Chapter 8

"It is not just like a sail-maker's palm," he added. "I have one of those which a man gave me, and I will show it to you." So going again to his dark closet, he groped for it among his multifarious things, and came back with one similar, except that it was of raw-hide, and the thimble was a little projection looking like a pig's toe.

He sewed the broom through and through, producing the three pink rows. Then he said he would comb it to clear away the loose and broken stems; and so he passed through it a sort of hetchel made of thirty small knife-blades set in a frame, "which cost me," said he, "more than you would think--that comb was five dollars; and now I comb it out with this one to remove the small stuff and the seeds." And releasing it from the clamp, he took down a fine comb from a nail, and repeated the process.

"And now it is ready to be trimmed. I lay it on this hay-cutter, which some friends bought cheap for me at a fair, and answered my purpose after a few alterations, and I trim it off, nice and even at one end--and now it is done. You have seen a broom made."

That was true. Our only regret was that we could not have that same broom to take away; but on our zig-zag journey, when we were likely enough to stop over or turn off anywhere, that was an absurdity not to be thought of. We did, however, "buy a broom" that we _could_ take--and an excellent one it proved--and we accepted a small package of broom-corn seed which the blind workman was anxious we should have, "to plant in some spare spot just to see how it looks when growing."

When we went down-stairs, the woman was out on the platform, her yellow hair tossing about in the wind, and she seemed as happy with her meagre accommodations in the freight house as if she were owner of a mansion. She begged us to go in and get some of her apples, we were welcome, and "they did not cost me anything," she added. She told us more about her fellow-tenant, and said he paid half the rent, "and he used to board with us, but now he boards up in town, and he goes back and forth alone, his self."

* * * * *

This curious and pleasant little episode made us so ready to be interested in everything pertaining to brooms that it seemed a kind of sarcasm of circumstances when, at a junction not very far along our route, we saw, perched upon his cart, a pedler doing his best to sell his brooms to the crowd on their way home from one of the Cape camp-meetings. His words were just audible as the train went on:

"Buy a broom! Buy a broom! Here's the place to buy a cheap broom, for _fourteen_ cents! _only_ fourteen cents! A broom for fourteen cents! So CHEAP!"

And it happened not many days later that somebody read in our hearing that the broom-corn is a native of India, and that Dr. Franklin was the means of introducing it into this country; from seeing a whisk of it in the hands of a lady he began to examine it--being of an inquiring mind, as everybody knows--and found a seed, which he planted.

The street-sweeper's broom is the genuine _besom_, made of birch stems, cut out in the country, and brought into town tied up in bundles like fagots; suitable enough for those stalwart men who drag them along so leisurely, but burdensome for the hands of the wretched little waifs, who, tattered and unkempt, make a pretence of keeping the crossings clean; who first sweep, and then hold out a small palm for the penny, dodging the horses' hoofs, and just escaping by a hair's breadth the wheels of truck or omnibus in their attempts to secure the coin, if some pitiful passer-by stops at the piping call:

"Please ma'am, a penny!"

That is the almost tragic prose of brooms.

But there is a bit of poetic history that ought not to be forgotten, for it was a sprig of the lovely broom bush--call it by the daintier name of heath if you will--such as in some of its varieties grows wild in nearly every country in Europe, a tough little flowering evergreen, symbol of humility, which was once embroidered on the robes, worn in the helmet, and sculptured on the effigies of a royal house of England. Which of the stories of its origin is true, perhaps no one at this distant day can determine; but whether a penitent pilgrim of the family was scourged by twigs of it--the _plantagenesta_--or a gallant hunter plucked a spray of it and put in his helmet, it is certain that the humble plant gave the stately name of "Plantagenet" to twelve sovereigns of that kingdom; and their battle-cry--which meant to them conquest and dominion, but has a very practical sound to us, and a specially prosaic meaning to one like the blind broom-maker of this simple story--was this:

"_Plant the broom! Plant the broom!_"

TALKING BY SIGNALS.

When boys live some distance apart, it is pleasant to be able to communicate with each other by means of signals. Many and ingenious have been the methods devised by enthusiastic boys for this purpose. But it can be brought much nearer perfection than has yet been done, by means of a very simple system.

At the age of fourteen I had an intimate friend who lived more than a mile away, but whose home was in plain sight from mine. As we could not always be together when we wished, we invented a system of signalling requiring a number of different colored flags; but we were not quite satisfied with it, for we could send but few communications by its use. Then, when we came to test it, we found the distance was too great to allow of the different colors being distinguished. The white one was plainly visible. It seemed necessary, therefore, that only white flags should be used. We studied over the problem long and hard, with the following result.

We each made five flags by tacking a small stick, eighteen inches long, to both ends of a strip of white cloth,[B] two feet long by ten inches wide. Then we nailed loops of leather to the side of our fathers' barns, so that, when the sticks were inserted in them, the flags would be in the following positions:

The upper left hand position was numbered 1, upper right 2, lower right 3, lower left 4, centre 5. Notice, there was no difference in the _flags_; the _positions_ they occupied determined the communication.

Thirty combinations of these positions can be made:

1--1 2--2 4--1 2 3--1 4 5--1 2 3 5 2--1 3--2 5--1 2 4--2 3 5--1 2 4 5 3--1 4--3 4--1 2 5--2 4 5--1 3 4 5 4--1 5--3 5--1 3 4--3 4 5--2 3 4 5 5--2 3--4 5--1 3 5--1 2 3 4--1 2 3 4 5.

These combinations were written down; and opposite each was written the question or answer for which it stood. The answers likely to be used most we placed opposite the shortest combinations, to save time in signalling. My old "Code" lies before me, from which I copy the following examples:

1. _Yes._ 2. _No._ 3. _Morning._ 4. _Afternoon._ 5. _Evening._ 1 2. _Can you come over?_ 1 3. _When?_ 2 5. _Wait till I find out._ 1 3 4. _Can you go a-fishing?_ 2 4 5. _Are you well to-day?_

Suppose, now, that I place flags in positions 2 4 and 5. (See the above examples.)

Harry glances down his "code" until he reaches 2 4 5 and its signification, and perhaps answers with a flag at 1.

Then the following dialogue ensues:

I. 1 2.

He. 1 5.

I. 4.

He. 2 5.

And, in a few moments,

He. 1.

We usually spent our noon hour conversing with each other in this manner; and, when it became necessary for either to leave his station, all the flags, 1 2 3 4 5, were put out, signifying "gone."

One combination, 1 2 3 4, was, by mutual consent, reserved for a communication of vital importance, "COME OVER!" It was never to be used except in time of trouble, when the case would warrant leaving everything to obey the call. We had little expectation of its ever being used. It was simply a whim; although, like many other things, it served a serious purpose in the end.

Not far from my father's house stood a valuable timber lot, in which he took an especial pride. Adjoining this was an old apple-orchard, where the limbs of several trees that had been cut down, and the prunings of the remainder, had been heaped together in two large piles to be burned at a favorable opportunity. One afternoon, when there was not the slightest breath of wind, we armed ourselves, father and I, with green pine boughs and set the brush-heaps a-fire. We had made the heap in as moist a spot as possible, that there might be less danger of the fire spreading through the grass. While the flame was getting under way, I busied myself in gathering stray bits of limbs and twigs--some of them from the edge of the woods--and throwing them on the fire.

"Be careful not to put on any hemlock branches!" shouted my father from his heap. "The sparks may snap out into the grass!"

Almost as he spoke a live coal popped out with a loud snap and fell at my feet, and little tongues of flame began to spread through the dead grass. A few blows from my pine bough had smothered them, when snap! snap! snap! went three more in different directions. As I rushed to the nearest I remembered throwing on several dead hemlock branches, entirely forgetting their snapping propensity.

Bestowing a few hasty strokes upon the first spot of spreading flame, I hastened to the next and was vigorously beating that, when, glancing behind me, I saw to my dismay that the first was blazing again. Ahead of me was another, rapidly increasing; while the roaring, towering flame at the heap was sputtering ominously, as if preparing to send out a shower of sparks. And, to make matters worse, I felt a puff of wind on my face. Terror-stricken I shouted:

"Father! The fire is running! Come quick!"

In a moment he was beside me, and for a short time we fought the flame desperately.

"It'll reach the woods in spite of us!" he gasped, as we came together after a short struggle. "There isn't a neighbor within half a mile, and before you could get help it would be too late! Besides, one alone couldn't do anything against it!"

A sudden inspiration seized me.

"I'm going to signal to Harry!" I cried. "If he sees it he'll come and, perhaps, bring help with him!"

"Hurry!" he shouted back, and I started for the barn. The distance was short. As I reached it I glanced over to Harry's. There were some white spots on his barn. He was signalling and, of course, could see my signal.

Excitedly I placed the flags in 1 2 3 4, and, without waiting for an answer, tore back across the fields to the fire. It was gaining rapidly. In a large circle, a dozen rods across, it advanced toward the buildings on one hand and swept toward the woods on the other. We could not conquer it. We could only hope to hinder its progress until help should arrive.

Fifteen minutes of desperate struggle and then, with a ringing cheer, Harry and his father dashed upon the scene. Their arrival infused me with new courage; and four pairs of hands and four willing hearts at length conquered the flame, two rods from the woods!

My father sank down upon a rock, and, as he wiped the perspiration from his smutty face, he said:

"There, boys, your signalling has saved the prettiest timber lot in the town of Hardwick! I shall not forget it!"

Were we not justly proud?

Two days after I found upon my plate at breakfast a small package, which contained two pretty little spy-glasses.

"Perhaps they will enable you to enlarge your 'signal code,'" was all my father said when I thanked him.

We soon found that with the aid of the glasses we could distinguish any color. So we made a set of blue flags, which gave us thirty more communications by using them in place of the white ones. And, by mixing the blue flags with the white combinations and the white with the blue combinations, over _two hundred_ communications could be signalled. Thus we could converse with each other by the hour.

The way we wrote down the mixed combinations was, by using a heavy figure to represent a blue flag; as 1[2]4[5], which meant that positions 1 and 4 were occupied by white flags, 2 and 5 by blue ones.

Blue flags can be inserted in the original thirty combinations in the following manner: 1[2], 12[3], 1[23], 123[4], 12[34], 1[2]3[4], 1[23]4, 1[234], 23[5], 2[35], 234[5], 23[4]5, 2[3]45, 2[3]4[5], 2[34]5, 23[45], 2[345], and so on.

Among the many recollections that throng my memory in connection with this subject, is that of an incident which has caused me many a hearty laugh since its occurrence, although at the time I did not feel particularly amused. Harry had gone away visiting, giving me no definite idea of when he would return. So, one drizzling, uncomfortable day, as I was sitting rather disconsolate at my barn window, I was delighted to see several flags appear on his barn.

Eagerly I read:

1 3 4. "_Can you go a-fishing?_"

The fine drizzling rain was changing into larger drops, and there was every reasonable prospect of a very wet day, and I thought he must be joking; but I answered:

"_When?_"

"_Now_," was the reply.

"_Where?_" I asked.

"_Bixbee's pond._"

"_Are you in earnest?_"

"_I will meet you there._"

I answered "_Yes_," and, shouldering my fish-pole, started off across-lots. The distance was fully a mile and a half, and before I had passed over a quarter of the distance the bushes, dripping with rain, had completely drenched me. When nearly there the increasing rain became a heavy shower; but I kept on. I reached the pond, but nothing was to be seen of Harry. Not a frog could I find for bait, owing to the incessantly pouring rain, and I knew it would be difficult to find a worm. So, after half an hour of tedious waiting and monotonous soaking, I started for Harry's, my patience entirely worn out.

The rain came down in torrents as, at length, I turned in at the gate; and I suppose I looked as forlorn as a drenched rooster, for I heard a girlish giggle as I stepped upon the piazza, but I did not then suspect the truth.

"Where's Harry?" I asked of his mother whom I found alone.

"Why, you didn't expect to find him at home, did you? He won't be back for a number of days yet."

(Another subdued giggle from the next room.)

"You're as wet as a drowned rat!" went on the motherly woman. "What on earth started you out in this rain?"

"It's that Hattie's work!" I burst out angrily, and told her the whole story.

"Dear me!" she exclaimed, holding up her hands, despairingly, "I never did see such a torment as that girl is! I noticed she has seemed very much tickled over something! I'll give her a real scolding!"

I darted out the door; and, as I splashed my way disconsolately down to the road, I heard a voice, struggling between repentance and a desire to laugh, call after me:

"Forgive me, Charlie, but it was _such_ a joke!"

Hattie never meddled with her brother's signals again. For her mother's displeasure and the severe cold that followed my drenching more than balanced the enjoyment she derived from that very practical joke.

* * * * *

Two years ago I visited my native town. Resuming my old place by the barn window, I gazed across the intervening forest to where Harry used to stand and signal to me. Tacked up against the window-sill was my old "signal code," covered with dust and cobwebs. Harry was hundreds of miles away, carving himself a name among his fellow-men. Of all the friends of former days, scarcely one remained in the old town. And I could only wish, with all my heart, that I were once again enjoying my boyhood's happy hours.

[B] If the buildings should be painted, the flags should be of a color that would contrast with that of the paint.

JENNIE FINDS OUT HOW DISHES ARE MADE.

Ah! I know something! I know something you girls don't know! I know how they make dishes what you eat off of; and it's just the same way they make dolly's dishes, I guess.

Yes, I _do_ know. And I've got some pictures papa _drawed_ for me, too, and I'll tell you all about them. They're in my pocket right under my handkerchief. I put them under my handkerchief because I don't want them to get dirty. I've got some 'lasses candy on top. I haven't got enough, or I'd give you all some.

Papa took me to a _pottery_. I don't know why they call it a pottery, for they make cups and saucers, and sugar-bowls, and everything. First the man took us through the _dressing-room_. I did not see any dresses, nor anybody dressing themselves. I only saw piles of dishes and men and women hammering at them. I asked papa why they called it that, and he said, wait till we come back, for that was the very last of all. So we went on into the yard. I looked into one part of the building where it was all dark, with three great chimneys, broad on the ground and narrow high up. But the man and papa went right on, round to the other side of the building.

There wasn't anything to see, though, but horses and carts hauling clay, and great heaps of it on the ground. I wouldn't have called it anything but dirt, but papa said it was _kaolin_, not exactly dirt, but clay. He spelt it for me.

There was another of those big chimneys in the yard, only bigger. The man said that was where they dried the clay. Then he led us to a little door in the side of the house, and we went in. That brought us into a little room where they were getting the clay ready.

First there was a sand-screen--like Mike uses, where they sieved it. Next they weighed it and put it into bins. It looked like fine, dark flour.

A little piece off from the bins there was a big deep box. They were mixing clay and water in it, and making a paste. It looked like lime when they're making mortar. The box leaked awfully, and white paste was running down on the floor.

At the end of the box they had a pump working, and it was pumping the paste into what they called a _press_. It was too funny for anything. I couldn't more than half understand it. But it looks something like a baby-crib, only it has slats across the top, and they're close together. They have a lot of bags inbetween the slats, and the clay gets into the bags and gets pressed flat, so that most of the water is squeezed out. When they take it out of the bags it looks something like a sheet of shortcake before it's cut or baked. Then they roll a lot of them together, and that's what they make dishes out of. They call it _biscuit_.

The man took us down into the cellar under the little room to show us the engine that made the paste and pumped and pressed the clay. I was afraid, and didn't want to go down, but papa said it was only a little one. It was nice and clean down there, with a neat brick floor, but awful hot. I was glad to come up.

After the little room there's one big room where they don't do much of anything. It is like a large shed, for it is dark and has no floor. The dressing-room where we were first is on one side, and the dark room where the big chimneys are, is back of it. We went through it, and over to one side and up the stairs to the second story.

It's nice up there. It's one great big room, five times as big as our Sunday School room, with ever so many windows. All around the sides and down the middle, and cross-ways, and out in the wings are shelves, piled full of brand-new dishes. And there are tables all along the walls, and that's where they make them. I could stand and look all day.

I saw two boys throwing up a great big lump of clay and catching it; then cutting it with a string and putting the pieces together again, then throwing it up again, until it made me dizzy to look at them. I asked the man what they were doing, and he said, _wedging the clay_. That means taking the air out. They keep on doing that until there are no air-bubbles in it.

We stopped and talked to a man who was making a sugar-bowl, and he told us how he did it. All the men have on the table in front of them a lump of clay, a wheel, some moulds, a sharp knife, a bucket of water with a sponge in it, and something like the slab of a round, marble-topped table, only it's made of plaster Paris, to work on.

And do you know what the potter's-wheel is? It's as old as the hills and it's in the Bible, but I guess everybody don't know what it is. It looks as if it was made of hard, smooth, baked white clay, and is something like a grindstone, only not half as thick. The grindstone stands up, but this lays flat, with its round side turned up, like the head of a barrel. And it's set on a pivot, like the needle of the compass in our geographies.

The moulds are like Miss Fanny's wax-fruit moulds. They're made of plaster Paris, and they're round outside, and they have the shape of what the man wants to make on the inside, and they're in two pieces. Little things like cups are made in one mould; but big things like pitchers are made in two or three pieces, in two or three moulds, and then put together. Handles and spouts and such things are made separately in little moulds and put on afterwards.

Here's the way. First the man cuts off a piece of the biscuit, and kneads it on the plaster Paris slab. Then he takes one piece of the mould, fixes the clay in nicely, shaves off what he don't want, then puts on the other piece of the mould, and sets it on the wheel. He gives it a shove and sets it spinning. It stops itself after a while, then he opens the mould, and there is the dish. The clay keeps the same thickness all through, and fills both pieces of the mould.

Then the man takes it out and sponges it. If it isn't just the right shape all he has to do is wet it, and it will come right. Then he puts on the handle or puts the pieces together, fixing them just so with his fingers and knife. It isn't very hard, but he has to be careful. The soft dishes look real cute. Then they're ready to be burnt the first time.

We walked all around and saw here one man making cups, another, tureens, another, bird-baths, and every imaginable thing that is ever made in porcelain. Then we went down-stairs, through the dark rooms, into where the tall chimneys are. Then I found out they called them _kilns_. They have at the bottom a prodigious furnace, over that a tremendous oven, where they put the dishes in to bake.

But they don't put them right in just as they are. Oh, no. There were on the high shelves all around, a lot of things called _saggers_. They look something like bandboxes made of firebrick. The soft dishes are put in them, the lids are put on, and then they are piled up in the oven. Then the men build a big fire in the furnace, and let it burn for several days. When it goes out they let several more days go by for the kiln to cool, and then take out the saggers. When the dishes are taken out they are hard and rough and of a yellowish white. They build the fire after they get them in, and let it out and the kiln cool off before they take them out, because the men have to go in and out the big ovens.

Wouldn't you think a pile of soft plates and saucers would burn all together and stick fast to each other? Well, they don't. There are little things made of hard clay with three bars and three feet, and they put them in between dishes so that one plate has one in it, and the next plate sets on top of that, so that they can't stick together. Did you ever see three little dark spots on the bottom of a saucer? This is what makes them. There are lots and lots of these little stands lying all around everywhere, and broken pieces of them and the clay, scattered like flour all over the ground and floors thick.