THE YOUNG 
to $600, while the principle of constructing? one is 
so simple, that any boy with ordinary genius can 
construct one himself at a triflin*? expense. 
The above cut represents one of the cheap 
homemade kind. It contains every principle in 
which the more expensive ones are made, ex- 
cepting in two particulars— it is not self-regu- 
lating, and it has not the arrangement by which 
all the eggs can be turned at once. It requires 
very little care and attention and does its work 
well. 
Paul Gustave Dore. 
Gustave Dore, the famous painter and de- 
signer, died in Paris, Jan. 23rd. Paul Gustave 
D(3re was born in Strasburg in January, 1832, 
and received his early instruction in the lyce- 
ums of that city and of Bourg. Before he was 
twelve years old he had developed a wonderful 
facility with the pencil, and at a very eai^y age 
he contributed comic sketches to the Journal 
Pour Rive and other popular newspapers. His 
education was completed in Paris, and while 
still a schoolboy his work was recognized as 
giving more than ordinary promise. His first 
great work, however, was produced during the 
period of the Crimean war, and was illusti'ative 
of battle-scenes. He exhibited " Les Pins Sau 
vages," " Le Lendemain de I'Orage," " Les 
Deu^: Meres," and " La Bataille d'Alma," in 
185b; ftnd " La Bataille d'Inkermann," in 1857. 
Dore was, in fact, a precocious wonder. He 
could draw when a child, and when success 
came to him, it came with a rush. Before he 
was twenty-five he had illustrated " Kabelais" 
and the " Contes Drolatiques " of Balzac, and 
had given rein to his wild and and fantastical 
humor in a series of grotesque yet powerful 
drawings illustrative of the legend of the "Wan- 
dering Jew." In rapid succession follov/ed his 
illustrations of " Montaigne " (1857), Taine's 
"Voyage aux Pyrennes" (1859), Dante's 
"Divinia Commedia " (1861), Chateaubriand's 
"Atala " (1862), " Don Quixote " (1863), " Paradise 
Lost" (18651, the "Holy Bible" (1866), Tenny- 
son's "Idyls of the King " (1866-'67), and La 
Fontaine's " Fables " (1867). It is by his illus- 
trations that Dore's highest excellence as an 
artist will be recognized, and his " Don Quix- 
ote " and " Dante " w^ere magnificent efforts. 
Dore was a most versatile genius, and al 
though not as successful in color as in black 
and white, some of his figure pieces were of 
considerable merit. In addition to those already 
named, his most noticeable works in oil were 
the "Paolo and Francesca di Rimina;" the 
"Gambling-Hall at Ba dm Baden;" the " Neo- 
phyte" (1868); the "Triumph of Christianity;" 
SCIENTIST. 191 
and his most ambitious group, the "Christ 
Leaving the Prfetorium," an immense picture^ 
covering a canvas thirty by twenty feet, which 
was exhibited in London and elsewhere. Dore 
was a tireless and indefatigable worker, and is 
said to have executed not less than 50,000 de- 
signs. He had a gaUery of his own paintings in 
Paris, another in New York, and another in 
London, where his " Christ's Entry into Jerusa- 
lem," "The Flight into Egypt," "Spanish 
Peasants," " Mont Blanc " and other works- 
were shown. At tiie Paris Exposition in 1878^ 
he exhibited a colossal vase, ornamented with 
150 figures. One of his latest w^orks was a. 
sculptural group, " The Prize of Glory," a 
ycung hero dying beneath the kiss of glory. He- 
was decorated with the Cross of the Legion of 
Honor, Aug 15th, 1861. At the time of his death, 
he was engaged on a series of illustrations of 
Shakespeare, and among his latest labors must 
be included his Poe's " Raven," now in press.. 
He was a sculptor as well as a painter, and had 
just finished his monument to the elder Dumas, 
which is considered as one of the finest works of 
art produced in this century. M. Dore was. 
never married. 
Stieittifit Btfos, 
— Many persons are puzzled to understand 
what the terms fourpenny, sixpenny, tenpeniiy,. 
mean as applied to nails. Fourpenny means-, 
four pounds to the thousand nails, sixpenny six 
pounds to the thousand nails, and so on. It is am 
old English term, meaning at first tenpoun(J 
nails (the thousand being understood); but the- 
old Englishman clipped it to tenpenny, and from 
that it degenerated until penny was substituted 
for pounds. So when you ask for fourpennjr 
nowadays you want those which will weigh four 
pounds. When a thousand nails weigh less than? 
a pound they are called tacks, etc., and are reck- 
oned by ounces. 
— An English work gives the origin of th^ 
" Oak and Ash Tradition " as follows: If rhe oak 
gets into leaf before the ash, we may e.xpeet a 
fine and productive year; if tlie ash precedes the 
oak, we may anticipate a cold summer and un- 
productive autumn. In the years 1816, 'IT, '21, "23 
'28, '29, '30. '38, '40, '45. '50 and '59 the ash was in 
leaf a full month before the oak, ahd the autumns 
were unfavorable. In 1831, '33, '39, "53 and '60, the 
two species of trees came into leaf about the 
same time, and the years were not remarkable- 
either for plenty or the reverse. But in 1818, '19,. 
'20, '22, '24, '25, '26, '27. '33, '34, '35, '36, '38, '42, '46, '54,. 
'58 and '69, the oak shows its foliage several weeks- 
before the ash. and the summers of those years: 
wei'e dry and warm and the harvests abundant. 
