PLATE 29.
Vol. 12.
PLATE 30.
vol. ia.
KIMBALL   PATENT   J U M P - S E A T . — \  i n .  sc a l e.
Exhibited at the American Institute Fair, by R. M. Stivers.
Engraved expressly for the Neio  York Coach-maker's Magazine.
Explained on page 122.
PLATE 31.
Vol. 12.
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PLATE 32.
VoL 12.
ONE-HALF   SPRING    NO-TOP    WAGON. - ^in. scale.
Exhibited at the American Institute Fair, by Coe & Merritt.
Engraved expressly for the New   York  Coach-maker's Magazine.—Explained on page 122.
HAMBLETONIAN    ROAD    WAGON.-| in. scale,
Exhibited at the American Institute Fair, by R. M. Stivers.
Engraved expressly for the New York Coach-maker's Magazine.
Explained on page 122.
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DEVOTED   TO   THE   LITERARY,   SOCIAL,   AND  MECHANICAL  INTERESTS  OF  THE   CRAFT.
Vol.   XII.
 YORK,   JANUARY   1871.
No. 8
ENGLISH    CARRIAGES.
BY   LEIGH   HUNT.
[ Continued from  the December Magazine.]
Of the hackney-coach we cannot make as short work
as many persons like to make of it in reality. Perhaps
it is partly by sense of the contempt it undergoes, which
induces us to endeavor to make the best of it. But it
has its merits, as we shall show presently.
One of the greatestTielps to a sense of merit in other
things is a consciousness of one's own wants. Do you
despise a hackney-coach 1 Get tired ; get old ; get
young again. Lay down in your carriage, or make it less
uneasily too easy. Have to stand up half an hour, out of
a storm, under a gateway. Be ill, and wish to visit a
friend who is worse. Fall in love, and want to sit next
your mistress.    Or, if all this will not do, fall in a cellar.
Ben Johnson, in a fit of indignation at the niggardli-
ness of James the First, exclaimed, " He despises me,
I suppose, because I live in an alley:—tell him his soul
lives in an alley." We think we see a hackney-coach
moved out of its ordinary patience, and hear it say,
" You there, who sit looking so scornfully at me out of
your carriage, are yourself the thing you take me for.
Your understanding is a hackney-coach. It is lumbering,
rickety, and at a stand. Where it moves, it is drawn by
things like itself. It is at once the most stationary and
the most servile of common-places. And when a good
thing is put into it, it does not know it. But it is difficult
to imagine a hackney-coach under so irritable an aspect.
Hogarth has drawn a set of hats or wigs with counte-
nances of their own. We have noticed the same thing
in the faces of houses; and it sometimes gets in one's
way in a landscape-painting, with the outlines of the rocks
and trees. A friend tells us that the hackney-coach has
its countenance, with gesticulations besides: and now he
has pointed it out, we can easily fancy it. Some of them
look chucked under the chin, some nodding, some coming
at you sideways. We shall never find it easy, however,
to fancy the irritable aspect above mentioned. A hack-
ney-coach always appeared to us the most quiescent of
moveables. Its horses and it, slumbering on a stand, are
an emblem of all the patience in creation, animate and in-
animate. The submission with which the coach takes
Vol. XIT.—15
every variety of the weather, dust, rain, and wind, never
moving but when some eddying blast makes its old body
shiver, is only surpassed by the vital patience of the
horses.   Can any thing better illustrate thepoet's line about
" Years that bring the philosophic mind,"
than the still-hung head, the dim, indifferent eye, the
dragged and blunt-cornered mouth, and the gaunt imbecili-
ty of body dropping its weight on three tired legs in order
to give repose to the lame one % When it has blinkers on,
they seem to be shutting up its eyes for death, like the
windows of a house. Fatigue and the habit of suffering
have become as natural to the creature as the bit to its
mouth. Once in half an hour it moves the position of its
leg, or shakes its drooping ears. The whip makes it go,
more from habit than from pain. Its coat has become
almost callous to minor stings. One blind and staggering
fly in autumn might come to die against its cheek.
Of a pair of hackney-coach horses, one so much re-
sembles the other that it seems unnecessary for them to
compare notes. They have that within them which is
beyond the comparative. They no longer bend their
heads toward each other as they go. They stand to-
gether as if unconscious of one another's company. But
they are not. An old horse misses his companion, like
an old man. The presence of an associate, who has gone
through pain and suffering with us, need not say any thing.
It is talk, and memory, and everything. Something of
this it may be to our old friends in harness. What"are
they thinking of while they stand motionless in the rain %
Do they remember % Do they dream % Do they still,
unperplexed as their old blood is by too many foods, re-
ceive a pleasure from the elements; a dull refreshment
from the air and sun? Have they yet a palate for the
hay which they pull so feebly 1 or for the rarer grain,
which induces them to perform their only voluntary ges-
ture of any vivacity, and toss up the bags that are fas-
tened on their mouths, to get at its shallow feast 1
If the old horse were gifted with memory (and who
shall say he is not, in one thing as well as another ?) it
might be at once the most melancholy and pleasantest
faculty he has; for the commonest hack has probably
been a hunter or racer; has had his days of luster and
enjoyment ; has darted along the course, and scoured
the pasture ; has carried his master proudly, or his lady
gently ; has pranced, has galloped, has neighed aloud, has
114
THE   NEW   YORK   COACH-MAKER'S   MAGAZINE.
Januakt,
dared, has forded, has spurned at mastery, has graced it
and made it proud, has rejoiced the eye, has been crowded
to as an actor, has been all instinct with life and quick-
ness, has had his very fear admired as courage, and been
set upon by valor as its chosen seat.
We wish the hackney-coachman were as interesting a ma-
chine as either his coach or horses; but it must be owned
that of all the driving species he is the least agreeable speci-
men. This is partly to be attributed to the life which has
most probably put him into his situation ; partly to his
want of outside passengers to cultivate his gentility ; and
partly to the disputable nature of his fare, which always
leads him to be lying and cheating. The waterman of the
stand, who beats him in sordidness of appearance, is more
respectable. He is less of a vagabond, and cannot cheat
you. Nor is the hackney-coachman only disagreeable
in himself, but, like FalstafF reversed, the cause of dis-
agreeableness in others ; for he sets people upon disputing
with him in pettiness and ill-temper. He induces the
mercenary to be violent, and the violent to seem merce-
nary. A man whom you took for a pleasant, laughing fel-
low, shall all of a sudden put on an irritable look of cal-
culation, and vow that he will be charged with a constable
rather than pay the sixpence. Even fair woman shall
waive her all-conquering softness, and sound a shrill
trumpet in reprobation of the extortionate charioteer,
whom, if she were a man, she says, she would expose.
Being a woman, then, let her not expose herself. Oh,
but it is intolerable to be imposed upon ! Let the lady,
then, get a pocket-book, if she must, with the hackney-
coach fares in it; or a pain in the legs rather than the
temper; or, above all, let her get wiser, and have an un-
derstanding that can dispense with the good opinion of
the hackney-coachman. Does she think that her rosy lips
were made to grow pale about two-and-sixpence ; or that
the expression of them will ever be like her cousin Fan-
ny's, if she goes on 1
The stage-coachman likes the boys on the road, because
he knows they admire him. The hackney-coachman
knows that they cannot admire him, and that they can get
up behind his coach, which makes him very savage. The
cry of " Cut behind!" from the malicious urchins on the
pavement wounds at once his self-love and his interest.
He would not mind overloading his master's horses for
another sixpence, but to do it for nothing is what shocks
his humanity. He hates the boy for imposing upon him,
and the boys for reminding him that he has been imposed
upon; and he would willingly twinge the cheeks of all
nine. The cut of his whip over the coach is malignant.
He has a constant eye to the road behind. He has also
an eye to what may be left in the coach. He will under-
take to search the straw for you, and miss the half-crown
on purpose. He speculates on what he may get above
his fare, according to your manners or company; and
knows how much to ask for driving faster or slower than
usual. He does not like wet weather so much as people
suppose; for he says it rots both his horses and harness,
and he takes parties out of town when the weather is fine,
which produces good payments in a lump. Lovers, late
supper-eaters, and girls going home from boarding-school,
are his best pay. He has a rascally air of remonstrance
when you dispute half the over-charge ; and, according
to the temper he is in, begs you to consider his bread,
hopes you will not make such a fuss about a trifle, or tell
you you may take his number, or sit in the coach all night.
A great number of ridiculous adventures must have
taken place, in which hackney-coaches were concerned.
The story of the celebrated harlequin, Lunn, who secretly
pitched himself out of one into a tavern window, and,
when the coachman was about to submit to the loss of his
fare, astonished him by calling out again from the inside,
is too well-known for repetition. There is one of Swift,
not perhaps so common. He was going, one dark even-
ing, to dine with some great man, and was accompanied
by some other clergymen, to whom he gave their cue.
They were all in their canonicals. When they arrive at
the house, the coachman opens the door, and lets down the
steps. Down steps the Dean very reverend, in his black
robes; after him comes another personage, equally black
and dignified ; then another ; then a fourth. The coach-
man, who recollects taking up no greater number, is about
to put up the steps, when another clergyman descends.
After giving way to this other he proceeds with great
confidence to toss them up, when lo! another comes.
Well, there cannot, he thinks, be more than six. He is
mistaken. Down comes a seventh ; then an eighth; then
a ninth ; all with decent intervals ; the coach, in the mean
time, rocking as if it were giving birth to so many de-
mons. The coachman can conclude no less. He cries
out, " The devil! the devil!" and is preparing to run
away, when they all burst into laughter. They had gone
round as they descended, and got in at the other door.
We remember in our boyhood an edifying comment
on the proverb of " all is not gold that glistens." The
spectacle made such an impression upon us that we re-
collect the very spot, which was at the corner of a road
in the way from Westminster to Kennington, near a
stone-mason's. It was a severe winter, and we were out
on a holiday, thinking, perhaps, of the gallant hardships
to which the ancient soldiers accustomed themselves,
when we suddenly beheld a group of hackney-coachmen,
not, as Spencer says of his witch,
" Busy, as seemed, about some wicked gin,"
but pledging each other in what appeared to us to be lit-
tle glasses of cold water. What temperance ! thought
we. What extraordinary and noble content! What
more than Roman simplicity ! Here are a set of poor
Englishmen, of the homeliest order, in the very depth of
winter, quenching their patient and honorable thirst with
modicums of cold water ! 0 true virtue and courage!
O, sight worthy of the Timoleons and Epaminondases !
We know not how long we remained in this error ; but
the first time we recognized the white devil for what it
was—the first time we saw through the crystal purity of
its appearance—was a great blow to us. We did not
know what the drinkers went through ; and this reminds
us that we have omitted one great redemption of the
hackney-coachman's character—his being at the mercy of
all chances and weathers. Other drivers have their set-
tled hours and pay. He only is at the mercy of every
call and every casualty ; he only is dragged, without
notice, like the damned in Milton, into the extremities of
wet and cold, from his ale-house fire to the freezing rain ;
he only must go anywhere, at what hour and to whatever
place you choose, his old rheumatic limbs shaking under
his weight of rags, and the snow and sleet beating into
his puckered face, through streets which the wind scours
like a channel.
1871.
THE   NEW    YORK    COACH-MAKER'S   MAGAZINE
115
THRICE BUILDED.
The writer assures us that the following incident is a
true one, and that the description of the sleigh is correct
in every particular. This story illustrates and verifies
the proverb that " the third time never fails."—Ed.
Dear Editor: While reading your description of the
sleighs on exhibition at the American Institute, it occurred
to me that a few remarks, on one that was not on exhibi-
tion there, might be interesting to you, if you wish to
keep fully posted on the different styles in use in various
sections of the country, as I believe you have expressed.
A few days since I was startled by a severe pounding
on the varnish-room door, and cries of " Hello, Mister !
I say, Boss ! come eout here."
I came out in a hurry, and was confronted by the
author of the noise with, " I say, yeou boss, got a sleigh
to paint; heered you could du it up pretty slick, 'cause
yeou larnt how in York, so I've cum a good ways to git
yeou to du it.    Want yu to go and look at it."
I went and looked at it, and it needed but to be seen
to be appreciated. The " style of 1816," published in The
Hub supplement, could not approach it. To say it was
heavy would be no name for the weight. It was built
originally for one horse, but would weigh as it stood from
375 to 400 pounds.
My friend said: " I made that 'ere cutter myself."
I could not dispute it. The back panel was nearly
one inch pine board, and an attempt to bend it had re-
sulted in several cracks nearly across the back, which had
been caulked in a manner similar to the seams in a ship's
deck; that is, wedged full of oakum and tarred over. How
is that for hard stopper 1
I remarked there seemed to be an unusual number of
nail holes in the job; in fact, more holes than nails.
"Waal, yeas, there du seem to be a few mor'n
wanted. But yeou see, Mister, when I made that sleigh
I was jest gittin over the measles and cud'dent go eout
door, so I built her up garrit, and when she was dun it
wud'dent go down stairs. So I pulled her apart and, sot
her up in the kitchen agin, and then, darn it, she wud'dent
go eout the kitchen door, so blamed ef I did'ent have to
pull her to pieces again and set her up in the yard, and—
blast ye, wat yer laffin at?"
" Nothing but to see that man's hat blow off."
twice, ana naa tne measies wucu ± «»cj wwi»& **.
I agreed with him, but dared not question him on the
trimming, which consisted of a piece of unbleached mus-
lin drawn over the back seat and stuffed with hay, tacked
on'to the back with carpet tacks, without any binding or
hemming, and the hay sticking through between the tacks.
The whole was primed with fish oil and whiting, which
resembled the P. W. F. in one point only, being decidedly
tacky.
The painting, when finished by us to his order, was a
beautiful brown, composed of lamp black and Venetian
red, with a somewhat irregular and very heavy stripe ot
chrome yellow on the body. A splendid buff of yellow
ochre and white lead was put on the gear, with meander-
ing black stripe ornaments. Moreover, there were two
goats on the side panels, eagles on back, besides pastoral
scene on dash-b^ard, scrolls, &c—put on, in an mdescrib-
able manner, by our youngest " cub," who has a decided
taste for the fine arts. For this remarkable specimen of
his taste and skill, he charged the old fellow the exorbi-
tant price of $5, which was finally reduced (after much
discussion) to $4.50 and a half gallon of cider.
Long Island, Oct. 19,1870.                       C. S. H.
DISTINCTION OF FORM.
Regularity.—Symmetry.—Proportionality.—Harmony.
Regularity, as generally defined, is a construction of
equal sides and equal angles. The equilateral triangle is
a regular figure, and the tetrahedon a regular body,
because all their angles and all their sides are equal.
And so with the square and the cube. But thus defined, the
idea is applicable only to geometry. It is too narrow
for general use. The circle, for instance, though it has
no angles and no sides, is a perfectly regular figure, and
the ball a perfectly regular body. For aesthetics, there-
fore, the definition ought to be made more comprehen-
sive, so as to include not only the regular polygons and
the platonic bodies, but also the circle and the ball.
Regularity is* of all forms the first and the simplest.
It is the foundation and the beginning of form; below
it is chaos. But of all forms it is the least capable
of expression. The inorganic sphere is its domain. It is
grand in the circuit of the planet, and exceedingly inter-
esting in the moulding of the crystal. Yet, as soon as it
reaches the organic sphere, the vegetable and the animal
kingdoms, it becomes inferior. It is only the lowest
plants, for instance the toadstools and the lowest ani-
mals, 'as the star fish, which are regular. With the
higher plants and animals, regularity is rare and insignifi-
cant. The actual source of the beauty of the eye is its
color and its look, not the regularity of the pupil. And
so with the flower, the eye of the plant. Its beauty is
its color and its fragrance, not the regularity of the
arrangement of its leaves. In these cases regularity may
be called an indispensable condition of beauty; irregu-
larity would give offense. Yet, as eating and drinking
are indispensable conditions of life, though life itself is
something quite different from eating and drinking, so
regularity is often an indispensable condition of beauty,
though it is by no means a constituent of the beauty.
Many of our readers, although they may have a very
quick sense for the beauty of eyes, and would be aware of
the slightest irregularity therein, may, perhaps, never have
noticed that the pupil is the only instance of regularity
to be found in the human body.
In the fine arts, regularity is used exactly in the same
manner as nature has used it in the organic sphere. It is
a condition, but never a constituent, of the beauty. It
makes the outworks of the beauty: the frame of the pic-
ture, the pedestal of the statue, the ground plan of the
building ; and, so used, it is indispensable. Irregularity
would spoil the beauty. Cooper's Institute in New York,
for instance, is a splendid building in all its details, but
as a whole it presents, when seen from the Bowery,
quite an unpleasing aspect, on account of its irregular
ground plan. However indispensable regularity is in
such  cases,   nevertheless its  effect  as   a  constituent  of
116
THE    NEW    YORK    COACH-MAKER'S   MAGAZINE.
January,
beauty is stiff to the eye, monotonous to the ear, and
barren to the mind.
In the mechanical arts, on the contrary, as in our fur-
niture, utensils, carriages, machinery, etc., regularity
seems to be the true principle of form. At least, it is
the tendency of the taste of our time, and we think the
tendency is a good one. At the age of Louis the Four-
teenth (1643-1715), who conquered the whole civilized
world with his taste, if not with his sword, the old-
fashioned regularity, with its straight lines and plain
circles, disappeared, and gave way to wide sweeps and all
sorts of fanciful curves. Tables were supported by a frame
of hanging garlands, and by legs of drooping wreaths,
swelling with fantastic foliage, and—to consummate the
absurdity—these often ended in an eagle's claw or a
lion's paw. The ceilings were studded with grapes,
lianthus leaves, mermaids, and bouncing angels with fish-
tails and trumpets. Door-posts, window-frames, and all
straight lines were curved and bent, and the corners were
stuffed with clustering ornaments. It was a singular taste.
At Versailles, the trees in the garden were constrained
into architectural forms, while the stone-walls of the
palaces were forced into the shapes of organic nature.
The trees were cut in the form of pyramids, obelisks,
minarets, and arcades, and the walls abounded, from the
roof to the ground, with fruits and flowers and foliage
combined in wreaths and garlands. Apid so extended
was this taste that the butter-plate on the farmer's break-
fast-table was often cut as a vine-leaf and painted green,
while the butter was cast in the form of a cluster of grapes.
Our age has turned away from this error. We laugh
at all superfluous, meaningless curves. We will have a
simple thing simply done, because it is the only way to
do it well. In our furniture, utensils, carriages, machin-
ery, etc., we are returning to the straight lines, the
equal angles, the plain circles, and to the general forms of
regularity.
Some of our readers may perhaps think that this state-
ment is a little too hasty as far as carriage-building is
concerned. . It is apparent that, in the carriages of our
time, straight lines are greatly outnumbered by the
curved ones, and though there are several sorts of
carriages, for instance, the dog-cart and the char-a-bancs,
whose bodies are made exclusively of straight lines,
these are generally built so on account of special pur-
poses. Yet, take a series of drawings of carriages, ex-
tending from the middle of the seventeenth century, when
coaches came first into general use, up to our own time,
and a glance will show that there is a tendency toward
the straight line prevailing throughout the whole history
of carriage-building. The development of the art of
carriage-building, may be called a struggle to get rid of
the curves and to reach the straight line. Compare the two
species of carriages latest invented, namely, the buggy and
the six-seat rockaway, with the two that were invented
next previously, namely, the berlin and the landau; or
look at the branching-out of some sub-species of carriages,
for instance, the phaeton proper, into the park phaeton,
the excelsior park phaeton, the Beaufort phaeton, the
Phoenix phaeton, and all other such unmentionables; and
it will become evident that the straight line is growing
upon the taste of our time, just as it is an individual
idea with us that the " carriage of the future " will have
as few curves as possible, if any at all.
The forms, however, which are generally used in the
mechanical arts are not strictly regular, but belong to
two groups of forms intermediate between regularity
and symmetry. Regularity is sameness. Symmetry is
the same on both sides of some other thing. When all
parts are equal and all relations are the same, the whole
is regular. When two parts are equal, and placed in the
same relation to an interposed, different, third part, the
whole is symmetrical. But between regularity and sym-
metry are" two intermediate groups of forms, which
in the English language have received their names,
uniform 'symmetry and respective symmetry, from that
order to which they are tending, while in other languages,
they are named after that point from which they started,
namely, regularity in repetition and regularity in opposi-
tion. To these two groups belong the forms which are
generally used in the mechanical arts.
Respective symmetry, corresponding with regularity
in opposition, has advanced beyond regularity proper, be-
cause only the opposite sides are equal, yet still it does
not reach symmetry proper, for it lacks the different
third part, which should be interposed. It is the ground-
form in the organic sphere. Leaves are respectively sym-
metrical, and some trees, as the pine, the linden, and the
beech. The human and the animal body ai*e respect-
ively symmetrical when seen face to face or from behind;
but when seen sidewise, their forms belong to another
class. And in the same manner almost all the products
of mechanical art are respectively symmetrical, as the
chair, the table, the spoon, most vessels, the carriage, etc.
Even a new carriage would look old and worn out or
broken down if inaccurately hung, so that its respective
symmetry were infringed upon. And no one would buy
a carriage whose curves to the right and left side were
apparently unequal. It has sometimes occurred to the
carriage-makers that it would be an improvement to in-
troduce the respective symmetry also in the side-view of
the carriage, and to this end the seat for the footman was
arranged in exact symmetry with the seat of the
driver, so that it was impossible to tell, when the carriage
was unharnessed, which was the front of it and which the
back. But this arrangement is an error. As the common
carriage is intended to be drawn only from one end, it
should be planned so that this purpose is shown. Its
side-view has nothing to do with regularity or symmetry.
Every irregularity is admissible if the form is expres-
sive of the true design, namely, that the cai*riage shall be
drawn from one end only.
Uniform symmetry, or regularity in repetitions, is pro-
duced by repeating the same ordonnance throughout the
whole. This form is very seldom used except by the
architect. In nature some caterpillars are moulded in
this shape, and they are very ugly. In architecture, how-
ever, this form is often very pleasant, and it is often the
only one which is proper ; for instance, in the building of
a warehouse, a casern, a hospital, or an insane asylum.
A. T. Stewart's establishment in this city, between Ninth
and Tenth streets, is built on this principle.
Uniform symmetry is, like symmetry proper, of very
small consequence to the coach-maker. Its use in the de-
partment of vehicles is confined exclusively to the build-
ing of railway cars, and nothing shows so well the differ-
ence between car-building and coach-building as the dif-
ference between the forms which are applied in these two
arts. The car-builder uses uniform symmetry and some-
times symmetry proper, and uses these and nothing else
1871.
THE   NEW    YORK    COACH-MAKER'S   MAGAZINE.
117
in the side-view of his workmanship, while the coach-
maker builds a quite irregular side, with a respectively
symmetrical front.
Upon the next group of forms we have treated
in a former article, entitled " The Golden Rule of Pro-
portion." We therefore pass over it now, and close our
article with some remarks on harmony. Proportionality
is often called harmony, and not without some propriety,
as good proportions always make the parts of a whole
harmonious. Slill, it is better to call this harmony of
the parts proportionality, as good proportion is its true
originator, and to thus limit the word harmony to its
proper sense, namely, correlation between idea and form.
That this is the true signification of the word is
easily understood, and we are sure that the reason for its
being overlooked so commonly can be only a certain in-
difference and carelessness of imagination very preva-
lent now-a-days. We have seen, for instance, a house
built of white marble and decorated with pillars and
columns and a whole swarm of sweeping ornaments from
the style of the later renaissance. It bears exactly the
expression of the refinement and voluptuousness of a
courtesan's life in the age of Louis XIV"., and conveys
the idea that some young marquis, with his still younger
marquise, had built the house in which to give splendid
dinner-parties, elegant balls, and receptions.' But when
this house contains nothing but offices and desk-rooms,
and has all its windows crowded with advertisements of
life-insurance and railway-ticket offices, is not the whole
art of the architect a mockery? Or when a public
auctioneering house is built in imitation of the famous
Theseus' temple at Athens, with doric columns and large
flights of steps, is not that a mockery 1 Of course it is.
The highest form is that one which expresses the idea
exactly—nothing more and nothing less. The first con-
stituent of beauty is that the purpose, the use, the idea,
be clearly yet gracefully apparent in the form, and this
correlation between inward and outward is the true har-
mony.
We have often had occasion to mention this as the true
principle of carriage-building. Yet a good word cannot
be spoken too often, and, in concluding our remarks on
forms, we repeat once more the leading thought which
we have in this connection, namely : the form of a car-
riage should be determined solely by Us purpose, and the
beauty of its form should consist in making the purpose
gracefully apparent.
OAKS AND ELMS.
There is a mother-idea in each particular kind of tree,
which, if well marked, is probably embodied in the
poetry of every language. Take the oak, for instance,
and we find it always standing as a type of strength and
endurance. I wonder if you ever thought of the single
mark of supremacy which distinguishes this tree from all
our other forest-trees 1 All the rest of them shirk the
work of resisting gravity; the oak alone defies it. It
chooses the horizontal direction for its limbs, so that
their whole weight may tell, and then stretches them out
fifty or sixty feet, so that the strain may be mighty
enough to be worth resisting. You will find, that, in
passing from the extreme downward droops of the
branches of the weeping-willow to the extreme upward
inclination of those of the poplar, they sweep nearly half
a circle.    At 90° the oak stops short; to start upward
another degree would mark infirmity of purpose; to
bend downward, weakness of organization. The Ameri-
can elm betrays something of both; yet, sometimes, as
we shall see, puts on a certain resemblance to its sturdier
neighbor.
I must tell you about some of my tree-wives. I was
at one period of my life much devoted to the young-lady
population of Rhode Island, a small but delightful State
in the neighborhood of Pawtucket. The number of in-
habitants being not very large, I had leisure, during my
visits to the Providence Plantations, to inspect the face
of the country in the intervals of more fascinating studies
of physiognomy. I heard some talk of a great elm a
short distance from the locality just mentioned. " Let us
see the great elm"—I said, and proceeded to find it,—
knowing that it was on a certain farm in a place called
Johnston, if I remember rightly. I shall never forget
my ride and my introduction to the great Johnston
elm.
I always tremble for a celebrated tree when I ap-
proach it for the first time. Provincialism has no scale
of excellence in man or vegetable ; it never knows a first-
rate article of either kind when it has it, and is constantly
taking second and third-rate one's for Nature's best. I
have often fancied this tree was afraid of me, and that a
sort of shiver came of it, as over a betrothed maiden
when she first stands before the unknown to whom she
has been plighted. Before the measuring-tape the proud-
est tree of them all quails and shrinks into itself. All
those stories of four or five men stretching their arms
around it and not touching each other's fingers, of one's
pacing the shadow at noon and making it so many hun-
dred feet, die upon its leafy lips in the presence of the
awful ribbon which  has strangled so many false preten-
sions.
As I rode along the pleasant way, watching eagerly
for the object of my journey, the rounded tops of the elms
rose from time to time at the roadside. Whenever one
looked taller and fuller than the rest, I asked myself,—
" Is this it?" But as I drew nearer, they grew smaller,—
or it proved, perhaps, that two standing in a line had
looked like one, and so deceived me. At last, all at once,
when I was not thinking of it,—I declare to you it makes
my flesh creep when 1 think of it now,—all at once I saw
a great, green cloud swelling in the horizon, so vast, so
symmetrical, of such Olympian majesty and imperial su-
premacy among the lesser forest-growths, that my heart
stopped short, then jumped at my ribs as a hunter springs
at a five-barred gate, and I felt all through me, without
need of uttering the words—"This is it! "
You will find this tree described, with many others, in
the excellent Report upon the Trees and Shrubs of Massa-
chusetts. The author has given my friend the Professor
credit for some of his measurements, but measured this
tree himself, carefully. It is a grand elm for size of
trunk, spread of limbs, and muscular development,—one
of the first, perhaps the first, of the first-class of New
England elms.
What makes a first-class elm ? Why, size, in the first
place and chiefly. Anything over twenty feet of clear
girth, five feet above the ground, and with a spread of
branches a hundred feet across, may claim that title, ac-
cording to my scale. All of them, with the questionable
exception of the Springfield tree above referred to, stop,
so far as my experience goes, at about twenty-two or
118
THE   NEW    YORK    COACH-MAKER'S   MAGAZINE
January,
twenty-three feet of girth and a hundred and twenty of
spread.
Elms of the second class, generally ranging from four-
teen to eighteen feet, are comparatively common.
O. W. Holmes.
The State Coach of George the Third, built in the
year 1762, cost £7,662, divided on his bill into the fol-
lowing items. The charge for carving will probably at-
tract the particular notice of those of our readers who are
wood workers :
£
To the Coach-maker was paid............ 1,763
d.
15
Carver,
Gilder,
Painter,
Laceman,
Chaser,
Harness-maker,
Mercer,
Bit-maker,
Milliner,
Saddler,
Woolen-draper,
Cover-maker,
.2,500
.   933 14
.   315
.   737
.   665
10
4
385 15
202
99
31
10
4
3
7
6
10*
6
4
6
6
6
Total, 7,662    4    3*
SAW-DUST IN THE SMITH-SHOP.
Saw-dust is a grease neutralizer and annihilator and a
file saver.
No well regulated smith shop should be without a
well filled box of saw-dust at each drilling machine. The
box should be large enough to place the rim, when it is
drilled, inside.
Give the iron a thorough rubbing with the saw-dust,
which, from its great power of absorption, will remove
all the grease or oil, or so nearly so that but a light rub-
bing with waste is necessary to make the iron quite clean.
This rule applies to the screwing and nutting of clips and
bolts, or to other purposes where oil is used about iron.
Oak or ash saw-dust is the best. Pine saw-dust has
greater absorptive power, but leaves a resinous surface
on the iron that is more destructive to the file than iron.
My average weekly consumption for twenty-five files, us-
ing eight drills, is about three bushels per week.
New York, December, 1870.              J. L. H. M.
USES OF THE BESSEMER METAL.
In this country but little use has been made of the
Bessemer metal, save for the manufacture of rails, while
in Europe it has been successfully applied to many other
purposes, among which we may mention boiler-making,
and the construction of many running parts of machinery.
It has generally replaced wrought-iron, and not steel.
The use of the misnomer steel has doubtless been the
reason that this metal has not been applied to many pur-
poses for  which it appears to be better adapted than
either cast-iron, wrought-iron, or steel. Cast-iron and
crucible steel, though they are harder than wrought-iron,
possess less tenacity ; hence, for constructions intended to
resist jars or strains, neither of these metals has of late
years found any extended use. The only other metal
formerly known possessed of sufficient tenacity for such
purposes was wrought-iron, which, in the course of time,
has gained for itself so high a reputation that much preju-
dice has to be overcome before people will use any thing
else. In fact, iron-men are noted for their conservatism,
and we readily admit that they ought to be conservative,
when we consider the vast interests committed to their
charge, often involving numerous human lives, as well as
large amounts of money.
By the pneumatic or Bessemer process it is doubtless
possible to make a metal resembling steel so closely that
for many purposes it could be substituted for it. But in
practice we find that what is actually made differs very
widely from steel, and comes into competition rather with
wrought-iron. Let us keep this point fully in view, while
we compare the relative merits of wrought-iron and Bes-
semer metal. Every body knows that it is impossible to
handle very large masses of iron at once in a puddling
furnace ; and hence, if we want a heavy piece of wrought-
iron, it is itecessary to weld together two or more blooms
in order to get it. It is also notorious that blooms are
too likely to contain slag and other impurities, to be di-
rectly used in the manufacture of wrought-iron articles.
They must first be subjected to the process of hammering,
drawing out, and welding.
However carefully the process of welding is con-
ducted, there is always a possibility of leaving the welds
imperfect, and hence the product, though externally per-
fect, is subject to flaws in the interior, which render it
liable to fracture under strains which it ought to resist
with ease. Bessemer metal, however, can be cast in
ingots of five tons each, free from slag, and capable of
being used directly for the manufacture of heavy articles.
In this case, instead of flaws from imperfect welding, such
as occur in wrought-iron, we are liable to find defects in
the form of bubbles. Practically, it has been found that
bubbles are much more frequent close to the periphery of
the ingot than nearer the center, so that the external ap-
pearance of a Bessemer ingot furnishes us with a correct
idea of its internal condition. It is, moreover, asserted
that when bubbles occur in the interior, they are free from
rust, and present clean metallic surfaces, which weld to-
gether perfectly when the ingot comes to be drawn out.
A correspondent of the Maschinen Constructeur says
that he has seen Bessemer metal used with great advan-
tage for making the piston-rods of steam hammers which
were used for hammering steel. Wrought-iron pistons
and piston-rods of the same dimensions were used up in a
short time, by the change of the iron from a fibrous to a
granular structure, in consequence of the repeated con-
cussions to which they were subjected. Bessemer metal
has also been used for locomotive axles with excellent re-
sults. Its use for this purpose, as well as for boiler
plates, is continually increasing in Europe, though we
have not yet heard of its application to either purpose in
this country. The fact that it resists the oxidizing effects
of a flame much better than wrought-iron is a strong argu-
ment for its use in boilers. It is only about thirteen years
since the first introduction of Bessemer metal, and though
its adoption for rail-making has been contested, step by
1871.
THE   NEW   YORK    COACH-MAKER'S    MAGAZINE.
119
step, until it proved itself far superior to other iron, it is
now almost universally commended for that purpose.
It is scarcely to be expected, however, that because its
merits for rail-making has been recognized, its other uses
will meet with no opposition. Boiler-makers, for ex-
ample, who have been all their lives accustomed to the
employment of wrought-iron, will not discontinue to use
it at once—though in the long run a superior material is
certain of adoption. A large number of the boiler explo-
sions of which we hear so often are doubtless due to the
partial destruction of the iron, by oxidation, in boilers
which were originally equal to the task imposed upon
them. This fact was fully proved in England, by evi-
dence recently given before the committee appointed by
Parliament to inquire into the cause of the alarming num-
ber of boiler explosions occurring annually in that coun-
try, and to suggest remedies. The sulphur contained in
the soft coal, which is used almost universally in England,
may cause the destruction of the iron to take place more
rapidly there than it would in this country, where so much
anthracite and wood are used. Still, this destruction is,
in a great measure, due to the oxidizing effects of the
flame, which Bessemer metal resists much better than
wrought-iron. So that the conclusions of the English
committee are almost equally applicable to this country.
This, in connection with its greater tenacity, would seem
to recommend especially the use of Bessemer metal for
boilers, and will doubtless lead, before long, to its experi-
mental adoption for that purpose in this country.—Engi-
neering and Mining Journal.
faint
OIL FOR WHITE STRIPING.
To make a drying oil for use in white and other deli-
cate colors used in striping, pulverize sugar of lead, very
fine; put about half an ounce into a pint of linseed oil,
shake up, and place in the sun to settle and bleach. In
about two weeks it will become perfectly colorless, and
can be used without detriment in mixing the most deli-
cate tints. The best painters, who stripe in oil, always
keep a small quantity of this on hand for the purpose. A
carriage-painter of this city, and formerly of London,
hands us this receipt, and hopes some of the painters will
give it a trial, and write their opinion of it. He says it
is in common use in London.
COACH-PAINTING IN LEEDS, ENGLAND.
The following letter comes from a practical coach-
painter of Leeds, Eng., who has had an experience of
over thirty years; and he is therefore well calculated to
talk with the painters in detail upon every point con-
nected with painting as practiced in that city. It contains
facts which will be of interest to every practical painter.
THE   BODY.
In the first place, Mr. Editor, it will be necessary
for me to explain to your readers that the English
coach differs somewhat from the American coach when
it comes from the wood-room into the paint-shop. All
the panels of the body are of mahogany, which I do not
think is often employed in the United States for this pur-
pose. Moreover, the roof and quarters of the coach are
covered with a raw hide of leather, which is nicely stretch-
ed and rubbed down, and presents a fine and even surface.
The leather-coated parts are first primed with two thin
coats of Black Japan (corresponding to the Black Body
Varnish used in America), reduced with a little turpentine.
The remaining portions of the body are primed with light
lead color, mixed with a little raw oil and turpentine, and
a small quantity of sugar of lead to help its drying. This
drier is necessary from the fact that in England the paint-
shops are kept much cooler than in America, and the atmos-
phere is moister and less calculated to assist the drying
process.
The body receives, in the next place, two thin coats of
color, and the nail holes, etc., are stopped up with hard-
stopper, made of dry lead mixed with Japan Gold Size.
Five coats of English filling-up are next added, being
mixed as follows:
2 parts of English filling-up,
1    "      " tub lead,
2    "      " turpentine,
1 " " Japan Gold Size,
\ " " bottoms of Wearing Varnish.
These five coats of rough-stuff must be laid in, in the
same manner as heavy coats of varnish, one coat per
day; and three additional coats of the same are generally
added to the parts covered with leather. Throughout
all this process, great care is used to keep water from
the leather, to which it is very injurious; and this is one
reason why it is covered with so many coats of rough-
stuff. The receipt which I have given, is a standard one,
and is guaranteed to rub well, and to a smooth surface.
A staining coat follows, and the body is then well rubbed
down, and cleaned off. Two coats of dark lead color are
next given, being mixed of tub lead, lamp-black, raw oil,
and a small quantity of sugar of lead, and reduced to the
proper consistency with Japan Gold Size and turpentine,
and applied one coat per day, and sand-papered after each
coat. This dark surface gives the painter a chance to see
any scratch or imperfection that may be left in the sur-
face, and which requires stopping up. When this is at-
tended to, the body is carefully faced down, which pro-
duces a very fine and even surface. Another coat of
dark lead color, same as those last spoken of, is then
applied, and the body is ready for color. Below we give
a synopsis of the foregoing, that the painter may have a
concise view of the entire process :
PREPARATION OF BODY FOR COLOR.
1  priming coat of lead (on leather parts 2 coats of
black varnish instead),
2  thin coats of color,
stoppered up,
5 coats English filling-up (8 coats on leather parts),
1  staining coat,
rubbed down and cleaned off,
2  coats dark lead,
stoppered up,
rubbed down carefully,
1 coat dark lead,
12 coats, and ready for color.
120
THE   NEW   YORK   COACH-MAKER'S   MAGAZINE.
January,
FINISHING   THE   BODY.
If the body is to be black, we proceed as follows:
Grind drop black in raw oil, stiff, and add a little sugar of
lead, very fine, for a drier, and thin to the required con-
sistency with Black Japan (Black Body Varnish) and tur
pentine. Apply two coats of this, and then give two
coats of Black Japan (Black Varnish), and rub it
down. Then face off the mouldings, and give a thin
coat of dead black, and then apply a second coat of Black
Japan, and flat again. The whole is then varnished with
Hard-drying Varnish, and after the fine striping and coat
of arms are painted, the whole is finished with Wearing
Body Varnish.
If the body is to be blue, mix ultramarine blue with
one-half raw oil a«d turpentine, stiff, and make of the
proper working quality by thinning with Hard-drying
Body Varnish. Two coats are applied, and after each coat
a slight flatting is necessary, and then two additional coats
of the same are applied with varnish added. When Prus-
sian Blue is used, two coats are applied, and white is ad-
ded if necessary for the purpose of producing the shade
required. The blues will <!ry sufficiently well when merely
ground in raw oil, stiff, and reduced with turpentine, and
it is better not to add any drier. Over blues only one
coat of Hard-drying Varnish is given, and one finishing
coat.
If the body is to be lake, the lake should be ground in
raw oil, stiff, and reduced with turpentine and Hard-drying
Varnish. The same with drop black and Indian red.
Over lakes and greens, two coats of Hard-drying Varnish
are applied, and one coat of finishing.
The painter must in no case allow his oil colors to dry
with a gloss, but he must always flat them, and give them
the appearance of dead color. This is particularly impor-
tant in case rough-stuff or quick-drying color is to be used
over it.
Below we give a synopsis of the painting and varnish-
ing of a black body.
2 coats drop black,
1    "    black varnish,
rubbed down and mouldings faced off,
1 thin coat of dead black,
1 coat black varnish,
rubbed down,
1 coat Hard-drying Varnish,
striped and ornamented,
1 coat Wearing Body Varnish,
7 coats, from beginning of color,
12    "    in preparation for color,
19 coats in all, upon bodies.
CARRIAGE   PARTS.
Two priming coats are first applied, being mixed the
same as that used in priming the body. The cavities
are then stopped with hard-stopper, to which a little tur-
pentine is added, in order to make it sand-paper easily.
The wood parts then receive two coats of quick drying
lead color, mixed of dry lead and lamp black ground in
Japan Gold Size, and thinned with turpentine. The
whole is then sand-papered down thoroughly, and the
grain will be found to be well filled and perfectly smooth.
A thin coat of oil lead color is then added, and well sand-
papered, and any joints or open parts between the tire
and felloe are carefully puttied up with oil putty.    The
carriage parts are then ready for color.    Below is a syn-
opsis :                                   •
PREPARATION OF CARRIAGE PARTS FOR COLOR.
2 coats of lead priming,
stoppered up,
2 coats of lead,
sand-papered thoroughly,
1 thin coat of lead color,
sand-papered, and puttied up,
5 coats, and ready for color.
FINISHING   THE CARRIAGE PARTS.
Two coats of lead color are first given, made the same
as those last given to the body before the application of
color. Then stopper up with hard stopper, to which a
little turpentine is added, to make it sand-paper easily.
Then give the wood parts two coats of quick lead, mixed
of dry lead and lamp-black ground in gold size, and
thinned with turpentine. The whole is next sand-papered
thoroughly, when the grain will be found well filled and
perfectly smooth. A thin coat of oil lead color is next ap-
plied, and finely sand-papered, and at this point any joints
or open parts between the tire and felloes should be care-
fully puttied up with oil putty. A coat of color-varnish
follows, and a second coat of same to which more varnish
is added. The gears are then flatted and striped, an-
other light coat of clear varnish is given, flatted, and the
fine lines given, and the whole is then finished with wear-
ing varnish:—
Below is the synopsis of the foregoing,
2 coats lead color,
stoppered up,
2 coats quick-drying lead,
sand-papered thoroughly,
1  thin coat of oil lead,
sand-papered, and puttied up,
2 coats color-varnish,
flatted and striped,
1 thin coat clear varnish,
fine lines given,
1 coat finishing varnish,
9 coats from beginning of color,
5    "    in preparation for color,
14 coats in all, upon carriage parts.
In conclusion, Mr. Editor, I will say that I have used
the process which I have described in detail for twenty
years, and never knew the rough-stuff to crack. It is a
long job, but it is a sure one. By allowing each coat suf-
ficient time to dry thoroughly, the quality of durability is
insured, and I think this is the reason why our English
painted carriages generally stand so well. Burning off a
a job for repainting is a very exceptional case in England.
Indeed, during an experience of thirty years, I have never
had more than three or four jobs to burn off; and in cases
where it becomes necessary, it is where a carriage has had
very bad usage, or has been exposed to the action of am-
monia. Generally, we merely rub down to the rough-
stuff; and in most cases we find that sound and firm, and
a good foundation on which to paint over. I will try and
write you again some time.
Yours, truly,                    W. H.
Leeds, Yorkshire, England.
1871.
THE    NEW   YORK    COACH-MAKER'S    MAGAZINE.
121
THE PICTURE AND THE PAINTING.   .
There is a difference between painting as an art and
painting as a. fine art. Each of them demands a consider-
able scientific knowledge to produce and prepare the
colors, and manual skill to apply them. But while the
painting of a carriage is an adornment only, the picture
of a battle is expressive of an idea. Painting as an art is
the finish of a work; painting as a fine art is a medium to
convey thought. Painting as an art is the work of taste;
painting as a fine art is the work of genius. This differ-
ence is indicated by a difference of origin.
It is generally imagined that painting as a fine art is a
direct development of painting as an art, and that the
development took place in the following manner : When
it became necessary to find out a covering by which to
make water-proof the surfaces of ships, walls, and wooden
utensils, painting was invented. Noah's ark and the
Homeric ships were painted in this sense of the word;
that is to say, they were protected from the influence of
water and dampness, by a covering of some glutinous
substance. Next, when necessity was satisfied, it was
quite natural that men should wish to make this protec-
tion ornamental by mixing with it some colored pigment
prepared by the hands of Nature; and as this decoration
demanded not only skill and knowledge, but also taste,
painting grew by degrees into an art. At last, when this
adornment was found pleasing, it was no wonder that
men tried to make it still more pleasant by adding signi-
fication to color, and making the colors express ideas.
Utensils, walls, and even ships were covered with colored
imitations of men, animals, trees, &c, and thus the art of
painting, by degrees, became a fine art; that is to say, a
means by which to convey ideas.
This account of the origin and development of the art
of painting reads well. Yet, it contains some mistakes.
History proves that painting as an art, and painting as a
fine art, originated quite independent of each other. We
find with every people that, from the very beginning,
there was one kind of painting which colored surfaces in
order to adorn them, and another one which imitated
natural objects in order to convey thoughts; and the
former is so far from being the progenitor of the latter,
that the craft is indebted to the art for many of its most
important impulses. We will mention Greece as an ex-
ample.
The Greeks, when convinced of a truth, yet not pos-
sessed of any historical or logical evidence of it, were ac-
customed to tell some fanciful story in order to introduce
the truth to the imagination. Thus they told how a
young girl, when parting from her lover, and watching
the shadow of his features while he sat silent in sorrow,
traced the outlines with chalk on the wall, and showed
him how mercifully the gods had permitted a part of his
Vol. XII.—16                                         ____
soul to remain with her while he himself was absent.
And they told this story as the origin of painting as a fine
art. They believed that painting as a fine art had origin-
ated from drawing, from the imitation of natural objects,
and not from the covering and coloring of surfaces.
In the Greek language, furthermore, the same word,
graphein, is used to signify both writing and drawing,
and the two kinds of pictures first invented are defined by
their very names as a sort of writing; that is to say, as a
means of conveying thoughts. The Greek drew, not as
we do, with a lead-pencil on paper, but with a metallic
pen called stylus, on tablets of wood covered with wax,
and such a picture was called a monogram, from monos,
only, and gramma, letter, because it consisted only of out-
lines. These outlines of the monogram were, in early
times, produced by simply inscribing with the metallic
point of the stylus in the wax; but, afterward, the out-
lines were filled in with black. This improvement was
admired as a great invention, and the picture thus formed
was called a skiagram, from skia, shade, and gramma,
letter.
Thus we see that the difference between painting as an
art and painting as a fine art was, with the Greeks, not
only a difference of ideas, but also a difference of origin
and history. Painting, as a fine art, was, from the day
it was baptized and given a name, a means by which to
convey ideas, and not an adornment; and it originated
from a wish to imitate natural objects, and not from a
necessity of covering surfaces to protect them from
dampness. And it can be proved that the same distinc-
tion existed in early times with all people who knew
painting both as an art and as a fine art.
Crhnmtitg
THE FASHIONABLE TRIMMINGS.
In visiting, during the past months, some of the lead-
ino- carriage repositories in New York, we have observed
that leather and silk are becoming more and more fashion-
able, and that in trimming they are even taking the place of
cloth to a great extent. Leather is used in all classes of
open carriages, and somewhat in coupes; silk only in the
most elegant closed vehicles. The color of the leather is
generally brown, sometimes green, but the latter is less
pleasant, as green when applied to leather easily takes a
dull and greyish hue. The color of the silk is generally
blue or crimson. We have seen two coupes trimmed in
black silk, one having yellow and the other with black mi-
nor trimmings. Both of them were elegant. The most
popular color in trimming with silk seems to be crimson,
to which is applied minor trimmings of black lace and
buttons, which suits it very well, as crimson silk is so lus-
trous that it would be glowing if not softened and sub-
dued by application of darker colors. In cloth, on the
contrary, we still consider the fashion of trimming with
122
THE    NEW    YORK    COACH-MAKER'S    MAGAZINE.
Januart,
black on a brown ground very improper, because brown
cloth is lustreless, and ought to be enlivened and bright-
ened by application of light colors.
 Illustrations of llje
We present our subscribers, this month, with an un-
usually valuable series of carriage drafts, in which we be-
lieve they will all take an interest.
THREE-QUARTER   LANDAULET.
Illustrated on Plate XXIX.
An English pattern. In one of our late numbers we
had occasion to refer to the "Carriage of the Period,"
the Landaulet, and in giving this draft we feel assured
that in its general outlines it is one of the finest drafts of
this pattern ever published. It was selected by us at
the request of a carriage builder in Washington. Much
has been said of the many improvements which have been
introduced into carriage building during the past ten
years, and we could scarcely find a better illustration of
the truth of this fact than by comparing patterns like this
one with similar styles made fifteen years ago. Several
clumsy details, that were once thought indispensable, have
now given place to the more natural and graceful lines.
Our plate certainly gives a fair specimen of these improve-
ments.
Dimensions.—Wheels, 3 feet 3 inches, and 4 feet.
Body; length at arm-rails, 4 feet 2 inches; width, 48
inches all over at door. No mouldings on body. Width
of toe-board in front, 2 feet 4 inches. Rocker plates, 2g
inches wide, { inch thick. Track,4 feet 6 inches. Springs;
4 leaves, steel, Nos. 3 and 4, 1£ inch wide.
Trimming.—Brown cloth is still popular with this
class of work. If dark brown be used, black trimmings
generally accompany it, but trimmings of light brown
would be much preferable when used on the dark ground,
as we explained in the December magazine. Silk is used
for the more expensive class of work, and the deep
shades of blue and green are popular.
Painting.—The upper quarters may be painted dark
lake, and the lower quarters black. No striping on body.
Broad stripes on the sides of the spokes seem to be com-
ing into fashion with some New York houses, but we
much prefer the more delicate ones.
Mountings.—Gold is fashionable, but silver mountings
and silver-lined lamps are preferred on many of the rich-
est carriages, as being less showy.
KIMBALL   PATENT   JUMP-SEAT.
Illustrated on Plate XXX.
This is a well-known and very convenient style of
vehicle, for which Mr. Stivers has a manufacturer's shop-
right. This specimen, exhibited at the American Insti-
tute Fair, weighed 402 pounds.
Painting.—Running parts, carmine, striped with one
broad and two fine lines of black. Body, black, striped
with gold.
Trimming.—Blue cloth.
CIRCULAR   FRONT,   THREE-FOURTHS   COUPE.
Illustrated on Plate XXXI.
The body has the usual cut-down door, and the lines
of the dickey-seat, forming a square cut-under, are fash-
ionable at the present time. The light in the back quarter
is stationary, and six inches wide. This light is not only
a great convenience to the occupant of the carriage, but it
serves to lighten the appearance of the vehicle.
Painting.^—Hunmng parts, deep crimson lake, striped
with black, and edged with two fine lines of glazed car-
mine, giving a beautiful effect. Body ; upper-quarters,
black ; below the arm-rail, deep crimson lake, striped,
like the carriage parts, with fine line of glazed carmine.
Trimming.—Brown satin lining, brown lace, with
crimson ornament.    Mountings of gold.
This coupe was exhibited at the American Institute,
by Theodore E. Baldwin & Co., and is very graceful,
although we think there are some combinations of lines
which are improved upon in the Landaulet, given on the
first plate. We beg our readers to please compare the
two. Mr. Baldwin's coupe looks lighter than the other,
but this is due mainly to the light in the back quarter, and
to the lightness of the dickey-seat. On the other hand,
we think the lines of the dickey-seat and body, in the
Landaulet, are better proportioned, and that it appears to
ride firmer. We were never in favor of the projection
in front of the door, which breaks the line of connection
between the seat and body, until experience taught us
what a very comfortable refuge it gave for the feet. This
coupe is intended for either one or two horses.
ONE-HALF   SPRING   NO-TOP   WAGON.
Illustrated on Plate XXXII.
This pattern is rather old. Width of body at front
of seat, 1 foot 7 inches.
Painting.—Carriage parts, straw color, striped with
two fine and one broad line of gold, the effect of which is
tame. A better striping would have been thus : two fine
lines of light emerald green, with fine line of white be-
tween them. We saw the latter in a Broadway reposi-
tory the other day.
HAMBLETONIAN   ROAD   WAGON.
Illustrated on Plate XXXII.
This wagon is of very light and graceful pattern, and
is well painted and carefully finished. It is a good repre-
sentation of the class of light work built by Mr. Stivers.
This concludes our series of American Institute drafts.
Painting.—Carriage parts, snuff-color brown, with
broad black stripe and two fine lines of gold.      Body,
1871.
THE   NEW    YORK    COACH-MAKER'S   MAGAZINE
123
black, striped with gold in the lower mouldings, and on
the seat-rail.
Trimming.—Leather, of light snuff-color, with black
borders.
OPEN-TOP    JAGGER    WAGON.
Illustrated o« Colored Plate.
We believe this is the first colored draft of a car-
riage that was ever issued by any American publication.
This jagger wagon was lithographed, and then each plate
was colored by hand by Mr. A. Muller of this city.
The design was selected with care, and, presented in
this manner, we trust it will be valuable to every one
of our subscribers.    It may be deemed worthy of a frame.
This style of wagon is very popular in New York,
being admired not only for its tasteful and jaunty appear-
ance, but more particularly from the fact that it is con-
sidered more easy riding than the end-spring wagon.
This is undoubtedly true, as the body is supported, not
only by the half springs, but also by the two wooden
bars and spring plates, and, moreover, the seat rests on
wooden bars.
Dimensions.—The width of the body is usually 26
inches, and the three cross-bars are made to project about
1^ inch over the sides of the rocker, to give £ inch between
the bolts and body. These cross-bars are £ inch by \\
inch middle, lightened toward the ends, and the center
one is fastened by collars to the side-bars. The side-bars
of gearing are 1£ inch by If inch, and the body is set
forward of center §¦ inch. These wagons have mostly
two reaches (or perches) with or without stays. The
seat-bars and riser are of one piece, and they rest on four
corner blocks, held down by leather straps.
'Half-springs, 3 plates, 1£ inch.
Axle, f inch.
Trimming.—Blue cloth.
Painting.—Body, dark lake. Carriage parts, ver-
milion, striped black.
(fiitor'a Satoii-kncl}.
OUR CARRIAGE  DRAFTS.
A subscriber withdraws his subscription and writes us
as follows :
"Mr. Editor. Dear Sir—I have taken the New
York Coach-maker for the Ia8t year and a half, and I have
never used a single carriage drawing contained therein.
I therefore think it unnecessary to take it longer.
Yours, truly,             New Jersey."
In reply, we cannot agree with our subscriber in his
reason for not taking the magazine any longer. It
may be that he has not used any carriage draf£ contained
in it, but that does not prove that the drawings were poor,
or that they have not been useful to him.   The American
carriage trade would be in a very imperfect and primitive
state if it renounced all individual ideas, and fed only on
those which were given it by the trade papers. We take
a great deal of care in selecting the drafts for the Coach-
maker's Magaz-ine, but as a general thing they are in-
tended as suggestions only, or for giving a general view
of the present fashions and the prevailing taste. In this
respect they have been chosen with such attention that we
are led to believe the fault is not wholly theirs, if they
have been of no use.
For instance, were not the drafts of the carriages ex-
hibited at the American Institute Fair of considerable in-
terest? We heard the wi:-h expressed by many carriage-
builders that they could visit the fair in New York and
see the styles, and it was from this wish that we con-
ceived the idea of sending the styles to them. We know
these syles were of value. Perhaps none of our subscrib-
ers will use them, but to know what is not is often as
valuable as to know what is. And even if the drawings
were not satisfactory, is the reading ma ter in the maga-
zine nothing ?    We should be sorry to hear so.
In this connection, a word as to our plans for the year
1871 may not be out of place. We are rapidly making
our arrangements lo combine the Coach-maker's Maga-
zine with "The Hub," and with the combined forces of
these two paptrs—the. youth and energy and correspon-
dence and paint of " The Hub," and the experience and the
cuts and the additional departments of the magazine—we
shall endeavor to make a magazine worthy of the trade
which it represents. We believe we have the means at our
command by which to accomplish this intention. We
invite all our subscribers to come forward and assist us
and in a few months we shall be ready to begin to assist
them in every means within our power.
PEACE DECLARED.
Our offer of peace to the " Philadelphia Coach-
maker" has been accepted by them in the same spirit in
which it was tendered. We thank them for the kind
wishes expressed in the following :
" In the November number of the Coach-maker's Ma-
gazine of New York, the present editor offers the right
hand of fellowship, and asks that ' violet instead of black
ink be hereafter used.' He sees no reason why there
should be any enmity between us, and we in return heartily
agree with him. When our journal was first started, we
remember sending a similar friendly greeting to the New
York Magazine; it was then in other hands—but the re-
sponse was quite different from that which we now tender
to the present editor, in reply to his offering, as he as-
sumes the responsible and onerous duties of his new posi-
tion. We are not partial to strife of any kind, but when
the gauntlet is thrown at our feet, we are not so cowardly
as to fear to take it up. The history of the past, in this
connection, will prove who was the victor in that tourna-
ment of words, and on that we rest satisfied.    Being per-
124
THE    NEW    YORK    COACH-MAKER'S    MAGAZINE.
January,
sonally acquainted with Messrs. Valentine & Co., the pub-
lishers, and Geo. W. W. Houghton,the editor of the maga-
zine, we can in all sincerity grasp their proffered hand,
and wish them well in their new enterprise."
THE LATEST AND MOST FASHIONABLE
CARRIAGES.
The " Evening Mail " gives a review of the latest and
most fashionable styles in New York, from which we
select part of that which follows :
Whether the French war has driven a greater num-
ber of our wealthy citizens home, or our people are be-
coming more wealthy and luxurious than formerly, or
both, it is certain that Broadway and Fifth Avenue never
appeared more resplendent with gay and costly turnouts
than now. All who are able to afford it, and many who
are not, are expected to own their equipages. Carriages
of some kind are the rule in society, and it is to be ex-
pected that no less skill and taste is expended in design-
ing and furnishing these luxurious marks of wealth and
refinement than in other departments of human custom.
The skilled eye, while watching the ebb and flow of the
gorgeous tide up and down Fifth Avenue and Broadway,
can detect unerringly tthe real aristocracy from the shoddy,
the parvenu from the old family, the professional man,
the sport, the jockey, or the man about town.
The lady in the rich carriage costume for November,
accompanied by her dashing daughter, in full dress, and
driven by a coachman in livery, rides in
A   LANDAU,
made to open or close, according to the season. The up-
holstery for fall is satin of rich garnet, azure blue, russet
brown, and maroon color. On the right door is the card
case, curtains looped, lace trimmings to correspond with
the upholstery. To communicate with the coachman the
bell is abandoned, and the speaking-tube and whistle sub-
stituted. A handsome tube is attached to the left side
and passes out to the coachman. At either end is a trum-
pet, and at the outer one, which is looped over the arm of
the coachman by a ribbon, is a whistle. A breath from
the inside warns the coachman, who applies the trumpet
to his ear and receives his orders. The body of the Lan-
dau sits very low on C springs. Opening the door dis-
covers the steps. The cost of a fashionable establish-
ment of this kind is $1,900. Match horses are the mode
with the Landau. It is not in vogue with shoddy people,
as, in consequence of the high sides, the dress is not ex-
hibited—the Victoria, or summer style, remaining in use
by parvenus.
A fine family carriage, with wide, roomy seats, is
THE   CLARENCE,
close in winter; front open in summer; body low en C
springs; coach-box quite high ; no rumble. The footman
sits with the coachman, and the top is made of enamelled
leather. Black is the style for the body ; running gear,
dark colors, striped with red, yellow, or brown. The up-
holstering is satin, and the prevailing colors are garnet,
scarlet, magenta and maroon. The lining is tastefully
arranged in folds, diamonds and triangles, fastened by
satin buttons, and trimmings and lace garniture to cor-
respond.    A very proper family turnout can be had for
$1,600.
A  FAMILY   COUPE
is a snug, convenient little affair used by ladies for shop-
ping, also by aristocratic physicians and down-town mer-
chants. The body is compact, hung low, one seat, with a
small one for children. The front is entirely plate glass,
and can be removed ; driver's seat is low. The uphol-
stering for business purposes is plain., but for ladies' use
plum, garnet and mauve satins are in style. The in-
side is conveniently fitted with card-cases, reticules, port-
folios, mirrors, etc. A very handsome coupe can be had
for $1,300.
THE   PONY   PHAETON
is a handsome little convience for ladies' driving. The
groom sits in the rumble, and the lady, in suitable driving
dress, hat and gloves, handles the ribbons herself. The
body is low, and easy to get in and out without the
assistance of the groom. The hind wheels are covered
with a broad apron, and dashboard of medium height.
The expression of the whole is graceful, roomy and
jaunty. Rich brown or navy blue cloth is the style for
upholstering; lace and trimmings to match, with jet
buttons.
BUGGIES
can scarcely be considered the subject for fashion's deli-
cate attentions, as they are a business and useful article
merely, yet the styles are constantly new, and some of
the later ones decidedly handsome; but
THE   TROTTING   WAGON
is a fashionable appurtenance to the elegante, and the box
wagon, weighing from 100 to 130 pounds, the latest word
from the designers. In shape it is severely plain, being a
box literally, about eight inches high, of glossy black,
with a seat in the middle. It is nobby to have the
wheels yellow or red, striped with black. Another road
wagon might be called the cobweb style, weighing <5nly
100 pounds, and consists of running gears and skeleton
seat without a box.
ROBES.
The mode for robes is bearskin, although buffalo and
lion are in use. A fine bear is worth $100. For inside
lap robes imitation Astrachan lined with bright flannels
are the style. Zephyr wool, woven in stripes of different
colors and delicately blended shades, are much in vogue.
HORSE   BLANKETS,
for dress, are dark colors—gray the favorite, trimmed
with bottle green cloth, chain stitched with white silk.
LIVERY
is, of course, the last consequence. In Europe it desig-
nates the family and rank and is an heir-loom, but in
more modern America it is adopted and altered at the
fancy or caprice of the parties who use it. Nevertheless,
fashion has a word to say in regard to the propriety and
taste of livery. Capes are nol in mode. The coat is
drab ; cut below the knee ; double breasted, buttoned
close with* five silver buttons on each side ; six buttons,
nine inches apart, on the back; four buttons, latterally, on
the sleeves;   corduroy breeches.      Footman and coach-
1871.
THE   NEW   YORK    COACH-MAKER'S   MAGAZINE.
125
man dressed alike ; gloves of buckskin, with for cuffs;
silk hat with a cockade.
FOR   GENTLEMEN'S   DRIVING   GLOVES,
white buckskin, fleece-lined, plain cuffs, is the style,
although drab may be worn ; for the drive, of course, all
elegantes understand that velveteen suits is the mode.
EXCHANGES.
We are favored with a great number of exchanges,
including many in which we take special interest. We
would be glad to give detailed reviews of some of them,
but our space allows us to make only a mention of the
most prominent and those which pertain most closely to
the departments which we represent.
"The Hub" occupies one-half our office and one-half our
attentions. We, of course, regard it with feelings of most
brotherly—not to say fatherly—interest, and its friends
report that each successive number is better than the last.
We cannot ask more. Most of our readers are probably
aware of the fact that an engagement exists between the
Magazine and this younger publication, and that it is ex-
pected the marriage will take place in March. Congratu-
lations arrive daily.
The Philadelphia Coachmaker comes to New York
monthly, and its editor, Mr. Ware, came last month, but
we were disappointed in not being in the city when he
called upon us. This paper has accepted our offer of
peace, and the magazine and the journal are to-day fast
friends.
The Harness Journal is published in New York,
not far from the Magazine, and it contains many articles
of interest to the carriage maker. Its editor, Mr. Fitz-
gerald, was formerly engaged in the carriage business in
Newark, N. J.
The Cabinet-Maker, published in Boston, often has
good articles on the different varieties of wood and the
methods of working it, which would help the wood-work-
er.    Its price is $2.50 per year.
Scientific American.—From time to time we have
selected articles from this valuable exchange, which illus-
trate its practical character. Beside those which refer to
our specialties, it contains many articles of the highest
general interest; for instance, Prof. Tindall's lectures
about the " Scientific use of the Imagination."
The American Artizan contains an occasional article
of special interest to our readers.
Architectural Review.—We intend giving in the
next  magazine  a valuable  article  on  the formation of
woods taken from this journal, which we know will in
terest every carriage wood worker.
The Technologist is devoted to engineering, manu-
facturing, and building.    Its price per year is $2.
Boston Journal of Chemistry treats upon the sub-
ject which it represents, in a manner which brings it
home to every reader. Its cost is $1 per year, and every
number contains articles of general interest. We wish
it might touch more upon paint questions than it has done.
Atlantic Monthly.—Though not connected with
carriage building, we must, in conclusion, mention this
most, high toned monthly, which has for so many years
been a standard authority on questions of literature,
science, and art. We always read it with interest, and
have occasionally clipped from it.
INDUSTRIAL ASSOCIATION.
In reply to requests received from various quarters, we
publish, in full, the Constitution of the Brewster & Co.
Industrial Association, which is an experiment that will be
watched with interest by many of our readers. The
arrangement was entered into with a view of making
every employe directly interested in the quality of their
productions. It will be seen by an examination of the
agreement that, in addition to their wages, the employes
are allowed S, half yearly dividend of one-tenth of the net
profits of the firm, to be divided among them according
to the greater or less amount of work performed by each.
On the first of July last, the first dividend was declared,
giving three and a half per cent, on the earnings of each
man. We learn that some of them thus received from
$32 to $52; and others, from $5 to $10.
Constitution.
Whereas, Messrs. Brewster & Co., of Broome Street,
New York City, Carriage Builders, have proposed to their
employes that at the end of each fiscal year, viz.: on the
first day of July, said firm will divide a sum of money
equal to ten per cent, of their net profits in their Broome
Street factory and Fifth Avenue warerooms, during the
year then ending, among certain of their employes, in
proportion to the wages earned by them respectively, and
in addition to such wages (the persons so to share in said
sum to be determined by the employes of said firm);
and have also proposed that, in determining the amount
to be thus.divided, the members of said firm shall make
no charge for their services, nor for interest upon the
capital invested in their business, and that the business of
each year shall stand by itself and be independent of that
of any other year;
And whereas, the next fiscal year of said firm does
not begin until July 1, 1870, but said firm have proposed
•to inaugurate the above plan as of the date of Jan. 1,
1870, and in July, 1870, to divide a sum of money equal
to ten per cent, on one-half of their net profits in said
Broome Street factory and Fifth Avenue warerooms (to be
determined as above mentioned), for the year then end-
ing :
Now, we, the delegates elected by said employes to
confer with the members of said firm, with a view to
adopting measures suited to the above proposals, and cal-
culated to promote the general interests of said employes,
and to insure greater harmony among them, do, on behalf
of said employes, ordain and, establish this Constitution
for the
" Brewster & Co. Industrial Association."
126
THE   NEW    YORK    COACH-MAKER'S   MAGAZINE.
January,
Article I.
There shall be a " Board of Governors " for the shop
at large, and a " Board of Control" for each department.
Article  II.
Said employes shall be divided into seven Depart-
ments, as follows, viz.:
Department Number One shall consist of the Heavy
Smiths, Light Smiths, and Finishers, each calling; to be
represented by one of its own members in the Board of
Control.
Dipariment Number Two shall consist of Wheel-
wrights and Carriage-makers, each to be represented by
at least one of its own members in the Board of Control.
Department Number Three shall consist of the Jobbers,
Cleaners-off, Filers, and Platers, and the first and second
floors shall have two representatives, and the third and
fourth floors one representative, in the Board of Control.
Department Number Four shall consist of the Heavy
Trimmers, Light Trimmers, and Stitchers, and each shall
be represented by one of its own members in the Board
of Control.
Deparment Number Five shall consist of Heavy Body-
makers and Light Body-makers, and each shall be repre-
sented by at lea^t one of its own members m the Board
of Control.
Department Number Six shall comprise the Body
Painters alone.
Department Number Seven shall comprise the Car-
riage-part Painters alone.
Article  III.
The Boards of Control shall have three members each,
who shall be chosen by the members of their respective
Departments, one of whom shall be designated by the
President of the Association as Chairman, who shall
serve one year (but the persons who shall serve as Chair-
men of the several Boards of Control, and as ex officio
members of the Board of Governors for the year beginning
on Jan. 1, 1870, shall be designated by the Chairman of
the Delegates who have ordained and established this Con-
stitution) ; the remaining members of the Board of Con-
trol shall determine by lot the duration of their respective
terms of office—one shall serve three months and the
other six months. In case of a vacancy, an election for
the unexpired term shall be held within a week, after its
occurrence, on the order of the Chairman of the Board of
Governors.
Article   IV.
The Boards of Control shall carry out and enforce in
their respective Departments all rules and regulations
made by the Board of Governors; and at each monthly*
meeting of the latter, the Chairmen of the Boards of Con-
trol shall report, in writing, the working condition of their
respective departments.
Article V.
The Board of Governors shall be composed of the
Chairmen of the Boards of Control and the Representative
of the Shop at Large, in Article VIII. mentioned, and with-
in one week after the members of the Board of Governors
have been designated, as provided for in Article III., they
shall elect one of their number as their Chairman, who
shall serve six months as such, and while acting as Chair-
man shall have no vote except in case of a tie; and they
shall choose their other officers, whose term of office shall
be six months, also a Chairman pro tempore in the absence
of their Chairman. They shall, also, within one week
after their organization, elect a President of the Associa-
tion from among the members of the firm of Brewster
& Co., and he shall serve one year and until his successor
is chosen.
Article VI.
The Board of Governors shall assemble once in each
month, or oftener, if the President of the Association or
its Chairman shall so direct, or a majority of its members
request it. Five shall constitute a quorum for the trans-
action of business. The Secretary of the Board shall
receive a salary, the amount of which shall be fixed by
the President and by him be paid quarterly.
Article   VII.
The Board of Governors shall have power to make
rules and regulations for the shop.
Every resolution or measure of any kind which shall
have passed the Board shall, before it becomes binding
upon the Association, be presented to the President; if
he approve he shall si^n it, if not he shall return it with
his objections, in writing, or with a verbal statement to
the Board, at its next monthly meeting, and the Board shall
then proceed to reconsider it; if, after such reconsideration,
two-thirds of all its members shall vote to pass it, it shall
become binding, notwithstanding the objections of the
President; but in all such cases the vote shall be deter-
mined by yeas and nays, and the names of the members
voting for, as well as those voting against it, shall be
recorded in the journal.
Article   VIII.
The Board of Governors shall, within one week after
'its organization, elect, as a Representative of the Shop at
Large, a member of the Association having a general
knowledge of the business of the several departments,
who shall serve six months as a member of the Board,
and have all the rights and privileges of any other member
of the Board.
Article   IX.
All persons employed in the Factory shall have the
right to vote, except clerks, salesmen, bovs, porters,
apprentices, cartrr.en, and persons under instruction in any
of the Departments; and all questions as to the status of
any person or persons not directly employed in mechan-
ical labor shall be referred to the firm of Brewster & Co.,
whose decision shall be binding on the Association, and
on all the Boards.
Article   X.
A member of the Association to be eligible to any
office therein, must be twenty-one years old, a skilled
mechanic, and have worked in the Factory not less than
six mouths; and any question as to whether an employe
shall be ranked as a skilled mechanic, or a laborer, shall
be decided by Brewster & Co.
Article  XI.
Neither this Association, nor any member thereof other
than its President, shall have any voice or authority in
the management of the business of Brewster & Co.; nor
shall this Association, nor any member thereof, have the
right to bring suit against the firm of Brewster & Co., or
1871.
THE   NEW   YORK    COACH-MAKER'S    MAGAZINE.
127
any member of said firm in any court of law or equity,
to determine or recover the amount of any share or shares
in the moneys mentioned in the preamble of this Consti-
tuton ; and it is expressly understood that the w;iges agreed
to be paid by Brewster & Co. shall be full compensation
for all services rendered by any member of this Associa-
tion while in the employ of Brewster & Co.
Article   XII.
Any member who shall voluntarily leave the employ-
ment of Brewster & Co. (when full employment is
offered by them) before the close of any fiscal year, with-
out the written consent of said Brewster & Co., shall
receive no share or portion of the moneys mentioned in
the preamble of this Constitution, but the share of such
moneys proportioned to the wages earned by said
member during sa;d fiscal year shall be paid into the
Treasury of the Benevolent Fund to be hereafter estab-
lished by the members of this Association.
Article  XIII.
Any member who may be discharged from the em-
ployment of the firm shall, notwithstanding such discharge,
at the end of the fiscal year, receive the share of the
moneys in said preamble mentioned, proportioned to the
wages earned by him during said fiscal year, provided
such wages amount to the sum of two hundred (200) dol-
lars; and all the shares in the moneys, in said preamble
mentioned**not called for within six months after they
are declared shall be forfeited, and paid over to the
Benevolent Fund.
Article  XIV.   •
This Association may be dissolved at the close of the
fiscal year after July, 1870, or within thirty days after
such close, either by Brewster & Co. or by a two-thirds
vote of the members thereof taken by tellers appointed
by the Board of Governors.
Article XV.
All persons employed in the factory and sales rooms
of Messrs. Brewster & Co. shall share in the moneys
mentioned in said preamble ratably, in proportion to the
wa<*es earned by them respectively, except heads of
departments and contractors who realize a profit on other
labor than their own, and such other, persons as shall have
an interest in thsir business through private contract with
the firm ; but these exceptions do not include smiths who
employ helpers and finishers to aid in the work of one
fir,-; in such cases, the wages earned by their employes
shall be deducted from the amount paid to them by the
firm, and the balance shall be considered the wages of
their individual labor.
Article  XVI.
All fines imposed and collected under the By-Laws of
¦this Association shall be paid over to the Benevolent
Fund in Article XII. mentioned.
Article   XVII.
All complaints against the working management of
any department shalf be made by the President to the
Chairman of its Board of Control, and, if such complaints
are not properly heeded, and a remedy applied, he shall
then report the matter, in writing, to the Board of Gov-
ernors for action.
Article  XVIII.
All charges against officers of this associaton (except
the President), of neglect of duty, or violation of any
of the laws or regulations, must be made in writing to
the President, who shall lay them before the Board of
Governors, and within ten days thereafter (unless a regu-
lar meeting is to take place within fifteen days) the
Chairman shall order a special meeting of the Board to
investigate the charges, and the accused shall be sum-
moned to appear before them in his defense. If adjudged
guilty, the Board may remove him from office, or inflict
such fine as in their opinion would be just.
Article  XIX.
Any member of this Association, other than officers,
who may violate any of the laws or regulations of the
shop, shall be complained of to the Chairman of the
Board of Control of his Department, who shall investigate
and report the fact as ascertained to the President, who
shall take such action as the case may seem to demand,
or refer it to the Board of Governors, as he may elect.
Article  XX.
Any member of this Association who shall make a false
and malignant charge against a fellow-member, affecting
his standing as an pmploye of Brewster & Co., shall,
upon good and sufficient proof, be fined, or dismissed from
employment by a vote of the Board of Governors.
Article  XXI.
The terms of office of those first elected as officers
either of this Association or of any of its Boards, and
the official terms of the members of said Boards, shall be
deemed as beginning on the first day of January, one
thousand eight hundred and seventy—and all officers and
members of the Board of Governors, and of the several
Boards of Control, shall hold over and continue to serve
as such officers and members until their successors are
respectively appointed or chosen.
Article  XXII.
The foremen shall exercise authority in their respective
Departments, in behalf of the firm, when no member of
the firm is personally present.
Article   XXIII.
A'proposition to amend this Constitution must be pre-
sented by the Board of Governors to the President ; and,
if he approves, a copy of the proposed article or articles
shall be posted in each Department for a period of ten
(10) days, after which the Board shall proceed to vote
upon it; and, if two-thirds of all the members thereof
shall vote in favor of it, it shall then become a part of
this instrument.
John D. Gibbon,         Thos. Sedgwick,
Alpheus E. Ferris,   Samuel Lyon,
Edward Rowe,          Henry S. Whitney,
Joseph F. Scanlon,   Richard Coleman,
James Haggerty,        Jacob Krummenauer.
Errata.—In the November Magazine, the design of
the Square-box Top Wagon was in the plate credited to
Mr. E. Smith instead of Mr. G. J. Moore. It was refer-
red to under the "Pen Illustrations" as Mr. Moore's,
and this was correct.
128
THE   NEW   YORK    COACH-MAKER'S   MAGAZINE.    January, 1871.
GOLDEN    RULE    OF   PROPORTION.
Springfield, Dec. 3, 1870.
Mr. Editor. Dear Sir—I was at first very much
pleased with your answer to my letter. " Proportional-
ity," you said, " is one part of beauty, and correlation
between idea and form is another." That I understand.
Next you said, "as correlation between idea and form is
a more essential part of beauty than proportionality, it
may happen, that something which possesses the former
may be found beautiful, though it falls short of the latter."
That I understand too, and I was very much pleased with
the conclusion, that " the buggy is the nicest thing in the
world, though it does not agree with the Golden Rule of
Proportion."
I sat meditating on what a singular thing beauty is
since it can be produced in so many different ways, and I
wondered whether there could be found anything that was
beautiful in all respects. I was always fond of a little phil-
osophy, and like very much to know the reason for every-
thing. Thus, I was just going to write you a letter, and
ask why you called Correlation betiveen idea and form a
more essential part of beauty than proportionality, when
I remembered that I had not finished reading the article.
I took up the magazine once more and read the article
through, but when I reached the last sentence and read:
" We are, however, by no means sure that it (the buggy)
defies the golden rule of proportion so utterly as our cor-
respondent thinks." I said to myself what I now say to
you : Mr. Editor, you will swim under the water, but I
will catch you. I read newspapers before you were born.
I know the tricks of the editors. When they do not wish
to tell the truth and dare not tell a lie, they always be-
gin so: " We are, however, not sure"—and then go on
swimming under the water.    I know them.
Therefore, I ask you directly : Is the buggy not in
every respect an infringement of the golden rule of pro-
portion, and is it not, in spite of this, the nicest thing in
the world ?    No or yes ?
Yours, truly,
P. Jones.
In reply to this letter we would give the following ex-
planation :
The top-buggy is, without doubt, an infringement on
the golden rule of proportion. It is three or four inches
too high in proportion to its length, and the reason why
many persons do not feel this infringement of the rule as
a real disproportion is, that they have become so used to
it that their eyes have ceased to give any judgment upon
it, just as now-a-days we have become so used to ladies'
waterfalls that our eyes have ceased to notice that this im-
mense bulk of hair must necessarily be false.
The infringement is not accidental however. It was
planned deliberately, and has been accepted as proper,
from a regard to usefulness. The top is made three or
four inches higher than it otherwise would be, in order to
give sufficient room to accommodate the chimney-pot hat.
If we were in the habit of riding and walking bare-headed
as were the ancient Greeks and Romans, or if we wore
small caps as our Anglo-Saxon ancestors, the tops of our
buggies undoubtedly would then be made several inches
shorter,  and would   then accord with the   golden rule
of proportion. We wear stove-pipe hats, and thus the
buggy-top is thrown out of proportion for three or four
inches.
This hat, like the waterfall, is only a fashion, and fash-
ion is often only a kind name for foolishness of fancy.
We will not preach a crusade against the chimney-pot
hat. We do not consider it worth while. But we think
it sufficient when these monstrosities have been allowed
to deform our heads, and too much when they are allowed
to disproportion our carriages. Yes, we feei sure that
when the stove-pipe hat once takes its leave and returns
to that gai-ret of folly from which it came forth, the top-
buggy will submit to the golden rule of proportion, from
which it was deviated—only by your hat, sir.
ame
Written for The Coach-maker's Magazine.
THE ALARM.
The winds were fair, our hearts were proud ;
Like bird that skims the blue,
Our good ship winged the ruffled main,
And spurned it as she flew.
The bellying sails good courage leDt,
The sheets and shrouds were taut,
And the only sounds that thrilled the ear
Were those the heart most sought:
The whistle of the favoring gale,
The foam that spouted before,
And the laugh of the voyageurs as they longed
For sight of the far-off shore.
Around the evening board we sat,
A merry set were we,
As we quaffed the wine and toasted our wives
And our homes across the 6ea.
All suddenly a loud voice cried:
" Fire! fire ! the ship's on fire !"
And on us clapped the cabin doors,—
" Fire ! fire ! the ship's on fire !"
In terror gazed we, each on each,
"With fear-protruding eyes,
Down dropped the blade—all white
We stood, with horrified surprise.
Sound died in awe—our blood ran hot—
Each rustle took a part,
Became the crackle of the flame
That gnawed into our heart.
An awful pause—the door undid,
The captain, entered he,
His lips were pale, but not with fear—
" It is not so," said he.
Each wended to his cot alone,—
And many a swarthy cheek
Disclosed a tear, that told the prayer.
The lips forbade to speak.
JtJNIUS.
West Indian Carriages.—In a paper on " Timber,1'
read before the London Society of Arts in 1858, by Leon-
ard Wray, he mentions the varieties of wood used in the
construction of a West Indian buggy, as follows: Cala-
bash for the naves of wheels, brazilletta for spokes, acacia
for felloes, cedar for body, and lancewood for the shafts.