The area over which the blasting was done measured 500 yds. in length by 200 in breadth, a small part being uncovered at low water. The depth obtained in mid-channel was 14 ft. at low water, the average depth of rock blasted being about 4 ft. 6 in. The holes, which were bored with the diamond drill, varied in depth from 7 to 9 ft., the distance between them being 10 ft. Dynamite in tin canisters fired by patent fuse was used as the explosive, the charges being 2 lb. and under. The rock is oolite shale of variable hardness, and the average time occupied in drilling holes 5 ft. deep was 12 minutes. The dredger raised the blasted rock. The cost for blasting, lifting and discharging at sea was about 4s. per cub. yd., including interest on dredging and other plant employed. The dredger sometimes worked a face of blasted material of from 7 to 8 ft. The quantity blasted was 110,000 cub. yds., and the contract for blasting so as to be lifted by the dredger was 3s. 1d. per cub. yd. A similar plan was adopted at Blyth Harbour (see _Proc. Inst. C.E._ vol. 81, p. 302). The cost of the explosives per cub. yd. was 1s. 4d., of boring 1s. 9d. per cub. yd., and of dredging 3s. per cub. yd., including repairs, but nothing for the use of plant. The whole cost worked out at 6s. 1d. per cub. yd. on the average.

_Sand-pump Dredgers._--Perhaps the most important development which has taken place in dredging during recent years has been the employment of sand-pump dredgers, which are very useful for removing sandy bars where the particular object is to remove quickly a large quantity of sand or other soft material. They are, however, apt to make large holes, and are therefore not fitted for positions where it is necessary to finish off the dredging work to a uniform flat bottom, for which purpose bucket dredgers are better adapted. Pump dredgers are, however, admirable and economical machines for carrying out the work for which they are specially suited.

In the discussion upon Mr J. J. Webster's paper upon "Dredging-Appliances" (_Proc. Inst. C.E._ vol. 89) at the Institution of Civil Engineers in 1886, Sir John Coode stated that he had first seen sand-pump dredgers at the mouth of the Maas in Holland. The centrifugal pump was placed against the bulkheads in the after part of the vessel, and the sand and water were delivered into a horizontal breeches-piece leading into two pipes running along the full length of the hopper. The difficulty of preventing the sand from running overboard was entirely obviated by its being propelled by the pump through these pipes, the bottoms of which were perforated by a series of holes. In addition, there were a few small flap-doors fixed at intervals, by means of which the men were able to regulate the discharge. On being tested, the craft pumped into its hopper 400 tons of sand in 22 minutes. The coamings round the well of the hoppers were constructed with a dip, and when the hopper was full the water ran over in a steady stream on either side. The proportion of sand delivered into the hopper was about 20% of the total capacity of the pump. The dredger was constructed by Messrs Smit of Kinderdijk, near Rotterdam. In the same discussion Mr A. A. Langley, then engineer to the Great Eastern railway, gave particulars of a sand pump upon the Bazin system, which had been used successfully at Lowestoft. The boat was 60 ft. long by 20 ft. wide, and the pump was 2 ft. in diameter, with a two-bladed disk. The discharge pipe was 12 in. in diameter. The pump raised 400 tons of sand, gravel and stones per hour as a maximum quantity, the average quantity being about 200 tons per hour. The depth dredged was from 7 ft. to 25 ft. The pump was driven by a double-cylinder engine, having cylinders of 9 in. diameter by 10 in. stroke, and making 120 revolutions per minute. An important improvement was made by fitting the working faces of the pump with india-rubber, which was very successful and largely reduced the wear and tear. The cost of the dredging at Lowestoft was given by Mr Langley at 2d. per ton, including delivery 2 m. out at sea. The quantity dredged was about 200,000 tons per annum.

One of the earliest pumps to be applied to dredging purposes was the Woodford, which consisted of a horizontal disk with two or more arms working in a case somewhat similar to the ordinary centrifugal pump. The disk was keyed to a vertical shaft which was driven from above by means of belts or other gear coupled to an ordinary portable engine. The pump within rested on the ground; the suction pipe was so arranged that water was drawn in with the sand or mud, the proportions being regulated to suit the quality of the material. The discharge pipe was rectangular and carried a vertical shaft, the whole apparatus being adjustable to suit different depths of water. This arrangement was very effective, and has been used on many works. Burt & Freeman's sand pump, a modification of the Woodford pump, was used in the construction of the Amsterdam Ship Canal, for which it was designed. The excavations from the canal had to be deposited on the banks some distance away from the dredgers, and after being raised by the ordinary bucket dredger, instead of being discharged into the barges, they were led into a vertical chamber on the top side of the pump, suitable arrangements being made for regulating the delivery. The pump was 3½ ft. in diameter, and made about 230 revolutions per minute. The water was drawn up on the bottom side and mixed with the descending mud on the top side, and the two were discharged into a pipe 15 in. in diameter. The discharge pipe was a special feature, and consisted of a series of wooden pipes jointed together with leather hinges and floated on buoys from the dredger to the bank. In some cases this pipe was 300 yds. long, and discharged the material 8 ft. above the water level. Each dredger and pump was capable of discharging an average of 1500 cub. yds. per day of 12 hours. Schmidt's sand pump is claimed to be an improvement on the Burt & Freeman pump. It consists of a revolving wheel 6 ft. in diameter, with cutters revolving under a hood which just allows the water to pass underneath. To the top side of the hood a 20 in. suction pipe from an ordinary centrifugal pump is attached. The pump is driven by two 16 in. by 20 in. cylinders, at 134 revolutions per minute, the boiler pressure being 95 lb. per sq. in. This apparatus is capable of excavating sticky blue clayey mud, and will deliver the material at 500 to 650 yds. distance. The best results are obtained when the mixture of mud and water is as 1 to 6.5. The average quantity excavated per diem by the apparatus is 1300 cub. yds., the maximum quantity being 2500 cub. yds.

Kennard's sand pump is entirely different from the pumps already described, and is a direct application of the ordinary lift pump. A wrought iron box has a suction pipe fitted at the bottom, rising about half way up the inside of the box; on the top of the box is fitted the actual pump and the flap valves. The apparatus is lowered by chains, and the pump lowered from above. As soon as the box is filled with sand it is raised, the catches holding up the bottom released, and the contents discharged into a punt.

Sand-pump dredgers, designed and arranged by Mr Darnton Hutton, were extensively used on the Amsterdam Ship Canal. A centrifugal pump with a fan 4 ft. in diameter was employed, the suction and delivery pipes, each 18 in. in diameter, being attached to an open wrought-iron framework. The machine was suspended between guides fixed to the end of the vessel, which was fitted with tackle for raising, lowering and adjusting the machine. The vessel was fitted with a steam engine and boiler for working and manipulating the pumps and the heavy side chains for the guidance of the dredger. The engine was 70 h.p., and the total cost of one dredger was £8000. The number of hands required for working this sand-pump dredger was one captain, one engineer, one stoker and four sailors. Each machine was capable of raising about 1300 tons of material per day, the engines working at 60 and the pump at 180 revolutions per minute. The sand was delivered into barges alongside the dredger. The cost of raising the material and depositing it in barges was about 1d. per ton when the sand pumps were working, but upon the year's work the cost was 2.4d. per cub. yd. for working expenses and repairs, and 1.24d. per cub. yd. for interest and depreciation at 10% upon the cost of the plant, making a total cost for dredging of 3.64d. per cub. yd. The cost for transport was 3.588d. per cub. yd., making a total cost for dredging and transport of 7.234d. per cub. yd. Dredging and transport on the same works by an ordinary bucket dredger and barges cost 8.328d. per cub. yd.

Two of the largest and most successful instances of sand-pump dredgers are the "Brancker" and the "G. B. Crow," belonging to the Mersey Docks and Harbour Board. Mr A. G. Lyster gave particulars of the work done by these dredgers in a paper read before the Engineering Congress in 1899. They are each 320 ft. long, 47 ft. wide and 20.5 ft. deep, the draught loaded being 16 ft. They are fitted with two centrifugal pumps, each 6 ft. in diameter, with 36 in. suction and delivery pipes, united into a 45 in. diameter pipe, hung by a ball and socket joint in a trunnion, so as to work safely in a seaway when the waves are 10 ft. high. The suction pipe is 76 ft. long and will dredge in 53 ft. of water. The eight hoppers hold 3000 tons, equivalent when solid to 2000 cub. yds.; they can be filled in three-quarters of an hour and discharged in five minutes. Mr Lyster stated that up to May 1899, the quantity removed from bar and main-channel shoals amounted to 41,240,360 tons, giving a width of channel of 1500 ft. through the bar, with a minimum depth of 27 ft. The cost of dredging on the bar by the "G. B. Crow" during 1898, when 4,309,350 tons of material were removed, was 0.61d. per ton for wages, supplies and repairs. These figures include all direct working costs and a proportion of the charge for actual superintendence, but no allowance for interest on capital cost or depreciation. On an average, 20% of the sand and mud that are raised escapes over the side of the vessel. Mr Lyster has, however, to a considerable extent overcome this difficulty by a special arrangement added to the hoppers (see _Proc. Inst. C.E._ vol. 188).

At the Engineering Conference, 1907, Mr Lyster read a note in which he stated that the total quantity of material removed from the bar of the Mersey, from the Crosby channel, and from other points of the main channel by the "G. B. Crow" and "Brancker" suction dredgers amounted to 108,675,570 tons up to the 1st of May 1907. "In the note of 1899 (he added) it was pointed out that the Mersey was a striking instance of the improvement of a river by dredging rather than by permanent works, and the economy of the system as well as the advantage which its elasticity and adaptability to varying circumstances permit, was pointed out.... The most recent experience, which has resulted in the adoption of the proposal to revet the Taylor's bank, indicates that the dredging method has its limitations and cannot provide for every contingency which is likely to arise; at the same time, the utility and economy of the dredging system is in no way diminished.... Having regard to the ever-increasing size of vessels, a scheme for new docks and entrances on a very large scale received the authority of parliament during the session of 1905-1906 In this scheme it was considered necessary to make provision for vessels of 1000 ft. in length and 40 ft. in draught, and having regard to this prospective growth of vessels it has been determined still further to deepen and improve the outer channel of the Mersey. No fixed measure of improvement has been decided on, but after careful survey of existing conditions and a comparison with probable requirements, it has been determined to construct a dredger of 10,000 tons capacity, provided with pumping power equivalent to about three times that of any existing dredgers. By the use of this vessel it is anticipated that it will be possible to deal with very much larger quantities of sand at a cheaper rate, and to 10 ft. greater depth than the existing plant permits."

The vessel in question was launched on the Mersey from the yard of Messrs Cammell, Laird & Co. in October 1908, and was named the "Leviathan." Her length is 487 ft., beam 69 ft., and depth 30 ft. 7 in. Her dredging machinery consists of four centrifugal pumps driven by four sets of inverted triple expansion engines, and connected to four suction tubes 90 ft. long and 42 in. in internal diameter. Her propelling machinery, consisting of two sets of triple expansion engines, is capable of driving her at a speed of 10 knots.

Another powerful and successful sand-pump dredger, "Kate" (Plate I. fig. 7), was built in 1897 by Messrs Wm. Simons & Co. Ltd. for the East London Harbour Board, South Africa. Its dimensions are: length 200 ft., breadth 39 ft., depth 14 ft. 6 in., hopper capacity 1000 tons. The pumping arrangements for filling the hopper with sand or discharging overboard consist of two centrifugal pumps, each driven from one of the propelling engines. The suction pipes are each 27 in. in diameter, and are so arranged that they may be used for pumping either forward or aft, as the state of the weather may require. Four steam cranes are provided for manipulating the suction pipes. Owing to the exceptional weather with which the vessel had to contend, special precautions were taken in designing the attachments of the suction pipes to the vessel. The attachment is above deck and consists of a series of joints, which give a perfectly free and universal movement to the upper ends of the pipes. The joints, on each side of the vessel, are attached to a carriage, which is traversed laterally by hydraulic gear. By this means the pipes are pushed out well clear of the vessel's sides when pumping, and brought inboard when not in work. Hydraulic cushioning cylinders are provided to give any required resistance to the fore and aft movements of the pipes. When the vessel arrived at East London on the 18th of July 1897, there was a depth of 14 ft. on the bar at high tide. On the 10th of October, scarcely three months afterwards, there was a depth of 20 ft. on the bar at low water. Working 22 days in rough weather during the month of November 1898, the "Kate" raised and deposited 2½ m. at sea 60,000 tons of dredgings. Her best day's work (12 hours) was on the 7th of November, when she dredged and deposited 6440 tons.

A large quantity of sand-pump dredging has been carried out at Boulogne and Calais by steam hopper pump dredgers, workable when the head waves are not more than 3 ft. high and the cross waves not more than 1½ ft. high. The dredgings are taken 2 m. to sea, and the price for dredging and depositing from 800,000 to 900,000 cub. metres in 5 or 6 years was 7.25d. per cub. yd. The contractor offered to do the work at 4.625d. per cub. yd. on condition of being allowed to work either at Calais or Boulogne, as the weather might permit. Sand-pump dredging has also been extensively carried out at the mouth of the ports of Amsterdam, Rotterdam and on the north coast of France by sand dredgers constructed by Messrs L. Smit & Son and G. & K. Smit. The largest dredger, the "Amsterdam," is 141 ft. by 27 ft. by 10 ft. 8 in., and has engines of 190 i.h.p. The hopper capacity is 10,600 cub. ft., and the vessel can carry 600 tons of dredgings. The pump fan is 6 ft. 3 in. in diameter by 10 in. wide, the plates being of wrought iron, and makes 130 revolutions a minute. The pump can raise 230 cub. ft. a minute from a depth of 33 ft., which, taking the proportion of 1 of sand to 7 of water, gives a delivery of 29 cub. ft. of sand per minute. The hopper containing 10,600 cub. ft. was under favourable circumstances filled in 40 minutes. The vessels are excellent sea boats.

_Combined Bucket-Ladder and Sand-Pump Dredgers._--Bucket ladders and sand pumps have also been fitted to the same dredger. A successful example of this practice is furnished by the hopper dredger "Percy Sanderson" (Plate I. fig. 8), constructed under the direction of Sir C. A. Hartley, engineer of the Danube Commission for the deepening of the river Danube and the Sulina bar. This dredger is 220 ft. by 40 ft. by 17 ft. 2 in., and has a hopper capacity for 1250 tons of dredgings. The buckets have each a capacity of 25 cub. ft., and are able to raise 1000 tons of ordinary material per hour. The suction pump, which is driven by an independent set of triple expansion engines, is capable of raising 700 tons of sand per hour, and of dredging to a depth of 35 ft. below the water-line. The lower end of the suction pipe is controlled by special steam appliances by which the pipe can be brought entirely inboard. The "Percy Sanderson" raises and deposits on an average 5000 tons of material per day.

_Grab Dredgers._--The grab dredger was stated by Sir Benjamin Baker (_Proc. Inst. C.E._ vol. 113, p. 38) to have been invented by Gouffé in 1703, and was worked by two ropes and a bar. Various kinds of apparatus have been designed in the shape of grabs or buckets for dredging purposes. These are usually worked by a steam crane, which lets the open grab down to the surface of the ground to be excavated and then closes it by a chain which forces the tines into the ground; the grab is then raised by the crane, which deposits the contents either into the hopper of the vessel upon which the crane is fixed or into another barge.

The Priestman grab has perhaps been more extensively used than any other apparatus of this sort. It is very useful for excavating mud, gravel and soft sand, but is less effective with hard sand or stiff clay--a general defect in this class of dredger. It is also capable of lifting large loose pieces of rock weighing from 1 to 2 tons. A dredger of this type, with grab holding 1 ton of mud, dredged during six days, in 19 ft. of water, an average of 52½ tons and a maximum of 68½ tons per hour, and during 12 days, in 16 ft. of water, an average of 48 tons and a maximum of 58 tons per hour, at a cost of 1.63d. per ton, excluding interest on the capital and depreciation. The largest dredger to which this apparatus has been applied is the grab bucket hopper dredger "Miles K. Burton" (Plate I. fig. 9), belonging to the Mersey Docks and Harbour Board. It is equipped with 5 grabs on Morgan's patent system, which is a modification of Priestman's, the grabs being worked by 5 hydraulic cranes. It raised and deposited, 12 to 15 m. at sea, 11 loads of about 1450 tons each with a double shift of hands, at a cost of about 1s. 5d. per cub. yd. of spoil, including the working expenses for wages of crew, fuel and stores. Mr R. A. Marillier of Hull has stated that "the efficiency of these grabs is not at all dependent upon the force of the blow in falling for the penetration and grip in the material, as they do their work very satisfactorily even when lowered quite gently on to the material to be cut out, the jaws being so framed as to draw down and penetrate the material as soon as the upward strain is put on the lifting chain. Even in hard material the jaws penetrate so thoroughly as to cause the bucket to be well filled. The grab is found to work successfully in excavating hard clay from its natural bed on dry land." It is claimed on behalf of grabs that they lift a smaller proportion of water than any other class of dredger.

Since the beginning of the 20th century considerable advance has been made in the use of Priestman grabs, not only for dredging and excavating (for which work they were originally designed), but also in discharging bulk cargo. The first quadruple dredger used by the Liverpool Docks Board had grabs of a capacity of 30 cub. ft., but subsequently second and third quadruple dredgers were put to work in the Liverpool Docks, with grabs having a capacity of 70 and 100 cub. ft. respectively. In discharging coal at Southampton, Havre, Erith, as well as at the coaling station at Purfleet on the Thames, grabs having a capacity of about 80 cub. ft. are in constant use. Perhaps the most difficult kind of bulk cargo to lift is "Narvick" iron ore, which sets into a semi-solid body in the holds of the vessels, and for this purpose one of the largest grabs, having about 150 cub. ft. capacity and weighing about 8 tons, has been adopted. This grab was designed as a result of experiments extending over a long period in lifting iron ore. It is fitted with long, forged, interlocked steel teeth for penetrating the compact material, which is very costly to remove by hand labour. The Priestman grab is made to work with either one or two chains or wire ropes. Grabs worked with two chains or ropes have many advantages, and are therefore adopted for large undertakings.

Wild's single chain half-tine grab works entirely with a single chain, and has been found very useful in excavating the cylinders in Castries harbour. Upon experimenting with an ordinary grab a rather curious condition of things was observed with respect to sinking. On penetrating the soil to a certain depth the ground was found as it were nested, and nothing would induce the grab to sink lower. Sir W. Matthews suggested that a further set of external tines might possibly get over this difficulty. A new grab having been made with this modification, and also with a large increase of weight--all the parts being of steel--it descended to any required depth with ease, the outside tines loosening the ground effectually whilst the inside bucket or tines picked up the material.

_Miscellaneous Appliances._--There are several machines or appliances which perhaps can hardly be called dredgers, although they are used for cleansing and deepening rivers and harbours.

Kingfoot's dredger, used for cleansing the river Stour, consisted of a boat with a broad rake fitted to the bow, capable of adjustment to different depths. At the sides of the boat were hinged two wings of the same depth as the rake and in a line with it. When the rake was dropped to the bottom of the river and the wings extended to the side, they formed a sort of temporary dam, and the water began to rise gradually. As soon as a sufficient head was raised, varying from 6 to 12 in., the whole machine was driven forward by the pressure, and the rake carried the mud with it. Progress at the rate of about 3 m. an hour was made in this manner, and to prevent the accumulation of the dredgings, operations were begun at the mouth of the river and carried on backwards. The apparatus was very effective and the river was cleansed thoroughly, but the distance travelled by the dredger must have been great.

In 1876 J. J. Rietschoten designed a "propeller dredger" for removing the shoals of the river Maas. It consisted of an old gunboat fitted with a pair of trussed beams, one at each side, each of which carried a steel shaft and was capable of being lowered or raised by means of a crab. An ordinary propeller 3 ft. 6 in. in diameter was fixed to the lower end of the shaft, and driven by bevel gear from a cross shaft which derived its motion by belting from the fly-wheel of a 12 h.p. portable engine. The propellers were lowered until they nearly reached the shoals, and were then worked at 150 revolutions per minute. This operation scoured away the shoal effectively, for in about 40 minutes it had been lowered about 3 ft. for a space of 150 yds. long by 8 yds. wide.

A. Lavalley in 1877 designed an arrangement for the harbour of Dunkirk to overcome the difficulty of working an ordinary bucket-ladder dredger when there is even a small swell. A pump injects water into the sand down a pipe terminating in three nozzles to stir up the sand, and another centrifugal pump draws up the mixed sand and water and discharges it into a hopper, the pumps and all machinery being on board the hopper. To allow for the rising and falling of the vessel--either by the action of the tide or by the swell--the ends of the pipes are made flexible. The hopper has a capacity of 190 cub. yds., and is propelled and the pumps worked by an engine of 150 i.h.p. From 50 to 80 cub. yds. per hour can be raised by this dredger.

The "Aquamotrice," designed by Popie, and used on the Garonne at Agen, appears to be a modification of the old bag and spoon arrangement. A flat-bottomed boat 51½ ft. long by 6½ ft. wide was fitted at the bow with paddles, which were actuated by the tide. Connected with the paddles was a long chain, passing over a pulley on uprights and under a roller, and a beam was attached to the chain 14 ft. 8 in. long, passing through a hole in the deck. At the end of the beam was an iron scoop 2 ft. wide and 2 ft. 6 in. deep. When the tide was strong enough it drew the scoop along by means of the paddles and chains, and the scoop when filled was opened by a lever and discharged. About 65 cub. yds. of gravel could be raised by the apparatus in 12 hours. When the tide failed the apparatus was worked by men.

The Danube Steam Navigation Co. removed the shingle in the shallow parts of the river by means of a triangular rake with wrought-iron sides 18 ft. long, and fitted with 34 teeth of chilled cast iron 12 in. deep. This rake was hung from the bow of a steamer 180 ft. long by 21 ft. beam, and dragged across the shallows, increasing the depth of water in one instance from 5 ft. 6 in. to 9 ft., after passing over the bank 355 times.

A combination of a harrow and high pressure water jets, arranged by B. Tydeman, was found very efficacious in removing a large quantity of mud which accumulated in the Tilbury Dock basin, which has an area of about 17 acres, with a depth of 26 ft. at low-water spring tides. In the first instance chain harrows merely were used, but the addition of the water jets added materially to the success of the operation. The system accomplished in six tides more than was done in twelve tides without the water jets which worked at about 80 lb pressure per sq. in. at the bottom of the dock.

Ive's excavator consists of a long weighted spear, with a sort of spade at the end of it. The spade is hinged at the top, and is capable of being turned at right angles to the spear by a chain attached to the end of the spear. The spade is driven into the ground, and after releasing the catch which holds it in position during its descent, it is drawn up at right angles to the spear by the chain, carrying the material with it. Milroy's excavator is similar, but instead of having only one spade it generally has eight, united to the periphery of an octagonal iron frame fixed to a central vertical rod. When these eight spades are drawn up by means of chains, they form one flat table or tray at right angles to the central rod. In operation the spades hang vertically, and are dropped into the material to be excavated; the chains are then drawn up, and the table thus formed holds the material on the top, which is lifted and discharged by releasing the spade. This apparatus has been extensively used both in Great Britain and in India for excavating in bridge cylinders.

The clam shell dredger consists of two hinged buckets, which when closed form one semi-cylindrical bucket. The buckets are held open by chains attached to the top of a cross-head, and the machine is dropped on to the top of the material to be dredged. The chains holding the bucket open are then released, while the spears are held firmly in position, the buckets being closed by another chain. Bull's dredger, Gatmell's excavator, and Fouracre's dredger are modifications with improvements of the clam shell dredger, and have all been used successfully upon various works.

Bruce & Batho's dredger, when closed, is of hemispherical form, the bucket being composed of three or four blades. It can be worked by either a single chain or by means of a spear, the latter being generally used for stiff material. The advantage of this form of dredger bucket is that the steel points of the blades are well adapted for penetrating hard material. Messrs Bruce & Batho also designed a dredger consisting of one of these buckets, but worked entirely by hydraulic power. This was made for working on the Tyne. The excavator or dredger is fixed to the end of a beam which is actuated by two hydraulic cylinders, one being used for raising the bucket and the other for lowering it; the hydraulic power is supplied by the pumps in the engine-room. The novelty in the design is the ingenious way in which the lever in ascending draws the shoot under the bucket to receive its contents, and draws away again as the bucket descends. The hydraulic cylinder at the end of the beam is carried on gimbals to allow for irregularities on the surface being dredged. The hydraulic pressure is 700 lb. per sq. in., and the pumps are used in connexion with a steam accumulator.

An unloading apparatus was designed by Mr A. Manning for the East & West India Dock Co. for unloading the dredged materials out of barges and delivering it on the marsh at the back of the bank of the river Thames at Crossness, Kent. A stage constructed of wooden piles commanded a series of barge beds, and the unloading dredger running from end to end of the stage, lifted and delivered the materials on the marsh behind the river wall at the cost of 1 d. per cub. yd.

_Dredging on the River Scheldt below Antwerp._--This dredging took place at Krankeloon and the Belgian Sluis under the direction of L. Van Gansberghe. At Melsele there is a pronounced bend in the river, causing a bar at the Pass of Port Philip, and just below the pass of Lillo there is a cross-over in the current, making a neutral point and forming a shoal. After dredging to 8 metres (26.24 ft.) below low tide, in clay containing stone and ferruginous matter, a sandstone formation was encountered, which was very compact and difficult to raise. A suction dredger being unsuited to the work, a bucket-ladder dredger was employed. The dredging was commenced at Krankeloon in September 1894 and continued to the end of 1897. A depth of 6 metres (19.68 ft.) was excavated at first, but was afterwards increased to 8 metres (26.24 ft.). The place of deposit was at first on lands acquired by the State, 2.17 m. above Krankeloon, and placed at the disposal of the contractor. The dredgings excavated by the bucket-ladder dredger were deposited in scows, which were towed to the front of the deposit ground and discharged by a suction pump fixed in a special boat, moored close to the bank of the river. The material brought by the suction dredger in its own hull was discharged by a plant fixed upon the dredger itself. In both instances the material was deposited at a distance of 1640 ft. from the river, the spoil bank varying in depth from 2 to 7 metres. The water thrown out behind the dyke with the excavated material returned to the river, after settlement, by a special discharge lock built under the dyke. After 1896 the material was delivered into an abandoned pass by means of barges with bottom hopper doors or by the suction dredger. One suction dredger and three bucket-ladder dredgers were employed upon the work, and a vessel called "Scheldt I." used for discharging the material from the scows. Four tugboats and twenty scows were also employed.

The largest dredger, "Scheldt III.," was 147.63 ft. long by 22.96 ft. wide by 10.98 ft. deep, and had buckets of 21.18 cub. ft. capacity. The output per hour was 10,594 cub. ft. This dredger had also a complete installation as a suction dredger, the suction pipe being 2 ft. diameter. The fan of the centrifugal pump was 5.25 ft. diameter, and was driven by the motor of the bucket ladder. The three bucket dredgers worked with head to the ebb tide. They could also work with head to the flood tide, but it took so long a time to turn them about that it was impracticable. The work was for from 13 to 14 hours a day on the ebb tide. The effective daily excavation averaged 4839 cub. yds. Each dredger was fitted with six anchors. The excavated cut was 164 ft. wide by 6.56 ft. deep. "Scheldt III." was capable of lifting a mass 9.84 ft. thick. The suction dredger "Scheldt II." was of the multiple type, and is stated to be unique in construction. It can discharge material from a scow alongside, fill its own hopper with excavations, discharge its own load upon the bank or into a scow by different pipes provided for the purpose, and discharge its own load through hopper doors. The machinery is driven by a triple expansion engine of 300 i.h.p. working the propeller by a clutch. Owing to the rise and fall in the tide of 23 ft. the suction pipe is fitted with spherical joints and a telescopic arrangement. The vessel is 157.5 ft. by 28.2 ft. by 12.8 ft. The diameter of the pump is 5.25 ft. The wings of the pump are curved, the surface being in the form of a cylinder parallel to the axis of rotation, the directrix of which is an arc of a circle of 2.62 ft. radius with the straight part beyond. The suction and discharge pipes are 2 ft. diameter. A centrifugal pump is provided for throwing water into the scows to liquefy the material during discharge. The dredger, which is fitted with electric lights for work at night, is held by two anchors, to prevent lurching backwards and forwards; it can work on the flood as well as on the ebb tide, and can excavate to a depth of 42.65 ft., the output depending upon the nature of the material. With good material it can fill its tanks in thirty minutes. To empty the tanks by suction and discharge upon the bank over the dyke takes about fifty minutes, depending upon the height and distance to which the material requires to be delivered. The daily work has averaged eighteen hours, ten trips being made when the distance from the dredging ground to the point of delivery is about 1