Part 6

We did not take the squid into the boat, but let them drag over the stern as we rowed ashore. We looked over the side of the boat, and away down in the water we could see a large school of them. They rose to about four feet from the surface. One of them grasped the largest of the prisoners and endeavored to pull him away. The line proved too strong, and he gave up the task.

It is very interesting to watch squid swim. When swimming forward, the ten arms are laid in such a position as to form a point. The caudal fin is now its propeller. When swimming backwards the caudal fin is carefully folded over the body. Water is then forced through the siphon, which sends the body backward. The squid's head is so joined to the body that it appears like a pivot. The body is covered with black specks, which are little sacs of pigment that expand and contract. The general color is white.

WILLIAM J. PUTNAM, R.T.K. DORCHESTER, MASS.

* * * * *

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THE NEW YORK SUN _on April 11, 1896, said of_

HARPER'S

PERIODICALS

They are handsome and delightful all, and are as friends that one is glad to see. They please the eye; the artistic sense is gratified by them; they overflow with varied material for the reader. They educate and entertain. They are the well-known and well-liked literary and artistic chronicles of the time. They are a credit to their publishers and to the discernment of the public that approves them. May they continue to be as admirable as they have been and as they are. Better could hardly be wished for them.

* * * * *

FOR SALE EVERYWHERE.

This Department is conducted in the interest of Bicyclers, and the Editor will be pleased to answer any question on the subject. Our maps and tours contain many valuable data kindly supplied from the official maps and road-books of the League of American Wheelmen. Recognizing the value of the work being done by the L.A.W., the Editor will be pleased to furnish subscribers with membership blanks and information so far as possible.

There are so many questions constantly being sent in to us, asking how to get out of New York on a wheel, that, in spite of the fact of maps already published showing the exits from New York, it seems advisable to give, in brief form, a description of the two or three roads which are at all rideable.

There are but three ways to go northward. One runs from 59th Street and Central Park to 110th Street, thence out Seventh Avenue to 116th Street. Here, turning left into St. Nicholas Avenue, it continues to Tenth Avenue, thence crossing the cable and running to Kingsbridge Road. In time we shall be able to run out direct to Kingsbridge over the new bridge, down the long hill beyond 181st Street, but for some time this road has been in a state of construction and repair that was enough to give bicyclers nervous prostration. It has been advisable, therefore, to cross at 181st Street on Washington Bridge, thence following Featherbed Lane to Macomb's Dam Road, to Fordham Landing Road, to Sedgwick Avenue, to Bailey Avenue, to Kingsbridge, and thence out of the city along the Hudson to Yonkers. This is the main road up the Hudson on all routes, long or short. It is the best road from the start, and for many reasons the wheelman is advised to take it even when he is bound southward and eastward. A mile or more on a bicycle is nothing compared to the difficulties of getting over a bad road, and any rider will prefer five good miles to one very bad one. A map of this route is published in HARPER'S ROUND TABLE, No. 810.

This is what renders the other two routes out of New York undesirable as compared with what the Kingsbridge will be when it is completed. The second in order of importance as good road is that which leaves 59th Street and runs through the Park to Seventh Avenue, thence proceeds to the new 155th Street bridge. Cross this and run out Jerome Avenue, through Morrisania to Jerome Park, along the old aqueduct for a bit, thence through South Yonkers, Bronxville, Tuckahoe, to White Plains. The road here is not good in any part. The Avenue is badly macadamized, and here, as elsewhere in this part of New York, the road-bed is torn up with repairs, and new plans and works for the system of roads which some day, when we are all dead and wheeling has gone out of fashion, will make the northern exits of New York the finest in the world. However, this is the road to take if you are bound up the valley or series of valleys lying between the Hudson River ridges and the western ridges of Westchester. Certain routes out this way are rideable. The others are not to be thought of under any circumstances if pleasure is the object in view.

The third exit is further to the east, and runs from 59th Street, as follows: Leave Central Park and run into Fifth Avenue from the Park at the exit where the asphalt begins on the avenue; thence run out to 120th Street, turning west to Morris Avenue, to 124th Street; then, turning back, eastward to Fifth Avenue, to 135th Street, and thence to Madison Avenue, crossing the bridge. After crossing, turn left to Mott Avenue. From this point the run to White Plains is pretty bad work, being over hilly, rough roads, with nothing of interest at hand for the eye to rest on. The route is to 162d Street; thence east and south to 161st Street, turning left into Washington Avenue, to Third Avenue, to Fordham Railroad station, at the left a few blocks on. Crossing the bridge here, turn right into Webster Avenue and run direct to Williamsbridge.

BUILDING A STATUE.

Modelling the clay for a statue is one of the most fascinating, interesting, and, at the same time, instructive sights. From the moment the preliminary frame-work is constructed to the final delicate finishing-touches of the sculptor, the work progresses through many stages. It is seldom that we think of the time and labor spent on such works of art.

The sculptor who undertakes a commission to model, let us say, an equestrian statue of colossal size, to be erected in commemoration of some great General, finds a long task before him. In the first place, he reads up the General's life, obtains all the information possible of his characteristics, habits, etc. Then he procures all the photographs of him that he can, and after careful study of them he works up a number of pencil sketches, until he strikes a typical pose that he hopes will be satisfactory. Then comes the production of the miniature model. This he deftly works into shape with clay or wax. Oftentimes these small models are carried to a nearly perfected stage, and it is in these that the genius of the sculptor asserts itself.

From the lump of clay which his fingers have flattened, trimmed, rounded off, the little model issues forth as a nucleus, from which its gigantic brother is to come. With the proportions laid out in the small one, the sculptor sketches his iron frame-work for the full-size model. On a platform of heavy beams he constructs this frame-work, which, when complete, has an anatomical look about it; but it would be a difficult matter to find in the seemingly crazy arrangement of twisted iron and the wire ropes, with blocks of wood tied on them, anything resembling anatomy.

The skeleton frame has to be exceedingly strong; for should any part give way later with the weight of the damp clay, it would doubtless involve the beginning of the work all over again. With the frame complete and tested as to its strength, the clay is built up around it, careful attention being given to each minute detail, especially to the anatomical ones. From the beginning, in the use of the clay, it is essential to keep it damp, and all through the construction water is applied through a hose-pipe with a sprinkler attached. This wetting-down is extremely important, for should the clay get dry, it would crumble like dirt, or crack, thus ruining the work.

The figure of the General is modelled nude, and brought to a high finish. A live model is employed for the purpose, and he poses astride a dummy horse in the position the sketch and miniature model call for. After the figure is finished, even to the curve of each muscle, equipments are put on the dummy horse, and the model dresses himself in the General's costume and again takes the pose. The sculptor then proceeds to dress the General and his horse. With his many different tools he slowly shapes the clothing in the new clay that he has ruthlessly slapped on the exquisite modelling underneath. Bit by bit the various garments assume form and develop under the ready hand of the master, every little fold or crease being carefully worked up. The likeness is the most important part, however, and great attention is paid to the face. In this it is necessary to combine so many things besides likeness that the task is at times almost discouraging.

Months have been required to accomplish the work, and all through it the sculptor has been studying the history of his subject, reviewing his results, altering them to suit his tastes, until finally he lays down his tools and calls his work finished. Plaster casts are then taken of the model, and from these the bronze casting is made.

If a marble statue is ordered, the sculptor sometimes prefers to model on a small scale and then to put his model in the hands of skilful cutters in marble, who carry the work as far as they can judiciously, when it is again taken up by the sculptor, who finishes it, putting in the lines that proclaim his genius and commend it to the world as a work of art. When this is done, the small original model must be finished up to the highest point of the sculptor's ability. Usually, the first modelling is done in the clay, life size, as this allows of alterations that may suggest themselves during the advancement of the work.

HUBERT EARL.

Any questions in regard to photograph matters will be willingly answered by the Editor of this column, and we should be glad to hear from any of our club who can make helpful suggestions.

HOW TO MAKE "DOUBLES."

A photographic operation which gives a great deal of amusement is the making of "doubles." A double photograph is one in which the same person is represented twice, both portraits being taken on the same plate. Doubles are made in the ordinary camera, the only apparatus needed being some device by which either part of the lens or part of the plate-holder is covered. This being done, the person to be photographed takes his position before the camera, half the plate is exposed, and the shutter closed. The subject then changes his position to the opposite side, and the other half of the plate is exposed. When the picture is developed it will look as if made by one exposure.

One way of making doubles is to have a box which will fit the front of the camera so that it will project about three inches beyond the front of the lens. A double door opening exactly in the middle of the box should be fitted to the front of the box. The doors should meet in a close straight line, so that when closed there will not be any danger of light getting into the camera before the plate is exposed. Care must be taken that the doors meet on a line exactly in the middle of the lens, so that when either door is opened only half the lens will be in operation.

Another and simpler way is to cut a plate-holder slide exactly in half, arrange the camera, close the shutter, put in the plate-holder, take out the slide, and slip the half-slide in its place. Make the exposure, take out the half-slide and put in the plate slide, pose the subject for the other half of the picture, and take out the slide and put the half-slide in the holder over the part which has already been exposed.

In arranging for the picture it is more convenient to fix on some line or small object which shall come in the centre of the plate when the exposure is made. The subject to be photographed should stand at least nine or ten inches one side of this central point, for if the drapery of the dress overlaps, the picture will show a blur.

In making the exposure great care must be taken not to move the camera, as if it is moved even the very least bit, a blurred line will appear in the picture showing just where the two exposures join. The focus must not be changed unless a plain background is used. In making the exposures for the two pictures the time of both must be equal. This is more necessary for an exposure made out-of-doors than for one made in the house. If the exposures are unequal in time the negative will be unequal in development, and, as a consequence, half of it will be lighter than the other.

Many interesting and amusing pictures may be made by the means of double photographing. A person may be taken playing checkers or chess with himself, reading to himself, taking his own picture, offering himself something to eat, etc. An amusing picture might be made of a person begging of himself, the first picture being taken in his ordinary walking dress, and the second dressed in ragged clothes and holding out his hat for alms.

In the accompanying picture the subject is fighting a duel with himself.

SIR KNIGHT FREDERICK CLAPP sends a print, and asks the reason of the spots on the negative from which it is made, and when the next photographic competition is to be conducted. The spots on the negatives which make the print imperfect are caused either by bits of film or dirt in the developer settling on the film, or by air-bubbles forming on the surface of the plate when it is covered with the developer. In either case the developer is prevented from acting on the film, and causes spots which have the effect of halation. Small round holes in the negatives are caused by dust on the plate. The time of the photographic contest has not yet been decided. It will be announced in this column as soon as arrangements are completed.

SIR KNIGHT CALVIN FARRAR sends a print of the interior of the log cabin built for the recent celebration in Cleveland. Please accept thanks for same.

SIR KNIGHT RICHARD C. LORD asks for a formula for developer for snap-shots and for time exposures. See answer to Sir Charles Lusenkamp for formula in No. 886. The J. C. tabloids make a fine developer for instantaneous exposures.

"QUAD," Pittsburg, Pa., sends a print from a film, and asks what gives it its mottled appearance. As far as one can judge from the blue print, the mottling is due to imperfect fixing, or the film was left too long in the developer without rocking. There is no remedy for the film.

SIR KNIGHT E. D. BALL, Spartansburg, S. C., sends a print, and wishes to know what is the reason of the yellowish-brown color. The trouble is in the toning-bath. Test it with blue litmus-paper. If it turns the litmus-paper red, add enough bicarbonate of soda, a little at a time, until it turns the red color back to blue. Use the bicarbonate of soda in solution.

EDWARD BRAGTON, 87 West Thirty-second Street, Bayonne, N. J.; RACHEL KELSEY, Baraboo, Wis.; WILLIAM T. KELSEY, Baraboo, Wis.; J. L. GOODMAN, 807 Broderick Street, San Francisco, Cal.; H. T. COOPER, 2416 Harriet Avenue, Minneapolis, Minn.; E. LESTER CROCKER, Tarrytown-on-Hudson, N. Y.; JOHN H. CHAMBERLAIN, 6 Franklin Avenue, Dayton, O.; ARTHUR P. LAZARUS, 756 South Hope Street, Los Angeles, Cal.; FRED. W. LONG, 416 West Adams Street, Muncie, Ind.; FRED. D. ROSE, 405 South High Street, Muncie, Ind.; HARRY R. PATTY, 2533 Michigan Avenue, Los Angeles, Cal.; WM. H. WHITE, JUN., Pembroke Avenue, Norfolk, Va.; GEORGE E. HOLT, Moline, Ill., wish to become members of the Camera Club.

LADY LESLEY ASHBURNER, Media, Pa., would like to correspond with members of the Camera Club. Lady Lesley asks for directions for making enlargements, as she did not find it in No. 801, as directed; also how to make ferro-prussiate paper. Look again at No. 801. The article is entitled "Bromide Enlargements." Directions for making ferro-prussiate paper may be found in Nos. 797, 823, and 828.

Arnold

Constable & Co

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Big Grape and Apple Harvests.

I live in the centre of the great grape belt of the south shore of Lake Erie. Some years ago one saw nothing but wheat and barley in this region, with corn and grass on the hills to the south, but within ten years all has been changed. Now the whole country, hill-side and all, is one vast vineyard. Few raise anything else in their fields. I know one vineyard, twenty miles west of here, containing 300 acres. The vines stretch away almost as far as one can see.

At this season grape-pickers come here in vast crowds. They are from the cities, and are a picturesque lot of folk. They dress in every fashion, and represent almost every nationality. They board themselves and live cheaply. Our fields are just now full of these pickers--thousands of men, women, boys, girls--and our streets are full of wagons carting the grapes to the railway stations for shipment. Although your maps show us bordering on Lake Erie, water transportation is impracticable from here. The banks of the lake here are high and rocky, and speed on water is too slow for perishable fruit. Besides, one could go only to Buffalo or Cleveland by lake, and the great grape markets are Philadelphia, New York, and Chicago.

This year there is so much fruit other than grapes that the latter bring very low prices, and growers are despondent. Apples--"New York apples" are famous, you know--are so plentiful that people are not picking them at all. The trees are breaking with the load of them. They rot on the ground. One cannot even give them away. Thousands of bushels are useless, and every one says: "Oh, if some people in the cities only had them! We would rather see them do somebody good." Do you who live in the cities have to pay anything for apples now? If you do, it seems strange to us, for we can get nothing for them. They do not fetch enough to pay railway freights, not to mention picking and packing. The same is true of grapes almost. Activity reigns, but so do "the blues." I think almost any business is better than grape-growing.

ERNEST SPENCER. BROCTON, N. Y.

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Mounting Bird-feather Collections.

In your issue of September 22 last Sir Knight Jay F. Hammond asked how to mount his bird-feather collections. I send a copy of the way Mrs. Brightwen describes her method, taken from her "More About Wild Nature."

RAYMOND A. BEARDSLEE, R.T.K. HARTFORD, CONN.

"The feathers should be mounted in a blank album of about fifty pages, eleven inches wide by sixteen, so as to make an upright page which will take in long tail feathers. Cartridge-paper of various pale tints is best, as one can choose the ground that will best set off the colors of the feathers. Every other page may be white, and about three black sheets will be useful for swan, albatross, and other white-plumaged birds.

"The only working-tools required are sharp scissors and a razor, some very thick strong gum arabic, a little water, and a duster in case of fingers becoming sticky.