Burroughs\' Encyclopaedia of Astounding Facts and Useful Information, 1889 written by Barkham Burroughs

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BARKHAM

BURROUGHS' ENCYCLOPAEDIA

OF

ASTOUNDING FACTS

AND

USEFUL INFORMATION

1889

For Melba Conner

Universal Assistant and Treasure-House of Information to be Consulted
on Every Question That Arises in Everyday Life by Young and Old Alike!

Including: 521 Recipes * 236 Remedies * 150 Themes for Debate * How to
Be Handsome * Mother Shipton's Prophesy * The Cure for Baldness * How
to Distinguish Death * PLUS 20,000 Things Worth Knowing, and Much Much
More.

[Illustration: THE HIGHEST BUILDINGS IN THE WORLD.

1. An imaginary tower, 1000 feet high. 2. Cathedral at Cologne, 501
feet. 3. Pyramid of Cheops, 480 feet. 4. Strasbourg Cathedral, 468
feet. 5. St. Peter's, Rome, 457 feet. 6. Pyramid of Cephren, 454 feet.
7. St. Paul's, London, 365 feet. 8. Capitol at Washington, 287 feet.
9. Trinity Church, N.Y., 286 feet. 10. Bunker Hill Monument, 221 feet.
11. St. Marks, Philadelphia, 150 feet.]

CONTENTS

HOW POOR BOYS BECOME SUCCESSFUL MEN, 6

THE ART OF PENMANSHIP, 7

ORNAMENTAL PENMANSHIP, 18

HOW TO WRITE A BUSINESS LETTER, 19

ELEMENTS OF SUCCESS IN BUSINESS, 28

DETECTING COUNTERFEIT MONEY, 32

HOW TO ADVERTISE, 37

HOW TO BE HANDSOME, 39

MULTUM IN PARVO. (110 MISCELLANEOUS ITEMS), 41

HOUSEHOLD RECIPES, 71

HOW TO DESTROY HOUSEHOLD PESTS, 73

ACCIDENTS AND INJURIES (236 ITEMS), 75

THE FAMILY PHYSICIAN, 83

LANGUAGE OF FLOWERS, 93

MASTERPIECES OF ELOQUENCE, 94

SUNDRY BRIEF ITEMS OF INTEREST, 95

PHYSICIAN'S DIGESTION TABLE, 95

THEMES FOR DEBATE (150), 95

COOKERY RECIPES (521), 98

HOW TO COOK FISH, 106

HOW TO CHOOSE AND COOK GAME, 108

HOW TO MAKE ICE CREAMS, WATER ICES AND JELLIES, 109

HOW TO SELECT AND COOK MEATS, 111

HOW TO MAKE PIES, 113

HOW TO MAKE PRESERVES, 114

HOW TO BOIL, BAKE AND STEAM PUDDINGS, 116

HOW TO PUT UP PICKLES AND MAKE CATSUPS, 119

HOW TO ROAST, BROIL OR BOIL POULTRY, 121

SAUCES FOR MEATS AND FISH, 121

HOW TO MAKE SOUPS AND BROTH, 123

HOW TO COOK VEGETABLES, 125

HOW TO CALCULATE, 128

20,000 THINGS WORTH KNOWING (20,000 ITEMS), 130

* * * * *

[Illustration: How Poor Boys Become Successful Men]

HOW POOR BOYS BECOME SUCCESSFUL MEN.

You want some good advice. Rise early. Be abstemious. Be frugal.
Attend to your own business and never trust it to another. Be not
afraid to work, and diligently, too, with your own hands. Treat every
one with civility and respect. Good manners insure success. Accomplish
what you undertake. Decide, then persevere. Diligence and industry
overcome all difficulties. Never be mean--rather give than take the
odd shilling. Never postpone till to-morrow what can be done to-day.
Never anticipate wealth from any source but labor. Honesty is not only
the best policy, but the only policy. Commence at the first round and
keep climbing. Make your word as good as your bond. Seek knowledge to
plan, enterprise to execute, honesty to govern all. Never overtrade.
Never give too large credit. Time is money. Reckon the hours of
the day as so many dollars, the minutes as so many cents. Make few
promises. Keep your secrets. Live within your income. Sobriety above
all things. Luck is a word that does not apply to a successful
man. Not too much caution--slow but sure is the thing. The highest
monuments are built piece by piece. Step by step we mount the
pyramids. Be bold--be resolute when the clouds gather, difficulties
are surmounted by opposition. Self-confidence, self-reliance is your
capital. Your conscience the best monitor. Never be over-sanguine,
but do not underrate your own abilities. Don't be discouraged.
[Transcriber's Note: The original text reads 'Ninty=nine'] Ninety-nine
may say no, the [Transcriber's Note: The original text reads
'hundreth'] hundredth, yes: take off your coat: roll up your
sleeves, don't be afraid of manual labor! America is large enough for
all--strike out for the west. The best letter of introduction is your
own energy. Lean on yourself when you walk. Keep good company. Keep
out of politics unless you are sure to win--you are never sure to
win, so look out.

* * * * *

THE ART OF PENMANSHIP

_How to Become a Handsome Writer._

The subject of the importance of good writing is as broad as its
use. Reaching out in every direction, and pervading every corner of
civilized society, from the humblest up to the highest employments,
it is a servant of man, second only in importance to that of speech
itself. In the world of business its value is seen, from the simplest
record or memorandum, up to the parchment which conveys a kingdom.
Without it, the wheels of commerce could not move a single hour. At
night it has recorded the transactions of the Bank of England during
the day; of London; of the whole world.

Through the art of writing, the deeds of men live after them, and
we may surround ourselves with the companionship of philosophers,
scientists, historians, discoverers and poets; and their discoveries,
and reasonings and imaginings become ours. In the amenities of social
life, through the medium of the pen, heart speaks to heart, though
ocean rolls between. Thoughts of tenderness and affection live when
we are gone, and words and deeds of kindness are not preserved by
monuments alone. What fountains of grief or joy have been opened in
the hearts of those who have read the records of the pen! The pen
has recorded the rapturous emotions of love reciprocated. The pen has
written the message of sadness which has covered life's pilgrimage
with gloom. The pen has traced the record of noble and useful lives,
spent in humanity's cause. The songs of the poet, the beautiful tints
of his imagination, the flights of the orator in the realms of fancy,
and the facts of history, would all perish as the dew of morning,
without this noble art of writing.

As a means of livelihood, there is perhaps no other department of
education which affords such universal and profitable employment, as
writing. From the mere copyist, up to the practical accountant, and
onward into that department of penmanship designated as a fine art,
the remuneration is always very ample, considering the time and effort
required in its acquisition.

Teachers, editors, farmers, doctors and all persons should possess a
practical and substantial knowledge of writing, and should be ready
with the pen. Business men must of course be ready writers, and hence,
in a treatise on business, designed for the education and advancement
of the youth of the country, it seems eminently fitting to first make
the way clear to a plain, practical handwriting. Neatness and accuracy
should characterize the hand-writing of every one. Botch-work and
bungling are inexcusable, as well in writing as in the transaction
of business. No person has a right to cause a tinge of shame to their
correspondent, by sending a letter addressed in a stupid and awkward
manner, nor to consume the time of another in deciphering the
illegible hooks and scrawls of a message. Every one should have the
ambition to _write_ respectably as well as to _appear_ respectable on
any occasion.

MATERIALS USED IN WRITING.

Having a suitable desk or table, arranged with reference to light, in
order to learn to write, it is necessary to be provided with proper
materials. Writing materials abundant and so cheap in these times that
no excuse is afforded for using an inferior or worthless quality. The
materials consist of _Pens, Ink_ and _Paper_.

PENS.

Steel pens are considered the best. Gold pens have the advantage of
always producing the same quality of writing, while steel pens, new or
old, produce finer or courser lines. Notwithstanding this advantage in
favor of the gold pen, steel pens adhere to the paper, and produce a
better line. The pen should be adapted to the hand of the writer. Some
persons require a coarse pen, and some fine. Elastic pens in the hand
of one writer may produce the best results, while a less flexible pen
may suit the hand of others best. Pens are manufactured of almost an
infinite grade and quality, in order to suit the requirements of all.
About the only rule that can be given in selecting pens, is to write a
few lines, or a page, with each of the pens on trial, and then compare
the writing. If it be shaded too heavily, select a less flexible pen,
if the hair lines are too delicate, select a coarser pen.

INK.

Black ink is always preferable. That which is free from sediment and
flows well, should be selected. Use an inkstand with broad base as
being less liable to upset. With persons in learning to write it is
perhaps best to have a quality of ink which is perfectly black when
put on the paper, in order that they may see the results of their
labor at once. Business men and accountants prefer a fluid ink,
however, which, although not black at first, continues to grow black,
and becomes a very bright and durable black, notwithstanding the
action of light and heat. Avoid the use of fancy colored inks,
especially the more gaudy, such as blue, red or green, in writing all
documents which you desire to command attention and respect.

PAPER.

There are almost as many grades of paper to be found in the stationery
stores, as there are of pens. For practicing penmanship, nothing is
more suitable than foolscap, which may be easily sewed into book-form,
with cover of some different color, and thus serves every requirement.
The paper should have a medium surface, neither rough and coarse, or
too fine and glazed. Have a few extra sheets beside the writing book,
for the purpose of practicing the movement exercises and testing the
pens. Be provided at all times with a large-sized blotter, and when
writing, keep this under the hand. Do not attempt to write with a
single sheet of paper on a bare table or desk; there should be many
sheets of paper underneath, in order to make an elastic surface.

STUDY WITH PRACTICE.

Aimless, indifferent, or careless practice, never made a good writer,
and never will. In order to succeed in this, as in other things, there
must be will and determination to succeed, and then persevering and
studious effort. Study the models until their forms are fixed in the
mind.

[Illustration: Study gives form]

No one can execute that which he does not clearly conceive. The artist
must first see the picture on the white canvas, before he can paint
it, and the sculptor must be able to see in the rough and uninviting
stone, the outlines of the beautiful image which he is to carve. In
writing, a clear idea of the formation of the different letters,
and their various proportions, must become familiar by proper study,
examination and analysis. Study precedes practice. It is, of course,
not necessary, nor even well, to undertake the mastery of all the
forms in writing, by study, until some have been executed. It is
best that each form should, as it is taken up, be first measured and
analyzed and then practiced at once.

[Illustration: Practice gives grace]

It is the act which crowns the thought. After study, careful and
earnest practice can hardly fail to make a good writer of any one.
Some persons secure a good style of penmanship with less labor than
others, and attain to the elegant, and beautiful formation. But it
is only fair to presume that no greater diversity of talent exists
in this direction than in the study of other things. All do not learn
arithmetic or history with like ease, but no one will assert that all
who will, may not learn arithmetic or history. And so, all who will
put forth the proper exertion in study and practice may learn to write
a good business style, while many of the number will attain to the
elegant. The conditions of practice in writing are, _Positions of the
Body, Position of the Hand an Pen, and Movement_.

[Illustration: Position of the Body]

POSITION of the BODY.

Sitting squarely fronting the desk, with feet placed firmly on the
floor, and both arms on the desk, is, as a rule, the best position for
practice in writing, or correspondence. The right side, may, however,
be placed to the desk, with the right arm, only, resting thereon, and
some persons prefer this position. Avoid crossing the feet, sitting
on the edge of the chair, or assuming any careless attitude. The body
should be erect, but slightly inclined forward, in order that the eye
may follow the pen closely. This position will never cause curvature
of the spine. The body should never be allowed to settle down into a
cramped and unhealthy position with the face almost on the paper.
By thus compressing the lungs and the digestive organs they are soon
injured, and if the stomach lose its tone, the eyesight is impaired,
there is such a close sympathy between these organs of the body. The
practice of writing should be, and properly is, a healthful exercise,
and injurious effects result only from improper positions of the body,
at variance with good writing as well as good health.

When wearied by sitting and the effort at writing, lay aside paper and
pen, arise from the chair, and take exercise and rest by walking about
the room or in the open air. Then come back refreshed, and vigorous,
for the practice of writing.

In general, the light should fall on the paper from the left side,
thus enabling a writer to clearly see the ruled lines, and render the
labor of writing easier and more rapid. If one writes left-handed, of
course He will sit so as to get his light from the right side, or over
the right shoulder.

SHADING.

As a beautifier of the handwriting, by causing a diversity of light
and shade among the letters, shading has its value; but in the
practical handwriting for business purposes, it should, as a rule, be
classed with flourishing, and left out. Requiring time and effort, to
bring down the shades on letters, business men, clerks and telegraph
operators find a uniform and regular style of writing, without shade,
the best, even though it may not be as artistic.

UNIFORMITY.

A most necessary element in all good penmanship is uniformity. In the
slope of the letters and words which form a written page there must be
no disagreement. With the letters leaning about in various directions,
writing is presented in its most ridiculous phase. Uniformity in the
size of letters, throughout the written page; how greatly it conduces
to neatness and beauty. All letters resting on the line, and being of
uniform hight, adds another condition towards good penmanship. This
essential element of uniformity may be watched and guarded closely and
cultivated by any learner in his own practice.

SLANT OF WRITING.

As said before, it matters not so much what angle of slant is adopted
in writing, provided it is made uniform, and all letters are required
to conform exactly to the same slant. Writing which is nearest
perpendicular is most legible, and hence is preferable for business
purposes. The printed page of perpendicular type; how legible it is.
But for ease in execution, writing should slant. It follows then that
writing should be made as perpendicular as is consistent with ease of
execution. The slant of writing should not be less than sixty degrees
from the horizontal.

[Illustration: Position of Body While Standing]

POSITION of the BODY WHILE STANDING.

The practical book-keeper finds it advantageous to do his writing
while standing; in fact, where large books are in use, and entries are
to be transferred from one to another, the work of the book-keeper
can hardly be performed otherwise than in a standing position, free to
move about his office. Cumbrous books necessitate a different position
at the desk, from that of the correspondent, or the learner. Since
large books must lie squarely on the desk, the writer, in order to
have the proper position thereto, must place his left side to the
desk. The body thus has the same relative position, as if squarely
fronting the desk with the paper or book placed diagonally. In other
words, the writer, while engaged in writing in large, heavy books,
must adjust himself to the position of the books. Should the
correspondent or bill clerk perform his work while standing, he would
assume the same as the sitting position--squarely fronting the desk.

LEGIBILITY.

Children, in learning to write, are apt to sacrifice all other
good qualities of beauty, regularity and grace, for the quality of
legibility, or plainness. With some older persons this legibility is
considered of very little consequence, and is obscured by all manner
of meaningless flourishes, in which the writer takes pride. In the
estimation of the business man, writing is injured by shades and
flourishes. The demand of this practical time is a plain, regular
style that can be written rapidly, and read at a glance.

[Illustration]

FINISH.

By a careless habit, which many persons allow themselves to fall into,
they omit to attend to the little things in writing. Good penmanship
consists in attention to small details, each letter and word correctly
formed, makes the beautiful page. By inattention to the finish of one
letter, or part of a letter of a word, oftentimes the word is mistaken
for another, and the entire meaning changed. Particular attention
should be devoted to the finish of some of the small letters, such as
the dotting of the i, or crossing of the t. Blending the lines which
form a loop, often causes the letter to become a stem, similar to the
t or d, or an e to become an i. In many of the capital letters, the
want of attention to the finish of the letter converts it into another
or destroys its identity, such, for instance, as the small cross on
the capital F, which, if left off, makes the letter a T. The W often
becomes an M, or _vice versa_, and the I a J. Mistakes in this regard
are more the result of carelessness and inattention than anything
else. By careful practice a person will acquire a settled habit of
giving a perfection to each letter and word, and then it is no longer
a task, but is performed naturally and almost involuntarily, while
the difference in the appearance of the written page, as well as the
exactness and certainty of the meaning conveyed, may be incalculably
great.

While practicing penmanship, or while endeavoring to correct a
careless habit in writing, the mind must be upon the work in hand,
and not be allowed to wander into fields of thought or imagination;
by thus confining the attention, any defect or imperfection in the
formation of letters may be soon mastered or corrected.

[Illustration: Position of the Hand and Pen.]

POSITION OF THE HAND AND PEN

The right arm should rest on the muscles just below the elbow, and
wrist should be elevated so as to move free from paper and desk. Turn
the hand so that the wrist will be level, or so that the back of
the hand will face the ceiling. The third and fourth fingers turned
slightly underneath the hand will form its support, and the pen, these
fingers and the muscles of the arm near the elbow form the only points
of rest or contact on desk or paper. The pen should point over the
shoulder, and should be so held that it may pass the root of the nail
on the second finger, and about opposite the knuckle of the hand. An
unnatural or cramped position of the hand, like such a position of the
body, is opposed to good writing, and after many years of observation
and study, all teachers concur in the one position above described,
as being the most natural, easy and graceful for the writer, and as
affording the most freedom and strength of movement.

Avoid getting the hand in an awkward or tiresome position, rolling it
over to one side, or drawing the fore finger up into a crooked shape.
Hold the pen firmly but lightly, not with a grip as if it were about
to escape from service. Do not say, "I can't" hold the pen correctly.
Habits are strong, but will may be stronger, and if you hold the pen
correctly in spite of old habits, for a few lessons, all will then
be easy, and the pen will take its position at each writing exercise,
with no effort whatever. Everything being in readiness, and the proper
position assumed, the writer must now obtain complete control of hand
and pen, by practice in movement.

[Illustration]

RAPIDITY.

One of the essentials of a practical business style of writing must be
rapidity of execution, in order to be of any avail in the necessities
and press of a business position. The demand of the merchant is, that
his clerk shall not only write well, but with rapidity, and the
volume of letters to be answered, bills to be made out, or items to be
entered on the books of account, compel the clerk to move the pen
with dexterity and rapidity, as well as skill. While there is great
diversity among persons as to the rapidity as well as quality of their
penmanship, some being naturally more alert and active than others,
yet by securing the proper position of the hand, arm and body,
favorable to ease and freedom of execution, then following this with
careful practice in movement, until all the varied motions necessary
in writing are thoroughly mastered, the person may, with suitable
effort, acquire the quality of rapidity in writing, gradually
increasing the speed until the desired rate is accomplished.

BEAUTY.

In the handwriting, as in other things, beauty is largely a matter
of taste and education. To the man of business, the most beautiful
handwriting is that which is written with ease, and expresses plainly
and neatly the thought of the writer. To the professional or artistic
taste, while such a hand may be regarded as "a good business hand," it
would not be considered as beautiful, because it conforms to no rule
as to proportion, shade, and spacing. In the practical art of writing,
it is not very unfair to measure its beauty largely by its utility.

[Illustration: Movement]

MOVEMENT.

Finger movement, or writing by the use of the fingers as the motive
power, is entirely inadequate to the requirements of business. The
fingers soon become tired, the hand becomes cramped, the writing shows
a labored effort, and lacks freedom and ease so essential to good
business penmanship. In the office or counting-room, where the clerk
or correspondent must write from morning till night, the finger
movement of course cannot be used.

What is designated by writing teachers as the Whole Arm, or Free Arm
Movement, in which the arm is lifted free from the desk and completes
the letter with a dash or a swoop, is necessary in ornamental
penmanship and flourishing, but has no place in a practical style of
business writing. The man of business would hardly stop, in the midst
of his writing, to raise the arm, and execute an "off-hand capital,"
while customers are waiting.

But adapted to the practical purposes of business is the _muscular
movement_, in which the arm moves freely on the muscles below the
elbow, and in cases of precise writing, or in the more extended
letters, such as f, is assisted by a slight movement of the fingers.
The third and fourth fingers may remain stationary on the paper,
and be moved from time to time, or between words, where careful and
accurate writing is desired, but in more rapid, free and flowing
penmanship, the fingers should slide over the paper.

MOVEMENT EXERCISES.

Having everything in readiness, the student may begin his practice on
movement exercises, the object of which is to obtain control of the
pen and train the muscles. Circular motion, as in the capital O,
reversed as in the capital W, vertical movement as in f, long s and
capital J, and the lateral motion as in small letters, must each be
practiced in order to be able to move the pen in any direction, up,
down, or sidewise.

The simplest exercise in movement. Try to follow around in the same
line as nearly as possible. Do not shade.

[Illustration: O O 8]

The same exercise, only with ovals drawn out and and slight shade
added to each down stroke.

[Illustration: (coils)]

Sides of ovals should be even, forming as nearly a straight line as
possible. Reverse the movement as in third form.

[Illustration: (coils)]

The following three exercises embrace the essential elements in capital
letters, and should at first be made large for purposes of movement:

Capital O, down strokes parallel.

[Illustration: O Q O Q O O Q O Q O]

Capital stem. Down stroke a compound curve. Shade low. Finish with a
dash.

[Illustration: d d d d d d d d d]

Capital loop. Curves parallel. First curve highest.

[Illustration: O O O O (double overlapping loops)]

Having succeeded to some extent with these exercises, the learner may
next undertake the vertical movement. In order to obtain the lateral
movement, which enables one to write long words without lifting the
pen, and move easily and gracefully across the page, exercises like
the following should be practiced:

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