are simply modifications in the application of this great principle.

It is by breaking off the magnetic circuit, which is done near the battery, that certain marks are produced by means of a style or lever, which is depressed when the current is complete, and of the length of the interval of the breaking of this current, that signs of different appearances and lengths are produced and written out upon paper, making in themselves a hieroglyphic alphabet, readable to those who understand the key. This is the entire principle of electro-magnetic telegraphing.

It was formerly considered necessary to use a second wire to complete the magnetic circuit, now but one wire is used, and the earth is made to perform the office of the other.

The Cash-Book,

For cash entries only. The left hand, or debit side, for receipts; the right hand, or credit side, for payments. The Journal,

To arrange together in more convenient form for posting (or entering into the Ledger) the several entries in the Day-Book, Cash-Book, and such other books as may be kept.

The Ledger

Is to contain the final results of the preceding books, arranged under their proper heads. The left hand side, in individual accounts, shows all the party owes the right hand side, his payments, or other credits due him.

The Editor of this work recommends the fol

The House apparatus differs from the Morse only that by means of an instrument resembling a piano-forte, having a key for every letter, the operator, by pressing upon these keys, can reproduce these letters at the station at the other end of the

line, and have them printed in ordinary printing type upon strips of paper, instead of the characters employed on the Morse instrument to represent these letters.

The Bain telegraph differs from either of the two preceding methods, simply in employing the ends of the wires themselves, without the means of a magnet or style to press upon the paper, the paper being first chemically prepared; so that when the circuit of electricity is complete, the current passes through the paper from the point of the wires, and decomposes a chemical compound, with which the paper is prepared, and leaves the necessary marks upon it. There is not the same need for relay batteries upon this line as upon the

Double-entry book-keeping consists simply in this great principle that every debit must have a corresponding credit, and every credit a correspond ing debit. This simple rule is the whole theory of Double-entry book-keeping. For instance, you charge a person with $100 worth of merchandise. Merchandise must have a corresponding credit of $100 for producing this debit or charge; and the entry would read thus:- A. B. to Merchandise, Dr., $100; Merchandise, Cr. by A. B., $100; thus making an equalization in the two entries.

Two other short rules in book-keeping are important:

Debit, that which cost us value.
Credit, "

produces us value. Merchandize in the case above cited, produced the charge to the individual, hence merchandize gets credit, and the party who receives gets the charge or debit.

The Day-Book

Is used to enter all daily transactions, as its name imports, excepting those belonging to Cash.

ON PREPARING COPY AND MARKING PROOF.

Hints from a Typo.

As there are not a few who undertake to write

for newspapers and to "make books," who do not appear to know how to prepare their copy, the writer of this article, who knows how copy should be prepared, respectfully offers a few suggestions:

A sentence, composed of fine, well-chosen words, may be so marred by inaccurate punctuation and arrangement, as to seem to an ordinary reader but a senseless string of words. Now, it is the interest of an author, as well as his duty, not only to select the words, but to arrange and punctuate them so that his meaning may be readily perceived by any reader possessed of common sense. This duty should not be forced upon the composiIt is no part of a compositor's business to edit what he "sets up;" in fact, it is not generous, or even just, to expect him to lose time (which to him is bread) in "making sense" by punctuating, capitalizing, paragraphing, or otherwise arranging, his copy.

tor.

Copy should be written only on one side of each leaf, in a clear, legible hand, and, as far as possible, without erasures or interlineations; when these are unavoidable, they should be so marked as to leave no excuse for mistake. Proper names, technical or scientific terms, and all unusual words,

should be so written as to show each letter distinctly. If the author wish a word emphasized by Italics or SMALL CAPITALS, he should underscore it, with one line for the former, and two lines for the latter; three lines under a word indicate that it is to be in CAPITALS. It is always safer to indicate where paragraphs are to be commenced by prefixing to the first word the paragraph mark,¶. When a word is to have a capital initial letter, it is well to make three strokes under the letter, though this is unnecessary if the writer makes an unmistakable difference between his capitals and lower case or common letters. If cuts or engravings are to be inserted, they should all be ready before the copy is put in hand, and should be marked in just where the author wishes them inserted. If the work contain formulæ, algebraic problems, tables, or other peculiar matter, special care should be bestowed upon them, so as to have their arrangement clear to the compositor; it must be borne in mind that not every first-rate compositor understands the sciences and kindred subjects. The author should always make his commas, semi-colons, colons, periods, dashes, parentheses, etc., just where he wishes them to appear in print. If the work is to be set in different

sizes or styles of type, the copy should be marked accordingly. Poetry should always be properly indented by the author.

In short, copy should be, in all respects, prepared as it is intended to appear in print, so that the author need see no proof, or if he desire, for any reason, to see proofs, it may be unnecessary for him to make alterations. It should be borne in mind that the making of alterations is charged extra by the compositor, and, in proportion as they are numerous, they entail a heavy extra outlay on the part of the publisher.

It was proposed to give some rules for punctua tion, but to be reasonably exact in giving such rules would take up more space than such a work as this can spare; hence, I will only say that, as the object of punctuation is to make the meaning of the author clear to the reader, commas and other points should only be used where the sense would be obscure without them.

The following example of proof-marking, with the brief remarks appended, may be instructive to authors and others who are called upon to read proof, as well as interesting to the curious:

Caps

leads

CASTING TYPES.

WHILE there has been much diversity of opinion with respect to the name of the inventor (as well as the time of the invention) of Printing, there can be no question but that to PETER SCHEFFER of Gernsheim belongs the honor of originating the casting of metal letters, thus utilizing the art of arts.

He had learned from the world-renowned Guttembergs the art of cutting letters from wood. Not satisfied with this slow, tedious mode of making letters, he happily hit upon the expedient of cutting the characters each in a matrix; in this the letters might be cast, and thus many letters might be made in the same time that it had formerly taken, by the cutting method, to make each one.

by (this discovery.

The caption to an article is sometimes run in | before the first paragraph with a period and short dash,. (in which case Italics or SMALL CAPITALS are generally used); but usually it is put above the article, in the centre of the line, in capitals, as in the example, or in some appropriate head-letter. The marks above explain themselves, but, although, in my efforts to illustrate as many marks as possible, I have made the example dirtier than I should like to see the proof of any fellow-craftsman, I yet have been unable to show all the marks that are used in correcting proof. Two or three of the above marks need a word of explanation: If a word or line, from any cause, is crooked, draw a line above and below, and two horizontal, parallel lines in the margin.

If a sentence or more than four words be left out, make a carat where the omission occurs, and on the margin write-Out,-see copy.

When the proof-reader doubts the correctness of a word, phrase, or anything else, he encircles or underscores it, and in the margin writes Qr., with or without a suggested correction, encircled. Should the author adopt the suggestion, he draws a line across only the Qr.; if he rejects it, he crosses also the correction. When the author, not having the copy at hand, suspects a deviation

Faust was so pleased with Schoeffer's discovery, that he gave him his only daughter Christina in marriage.

Little did either anticipate the vast triumphs to be achieved through this dis

covery.

from copy, and wishes the copy literally followed,
he encircles or underscores the doubtful word or
phrase, and writes in the margin-Qr., see copy.
I might perhaps extend these remarks, but it is
impossible to mention every supposable correction
that can be made, and I think any author, with
the above example and remarks and the exercise
of his own common sense, should be able to mark
a proof intelligibly.

THE ART OF ROWING,
Requisites for a Perfect Stroke.

1. Taking the whole reach forward, and falling back gradually a little past the perpendicular, preserving the shoulders throughout square, and the chest developed at the end.

2. Catching the water and beginning the stroke with a full tension on the arms at the instant of contact.

3. A horizontal and dashing pull through the water immediately the blade is covered, without deepening in the space subsequently traversed.

4. Rapid recovery after feathering by an elastic motion of the body from the hips, the arms being thrown forward perfectly straight simultaneously with the body, and the forward motion of each ceasing at the same time.

5. Lastly, equability in all the actions, preserving full strength without harsh, jerking, isolated and uncompensated movements in any single part of the frame.

Faults in Rowing.

rower

1. Does not straighten both arms before him. 2. Keeps two convex wrists instead of the outside wrist flat.

3. Contrives to put his hands forward by a subsequent motion after the shoulders have attained their reach, which is getting the body forward without the arms.

4. Extends the arms without a corresponding bend on the part of the shoulders, which is getting the arms forward without the body.

5. Catches the water with unstraightened arms or arm, and a slackened tension as its consequence; thus time may be kept, but not stroke; keeping stroke always implying uniformity of work.

6. Hangs before dipping downwards to begin

the stroke.

7. Does not cover the blade up to the shoulder. 8. Rows round and deep in the middle, with hands high and blade still sunken after the first contact.

9. Curves his back forward or aft.

10. Keeps one shoulder higher than the other. 11. Jerks.

12. Doubles forward and bends over the oar at the feather, bringing the body up to the handle, and not the handle up to the body.

13. Strikes the water at an obtuse angle, or rows the first part in the air.

14. Cuts short the end, prematurely slackening the arms.

15. Shivers out the feather, commencing it too soon and bringing the blade into a plane with the water while work may yet be done; thus the oar leaves the water in perfect time, but stroke is not kept. This and No. 5 are the most subtle faults in rowing, and involve the science of shirking. 16. Rolls backward, with an inclination towards the inside or outside of the boat.

17. Turns his elbows at the feather instead of bringing them sharp past the flanks.

18. Keeps the head depressed between the shoulders instead of erect.

19. Looks out of the boat instead of straight before him. (This almost inevitably rolls the boat.) 20. Throws up the water instead of turning it well aft off the lower angle of the blade. A wave thus created is extremely annoying to the oar further aft; there should be no wave travelling astern, but an eddy containing two small circling

swirls.

MACADAMIZED ROADS.

Stone is to be procured in some form in almost every part of the country, and a road made of small broken stone to the depth of 10 inches, will be smooth, solid, and durable.

The size of stones for a road should be about that of a hen's egg. It must be in due proportion to the space occupied by a wheel of ordinary dimensions on a smooth level surface; this point of contact will be found to be longitudinally, about 1 inch; and every piece of stone put into a road, which exceeds 1 inch in any of its dimensions, is mischievous.

In repairing an old road no addition of materials is to be brought upon it, unless in any part it be found that there is not a quantity of clean stone equal to 10 inches in thickness.

The stone already in the road is to be loosened

When the large stones have been removed, the road is to be put in shape, and a rake employed to smooth the surface.

When the road is so prepared, the stones that have been broken by the side of the road are then to be carefully spread on it not to be laid on it in shovelsful, but scattered over the surface, one shovelful following another, and spreading over a considerable space.

has consolidated by use, the old hardened surface of the road is to be loosened with a pick, in order to make the fresh materials unite with the old.

When additional stone is wanted on a road that

Every road is to be made of broken stone, without mixture of earth, clay, chalk, or any other matter that will imbibe water and be affected with frost; nothing is to be laid on the clean stone on pretence of binding; broken stone will combine by its own angles into a smooth solid surface that cannot be affected by vicissitudes of weather, or displaced by the action of wheels, which will pass over without a jolt, and consequently without injury.

Flint makes an excellent road, if due attention be paid to the size; but, from want of that attention, many of the flint roads are rough, loose, and expensive.

Limestone, when properly prepared and applied, makes a smooth, solid road, and becomes consolidated sooner than any other material; but from its nature is not the most lasting.

To Manage Water-pipes in Winter. When the frost begins to set in, cover the water-pipes with hay or straw bands, twisted tight round them. Let the cisterns and water-butts be washed out occasionally; this will keep the water pure and fresh.

In pumping up water into the cistern for the water-closet, be very particular, in winter time. Let all the water be let out of the pipe when done; but if this is forgotten, and it should be frozen, take a small gimblet and bore a hole in the pipe, which will prevent its bursting. Put a peg into a little distance from the place where it is let off,

the hole when the water is let off.

To make an Eolian Harp.

make a box 5 or 6 inches deep, 7 or 8 inches wide, Of very thin cedar, pine, or other soft wood and of a length just equal to the width of the window in which it is to be placed. Across the top, near each end, glue a strip of wood half an inch high and a quarter of an inch thick, for bridges. Into the ends of the box insert wooden pins, like those of a violin, to wind the strings around, two pins in each end. Make a sound-hole in the middle of the top, and string the box with small catgut, or blue first-fiddle strings. Fastening one end of each string to a metallic pin in one end of the box, and, carrying it over the bridges, wind it around the turning-pin in the opposite end of the box. The ends of the box should be increased in thickness where the wooden pins enter, by a piece of wood glued upon the inside. Tune the strings in unison and place the box in the window. It is better to have four strings, as described, but a harp with a single string produces an exceedingly sweet melody of notes, which vary with the force of the wind.

To Cure Smoky Chimneys.

The common causes of smoky chimneys are either that the wind is too much let in above at the mouth of the shaft, or else that the smoke is stifled below. They may also proceed from there being too little room in the vent, particularly where several open into the same funnel. The situation of the house may likewise affect them, especially if backed by higher ground or higher buildings.

The best method of cure is to carry from the air a pipe under the floor and opening under the fire; or, when higher objects are the cause, to fix a movable cowl at the top of the chimney.

In regard to smoky chimneys, a few facts and cautions may be useful; and a very simple remedy may often render the calling in of masons and bricklayers unnecessary.

Observe that a northern aspect often produces a smoky chimney.

A single chimney is apter to smoke than when it forms part of a stack.

Straight funnels seldom draw well.

Large fire-places are apt to smoke, particularly when the aperture of the funnel does not correspond in size. For this a temporary remedy may be found in opening a door or window-a permanent cure by diminishing the lower aperture.

When a smoky chimney is so incorrigible as to require a constant admission of fresh air into the room, the best mode is to introduce a pipe, one of whose apertures shall be in the open air and the other under the grate; or openings may be made near the top of the apartment, if lofty, without any inconvenience even to persons sitting close by the fire.

This species of artificial ventilation will always be found necessary for comfort where gas is used internally, whether a fire is lighted or not.

Where a chimney only smokes when a fire is first lighted, this may be guarded against by allowing the fire to kindle gradually; or more promptly by laying any inflammable substance, such as shavings, on the top of the grate, the rapid combustion of which will warm the air in the chimney, and give it a tendency upwards, before any smoke is produced from the fire itself. If old stove-grates are apt to smoke, they may be improved by setting the stove further back. If that fails, contract the lower orifice.

In cottages, the shortness of the funnel or chimney may produce smoke; in which case the lower orifice must be contracted as small as possible by means of an upright register.

If a kitchen chimney overpowers that of the parlor, as is often the case in small houses, apply to each chimney a free admission of air, until the evil ceases.

When a chimney is filled with smoke, not of its own formation, but from the funnel next to it, an easy remedy offers, in covering each funnel with a conical top, or earthen crock, not cylindrical, but a frustum of a cone, by means of which the two openings are separated a few inches, and the cold air or the gust of wind no longer forces the smoke down with them.

If these remedies fail it will be generally found that the chimney only smokes when the wind is in a particular quarter, connected with the position of some higher building, or a hill, or a grove of trees. In such cases the common turncap, as made by tinmen and ironmongers, will generally be found fully adequate to the end proposed. A case bas occurred of curing a smoky chimney exposed to the northwest wind, and commanded by a lofty building on the southeast, by the following contrivance.

Another Method.

The gas pro luced by throwing a handful of flowers of sulphur on the burning coal, where a chimney is on fire, will immediately extinguish

the flames.

To Clean Furniture.

Be

Keep the paste or oil in a proper can or jar, that there may be no danger of upsetting when using it. Have two pieces of woollen cloth, one for rubbing it on, the other for rubbing it dry and polishing; also an old linen cloth to finish with, and a piece of smooth soft cork to rub out the stain. Use a brush if the paste be hard. Always dust the table well before the oil or paste is put on; and, if it should be stained, rub it with a damp sponge, and then with a dry cloth. If the stain does not disappear, rub it well with a cork or a brush the way the wood grows; for if rubbed cross-grained it will be sure to scratch it careful to keep the cork and brush free from dust and dirt. When the dust is cleaned off and the stains have been got out, put on the oil or paste, but not too much at a time; rub it well into the wood. If oil, be as quick as possible in rubbing it over the table, and then polish it with another woollen cloth. If wax, put a little bit on the woollen cloth, with the finger or a small stick; rub it well with this till the table has a high polish, then have another cloth to finish it with. Be very careful to have the edges of the table well cleaned, and the oil and wax well rubbed off.

The furniture which is not in constant use will not require to be oiled above once a week; it ought, however, to be dusted every day and well rubbed. Tables which are used daily must be well rubbed every morning, and great care should be taken to remove all spots from them, particularly ink. This can very easily be done, if not left to dry long, by putting on a little salt of lemons with the finger.

When cleaning tables or chairs, be careful to remove them into the middle of the room, or at a distance from the wall. If the sideboard or sidetable is fixed to the wall, be still more careful in cleaning it, and roll up the woollen cloth tight in the hand, and into a small compass.

To Clean Looking-glasses, Mirrors, etc.
If they should be hung so high that they cannot