Understanding Business 11th Edition Nickels Solutions Manual

Download the full version and explore a variety of test banks
or solution manuals at https://testbankdeal.com
Understanding Business 11th Edition Nickels
Solutions Manual
_____ Follow the link below to get your download now _____
https://testbankdeal.com/product/understanding-
business-11th-edition-nickels-solutions-manual/
Access testbankdeal.com now to download high-quality
test banks or solution manuals

We have selected some products that you may be interested in
Click the link to download now or visit testbankdeal.com
for more options!.
Understanding Business 11th Edition Nickels Test Bank
https://testbankdeal.com/product/understanding-business-11th-edition-
nickels-test-bank/
Understanding Business 10th Edition Nickels Solutions
Manual
nickels-solutions-manual/
Understanding Business 12th Edition Nickels Solutions
Manual
nickels-solutions-manual/
Differential Equations and Linear Algebra 2nd Edition
Farlow Solutions Manual
https://testbankdeal.com/product/differential-equations-and-linear-
algebra-2nd-edition-farlow-solutions-manual/

Essentials of Psychology 6th Edition Bernstein Test Bank
https://testbankdeal.com/product/essentials-of-psychology-6th-edition-
bernstein-test-bank/
Advanced Accounting 11th Edition Fischer Test Bank
https://testbankdeal.com/product/advanced-accounting-11th-edition-
fischer-test-bank/
Medical Surgical Nursing 8th Edition Lewis Test Bank
https://testbankdeal.com/product/medical-surgical-nursing-8th-edition-
lewis-test-bank/
Modern Management Concepts and Skills 12th Edition Certo
Test Bank
https://testbankdeal.com/product/modern-management-concepts-and-
skills-12th-edition-certo-test-bank/
Marketing Canadian 4th Edition Grewal Test Bank
https://testbankdeal.com/product/marketing-canadian-4th-edition-
grewal-test-bank/

Taxation of Business Entities 2016 Edition 7th Edition
Spilker Test Bank
https://testbankdeal.com/product/taxation-of-business-
entities-2016-edition-7th-edition-spilker-test-bank/

Chapter 08 – Structuring Organizations for Today’s Challenges
8-1
chapter.
Structuring Organizations
for Today’s Challenges
what’s new in this edition 8.3
brief chapter outline and learning objectives 8.5
lecture outline and lecture notes 8.7
PowerPoint slide notes 8.51
lecture enhancers 8.76
lecture enhancer 8-1: SMITH’S FOLLY 8.76
lecture enhancer 8-2: STARBUCKS REINVENTS TO STAY RELEVANT 8.77
lecture enhancer 8-3: INCREASING COLLABORATION WITH BOSSLESS OFFICES 8.77
lecture enhancer 8-4: CHOOSING THE RIGHT SPAN OF CONTROL 8.78
lecture enhancer 8-5: THE MANHATTAN PROJECT 8.79
lecture enhancer 8-6: GREATER EFFICIENCY, FEWER JOBS 8.79
lecture enhancer 8-7: A NEW KIND OF OUTSOURCING 8.80
lecture enhancer 8-8: PIVOTING FROM ONE BUSINESS PLAN TO ANOTHER 8.81
lecture enhancer 8-9: SETTING UP SHOP ON FACEBOOK 8.81
lecture enhancer 8-10: EMPLOYER ICEBREAKING RITUALS 8.82
8

8-2
critical thinking exercises 8.83
critical thinking exercise 8-1: BUILDING AN ORGANIZATION CHART 8.83
critical thinking exercise 8-2: HOW DO ORGANIZATIONS GROUP 8.86
ACTIVITIES?
bonus cases 8.88
bonus case 8-1: STRUCTURAL COLLAPSE: RESPONSIBILITY AND 8.88
ACCOUNTABILITY
bonus case 8-2: CREATING CROSS-FUNCTIONAL TEAMS 8.90
bonus case 8-3: OFFICE ALUMNI 8.92

8-3
what’s new in
this edition
additions to the 11th
edition:
 Getting to Know Jenna Lyons of J. Crew
 Name That Company: UPS
 Spotlight on Small Business: Cutting Back While Cutting Costs
 Adapting to Change: When Open Communication is Should Not Be So Open
 Video Case: Whole Foods
revisions to the 11th
edition:
 Making Ethical Decisions: Would You Sacrifice Safety for Profits?
 Statistical data and examples throughout the chapter were updated to reflect current information.
deletions from the 10th
edition:
 Getting to Know Ursula Burns
 Name That Company: K2 Skis
 Spotlight on Small Business
 Social Media in Business

8-4

8-5
brief chapter outline
and learning objectives
CHAPTER 8
STRUCTURING ORGANIZATIONS FOR TODAY’S CHAL-
LENGES
 Getting to Know JENNA LYONS, of J. Crew
 LEARNING OBJECTIVE 1
Outline the basic principles of organization management.
I. EVERYONE’S REORGANIZING
A. Building an Organization from the Bottom Up
Compare the organizational theories of Fayol and Weber.
II. THE CHANGING ORGANIZATION
A. The Development of Organization Design
B. Turning Principles into Organization Design
Evaluate the choices managers make in structuring organizations.
III. DECISIONS TO MAKE IN STRUCTURING ORGANIZATIONS
A. Choosing Centralized or Decentralized Authority
B. Choosing the Appropriate Span of Control
C. Choosing between Tall and Flat Organization Structures
D. Weighing the Advantages and Disadvantages of Departmentalization

8-6
Contrast the various organizational models.
IV. ORGANIZATIONAL MODELS
A. Line Organizations
B. Line-and-Staff Organizations
C. Matrix-Style Organizations
D. Cross-Functional Self-Managed Teams
E. Going Beyond Organizational Boundaries
Identify the benefits of interfirm cooperation and coordination.
V. MANAGING THE INTERACTIONS AMONG FIRMS
A. Transparency and Virtual Organizations
B. Benchmarking and Core Competencies
VI. ADAPTING TO CHANGE
A. Restructuring for Empowerment
Explain how organizational culture can help businesses adapt to
change.
VII. CREATING A CHANGE-ORIENTED ORGANIZATIONAL CULTURE
A. Managing the Informal Organization
VIII. SUMMARY

8-7
Getting to Know JENNA LYONS of J. CREW
Jenna Lyons combined her fierce fashion sense and compassionate management
style to transform J. Crew into a chic clothing company.
 learning objective 1
Outline the basic principles of organization management.
I. EVERYONE’S REORGANIZING
A. MANY COMPANIES ARE REORGANIZING.
1. The text discusses how Procter & Gamble has
reorganized to become an innovation leader.
2. Other firms are declining—banks, automobile
companies, and home-building companies.
3. ADJUSTING TO CHANGING MARKETS is a
normal function in a capitalist economy.
4. The key to success is to REMAIN FLEXIBLE and
to adapt to the changing times.
5. The text uses the example of Starbucks expand-
ing its menu, then reducing it when customers
were unhappy with the smell.
B. BUILDING AN ORGANIZATION FROM THE BOT-
TOM UP
1. ORGANIZING THE BUSINESS
a. The text uses the example of starting a lawn-
This company maintains strict written rules and decision guidelines. Those rules enable the
firm to deliver packages quickly because employees don't have to pause to make decisions –
procedures are clearly spelled out for them. Name that company.
(Students should read the chapter before guessing the company’s name: UPS.)

8-8
PPT 8-1
Chapter Title
Copyright © 2015 by the McGraw-Hill Companies, Inc. All rights reserved.
McGraw-Hill/Irwin
Structuring
Organizations for
Today’s
Challenges
CHAPTER 8
PPT 8-2
Learning Objectives
LEARNING OBJECTIVES
8-2
1. Outline the basic principles of organization management.
2. Compare the organizational theories of Fayol and Weber.
3. Evaluate the choices managers make in structuring
organizations.
4. Contrast the various organizational models.
5. Identify the benefits of inter-firm cooperation and
coordination.
6. Explain how organizational culture can help businesses
adapt to change.
PPT 8-3
Jenna Lyons
JENNA LYONS
J. Crew
8-3
• Joined J. Crew in 1990 as a junior
designer.
• Worked her way up the ladder by
emphasizing her commitment to
quality.
• Her management style is
compassionate and understanding.
PPT 8-4
Name That Company
NAME that COMPANY
8-4
This company maintains strict written rules and
decision guidelines. Those rules enable the firm
to deliver packages quickly because employees
don’t have to pause to make decisions –
procedures are clearly spelled out for them.
Name that company!
(See complete PowerPoint slide notes on page 8.51.)
PPT 8-5
Reorganization Is for Everyone
REORGANIZATION is for
EVERYONE
8-5
• Adjusting to changing markets is normal in capitalist
economies.
• Companies must go back to basic organizational
principles and firm up the foundation.
LO 8-1
• Many companies are reorganizing, especially those
in decline. Including:
- Auto makers
- Homebuilders
- Banks
lecture enhancer 8-1
SMITH’S FOLLY
A lesson in accountability from Kenneth Olsen, founder of Digi-
tal Equipment Corporation (now part of Hewlett-Packard). (See
the complete lecture enhancer on page 8.76 of this manual.)
STARBUCKS REINVENTS TO STAY
RELEVANT
Some of Starbucks’ recent actions caused some to wonder if it’s
a dying company. (See the complete lecture enhancer on page
8.77 of this manual.)

8-9
mowing business.
b. A first step is ORGANIZING (or STRUC-
TURING), deciding what work needs to be
done and then dividing up tasks (called DI-
VISION OF LABOR).
c. Dividing tasks into smaller jobs is called JOB
SPECIALIZATION.
2. As the business grows, the entrepreneur will hire
more workers and will need to organize them in-
to teams or departments.
a. The process of setting up departments to do
specialized tasks is called DEPARTMEN-
TALIZATION.
b. Finally, you need to ASSIGN AUTHORITY
AND RESPONSIBILITY to people so you
can control the process.
3. STRUCTURING AN ORGANIZATION consists
of:
a. Devising a division of labor
b. Setting up teams or departments to do spe-
cific tasks
c. Assigning responsibility and authority to
people
4. An ORGANIZATION CHART shows relation-
ships—who is accountable for tasks and who
reports to whom.
5. The entrepreneur must monitor the environment
to see what competitors are doing and what cus-

8-10
INCREASING COLLABORATION
WITH BOSSLESS OFFICES
In this company, tasks are determined and divided by the em-
ployees. (See the complete lecture enhancer on page 8.77 of
this manual.)
bonus case 8-1
STRUCTURAL COLLAPSE:
RESPONSIBILITY AND
ACCOUNTABILITY
Because of engineering errors and poor planning, the skywalks
of a newly constructed hotel collapsed, killing over 100 peo-
ple. (See the complete case, discussion questions, and suggest-
ed answers beginning on page 8.88 of this manual.)
PPT 8-6
Structuring an Organization
STRUCTURING an ORGANIZATION
8-6
LO 8-1
• Create a division of labor
• Set up teams or departments
• Allocate resources
• Assign tasks
• Establish procedures
• Adjust to new realities
critical thinking
exercise 8-1
BUILDING AN ORGANIZATION
CHART
This exercise gives a list of employees and asks students to
create an organization chart showing a possible chain of com-
mand. (See the complete exercise on page 8.83 of this manu-
al.)
MAKING
ethical
decisions
PPT 8-7
Would You
Sacrifice Safety
for Profits?
WOULD YOU SACRIFICE
SAFETY for PROFITS?
• What do you do?
• Save money with less
safety precautions?
• What are the
consequences?
8-7
You own a lawn-mowing business and are aware of
the hazards in the job. But you’ve seen other
companies save money by eliminating safety
equipment. You’d also like to make more money.

8-11
tomers are demanding.
Compare the organizational theories of Fayol and Weber.
II. THE CHANGING ORGANIZATION
A. Never before has business changed so quickly, in-
cluding major changes in the business environment.
1. Managing change has become a critical mana-
gerial function.
2. In the past, organizations were designed to
make management easier rather than to please
the customer.
3. This reliance on rules is called BUREAUCRA-
CY.
B. THE DEVELOPMENT OF ORGANIZATION DE-
SIGN
1. Until the 20th century, organizations were small
and organized simply.
a. After the introduction of MASS PRODUC-
TION, business organizations grew complex
and difficult to manage.
b. The bigger the plant, the more efficient pro-
duction became.
c. ECONOMIES OF SCALE describes the sit-
uation in which companies can reduce their
production costs if they can purchase raw
materials in bulk; the average cost of goods

8-12
PPT 8-8
The Changing Organization
THE CHANGING ORGANIZATION
8-8
LO 8-2
• Often change in organizations is due to evolving
business environments:
- More global competition
- Declining economy
- Faster technological change
- Pressure to protect the environment
• Customer expectations have also changed --
Consumers today want high-quality products with
fast, friendly service and all at low cost.
PPT 8-9
How Much Changes in a Decade?
HOW MUCH CHANGES
in a DECADE?
8-9
What? 2000 2010
Amount of cell phone use 34% 89%
Number of active blogs 12,000 141,000,000
Amount of reality shows 4 320
Daily emails sent 12 billion 247 billion
Number of hours spent online per week 2.7 18
Number of daily newspapers 1,480 1,302
Number of daily letters mailed 207 billion 175 billion
Amount of books published 282,242 1,052,803
iTunes downloads 0 10 billion
Percentage of obese Americans 26% 34%
LO 8-2
Source: Fast Company, www.fastcompany.com, accessed March 2014.
PPT 8-10
Production Changed Organization
Design
• Mass production of goods led to complexities in
organizing businesses.
PRODUCTION CHANGED
ORGANZIATION DESIGN
8-10
LO 8-2
• Economies of Scale --
Companies can reduce
their production costs by
purchasing raw materials
in bulk.
• The average cost of
goods decreases as
production levels rise.

8-13
goes down as production levels increase.
2. The text discusses two major ORGANIZATION
THEORISTS and their publications.
a. HENRI FAYOL (Administration Industrielle
et Generale in France in 1919)
b. MAX WEBER (The Theory of Social and
Economic Organizations in Germany about
the same time)
3. FAYOL’S PRINCIPLES OF ORGANIZATION
a. Fayol introduced principles such as:
i. UNITY OF COMMAND: Each worker is
to report to only one boss.
ii. HIERARCHY OF AUTHORITY: One
should know to whom to report.
iii. DIVISION OF LABOR: Functions should
be divided into areas of specialization.
iv. SUBORDINATION OF INDIVIDUAL IN-
TERESTS TO THE GENERAL INTER-
ESTS: Goals of the organization should
be considered more important than per-
sonal goals.
v. AUTHORITY: Managers should give or-
ders and expect them to be carried out.
vi. DEGREE OF CENTRALIZATION: The
amount of decision-making power vested
in top management should vary by cir-
cumstances.

8-14
PPT 8-11
Fayol’s Principles
FAYOL’S PRINCIPLES
• Degree of
centralization
• Clear communication
channels
• Order
• Equity
• Esprit de corps
8-11
LO 8-2
• Unity of command
• Hierarchy of authority
• Division of labor
• Subordination of
individual interests to
the general interest
• Authority

8-15
vii. CLEAR COMMUNICATION CHAN-
NELS
viii. ORDER: Materials and people should be
placed in the proper location.
ix. EQUITY: A manager should treat em-
ployees and peers with respect and jus-
tice.
x. ESPRIT DE CORPS: A spirit of pride
and loyalty should be created.
b. For years, these principles have been linked
to management.
c. This led to RIGID ORGANIZATIONS.
d. The text uses the example of consumer dis-
satisfaction with government-run DMVs.
4. MAX WEBER AND ORGANIZATIONAL THE-
ORY
a. Max Weber’s book The Theory of Social and
Economic Organizations appeared in the
U.S. in the 1940s.
b. Weber promoted the PYRAMID-SHAPED
ORGANIZATION STRUCTURE.
i. Weber put great trust in managers and
felt the less decision making employees
had to do, the better.
ii. This approach makes sense when deal-
ing with uneducated and untrained
workers.

8-16
PPT 8-12
Organizations Based on Fayol’s
Principles
ORGANIZATIONS BASED on
FAYOL’S PRINCIPLES
8-12
LO 8-2
• Organizations in which
employees have no more
than one boss; lines of
authority are clear.
• Rigid organizations that often
don’t respond to customers
quickly.
PPT 8-13
Weber’s Principles
WEBER’S PRINCIPLES
8-13
LO 8-2
• Employees just need to do what
they’re told.
• In addition to Fayol’s principles,
Weber emphasized:
- Job descriptions
- Written rules, decision guidelines
and detailed records
- Consistent procedures,
regulations and policies
- Stafﬁng and promotion based on
qualiﬁcations

8-17
c. WEBER’S PRINCIPLES were similar to
Fayol’s with the addition of:
i. Job descriptions
ii. Written rules, decision guidelines, and
detailed records
iii. Consistent procedures, regulations, and
policies
iv. Staffing and promotions based on quali-
fications
d. Weber believed large organizations need
clearly established rules and guidelines, or
BUREAUCRACY.
e. Weber’s emphasis on bureaucracy eventual-
ly led to RIGID POLICIES AND PROCE-
DURES.
f. Some organizations today, such as UPS, still
thrive on rules and guidelines.
g. In other organizations, bureaucracy has not
been effective.
C. TURNING PRINCIPLES INTO ORGANIZATION
DESIGN
1. Managers used the concepts of Fayol and We-
ber to design organizations so that managers
could CONTROL WORKERS.
a. A HIERARCHY is a system in which one
person is at the top of the organization and
there is a ranked or sequential ordering from
the top down of managers who are respon-
sible to that person.

8-18
PPT 8-14
Hierarchies and Command
HIERARCHIES and COMMAND
8-14
LO 8-2
• When following Fayol and Weber, managers
control workers.
• Hierarchy -- A system in which one person is at the
top of an organization and there is a ranked or
sequential ordering from the top down.
• Chain of Command -- The line of authority that
moves from the top of the hierarchy to the lowest
level.

8-19
b. The CHAIN OF COMMAND is the line of au-
thority that moves from the top of a hierarchy
to the lowest level.
c. The ORGANIZATION CHART is a visual
device that shows relationships among peo-
ple and divides work.
d. Some organizations have a dozen LAYERS
OF MANAGEMENT between the chief ex-
ecutive officer and the lowest-level employ-
ee.
2. BUREAUCRACY is an organization with many
layers of managers who set rules and regula-
tions and oversee all decisions.
3. In a bureaucracy, decision making may take too
long to satisfy customers.
4. To make customers happy, firms are reorganiz-
ing to give employees more power to make de-
cisions on their own, known as EMPOWER-
MENT.
Evaluate the choices managers make in structuring organizations.
III. DECISIONS TO MAKE IN STRUCTURING OR-
GANIZATIONS
A. CHOOSING CENTRALIZED OR DECENTRALIZED
AUTHORITY
1. CENTRALIZED AUTHORITY is an organizing
structure in which decision-making authority is

8-20
PPT 8-15
Organizational Charts
ORGANIZATIONAL CHARTS
7-15
LO 8-2
• Organization Chart --
A visual device that
shows relationships
among people and
divides the organization’s
work; it shows who
reports to whom.
PPT 8-16
Typical Organization Chart
TEXT FIGURE 8.1
Typical Organization Chart
TYPICAL ORGANIZATION CHART
8-16
LO 8-2
PPT 8-17
Bureaucratic Organizations
BUREAUCRATIC ORGANIZATIONS
8-17
LO 8-2
• Bureaucracy -- An organization with many layers of
managers who set rules and regulations and oversee
all decisions.
• It can take weeks or months to have information
passed down to lower-level employees.
• Bureaucracies can annoy customers.
test
prep
PPT 8-18
Progress Assessment
TEST PREP
8-18
• What do the terms division of labor and job
specialization mean?
• What are the principles of management outlined
by Fayol?
• What did Weber add to the principles of Fayol?

8-21
maintained at the top level of management at
the company’s headquarters (text examples:
McDonald’s and Target).
2. However, today’s rapidly changing markets tend
to favor decentralization and delegation of au-
thority.
3. DECENTRALIZED AUTHORITY is an organi-
zation structure in which decision-making au-
thority is delegated to lower-level managers
more familiar with local conditions than head-
quarters management could be (text example:
Macy’s).
B. CHOOSING THE APPROPRIATE SPAN OF CON-
TROL
1. SPAN OF CONTROL refers to the optimum
number of subordinates a manager supervises
or should supervise.
a. At lower levels, a WIDE SPAN OF CON-
TROL is possible.
b. The appropriate span narrows at higher lev-
els of the organization.
2. The span of control VARIES WIDELY.
a. The trend now is to expand the span of con-
trol as organizations get rid of middle man-
agers.
b. The span of control can be increased

8-22
PPT 8-19
Centralization or Decentralization? • Centralized Authority -- When decision-making is
concentrated at the top level of management.
CENTRALIZATION or
DECENTRALIZATION?
8-19
LO 8-3
• Decentralized
Authority -- When
decision-making is
delegated to lower-level
managers and employees
more familiar with local
conditions than
headquarters is.
PPT 8-20
Centralization and Decentralization
TEXT FIGURE 8.2
Advantages and Disadvantages of
Centralized versus Decentralized
Management
CENTRALIZATION and
DECENTRALIZATION
8-20
LO 8-3
PPT 8-21
Span of Control
SPAN of CONTROL
8-21
LO 8-3
• Span of Control -- The optimal number of
subordinates a manager supervises or should
supervise.
• When work is standardized, broad spans of
control are possible.
• Appropriate span narrows at higher levels of the
organization.
• The trend today is to reduce middle managers
and hire better low-level employees.
CHOOSING THE RIGHT SPAN OF
CONTROL
Several factors affect the number of people a manager can ef-
fectively supervise. (See the complete lecture enhancer on
page 8.78 of this manual.)

8-23
through empowerment and the use of tech-
nology.
C. CHOOSING BETWEEN TALL AND FLAT ORGAN-
IZATION STRUCTURES
1. A TALL ORGANIZATION STRUCTURE is one
in which the pyramidal organization chart would
be quite tall because of the various levels of
management.
a. Tall organizations have MANY LAYERS OF
MANAGEMENT.
b. Communication is distorted as it flows
through these layers.
c. The cost of all these managers and support
people is high.
2. Because of these problems, organizations have
moved toward flatter organizations.
3. A FLAT ORGANIZATION STRUCTURE is an
organization structure that has few layers of
management and a broad span of control.
a. These structures are much MORE RE-
SPONSIVE TO CUSTOMER DEMANDS
because decision-making power may be
given to lower-level employees.
b. The FLATTER organizations became, the
larger the SPAN OF CONTROL became.
D. WEIGHING THE ADVANTAGES AND DISAD-
VANTAGES OF DEPARTMENTALIZATION

8-24
PPT 8-22
Organizational Structures
ORGANIZATIONAL STRUCTURES
8-22
LO 8-3
• Structures determine the way the company
responds to employee and customer needs.
• Tall Organization Structures -- An organizational
structure in which the organization chart would be tall
because of the various levels of management.
• Flat Organization Structures -- An organizational
structure that has few layers of management and a
broad span of control.
PPT 8-23
Flat Organizational Structure
TEXT FIGURE 8.3
A Flat Organization Structure
FLAT ORGANIZATIONAL
STRUCTURE
8-23
LO 8-3
PPT 8-24
Advantages and Disadvantages of
the Different Spans of Control
TEXT FIGURE 8.4
Advantages and Disadvantages of a
Narrow versus a Broad Span of Control
ADVANTAGES and DISADVANTAGES of
the DIFFERENT SPANS of CONTROL
8-24
LO 8-3

8-25
1. DEPARTMENTALIZATION is dividing organiza-
tional functions into separate units.
a. The traditional way to departmentalize is by
function.
b. FUNCTIONAL STRUCTURE is the grouping
of workers into departments based on simi-
lar skills, expertise, or resource use.
2. ADVANTAGES of functional departmentaliza-
tion:
a. Workers can specialize and work together
more effectively.
b. It may save costs (efficiency).
c. Skills can be developed in depth.
d. Resources can be centralized to allow for
economies of scale.
e. There is good coordination within the func-
tion.
3. DISADVANTAGES of departmentalization:
a. Departments may not communicate well.
b. Employees identify with the department ra-
ther than the total organization.
c. Response to external change is slow.
d. Employees may not be trained in different
management responsibilities and become
narrow specialists.
e. People in the same department tend to think
alike (engage in GROUPTHINK) and need

8-26
PPT 8-25
Departmentalization
DEPARTMENTALIZATION
8-25
LO 8-3
• Departmentalization -- Divides organizations into
separate units.
• Workers are grouped by skills and expertise to
specialize their skills.
PPT 8-26
Advantages of Departmentalization
ADVANTAGES of
DEPARTMENTALIZATION
8-26
LO 8-3
1) Employees develop skills and progress within a
department as they master skills.
2) The company can achieve economies of scale.
3) Employees can coordinate work within the
function and top management can easily direct
activities.
PPT 8-27
Disadvantages of
Departmentalization
DISADVANTAGES of
DEPARTMENTALIZATION
8-27
LO 8-3
1) Departments may not communicate well.
2) Employees may identify with their department’s
goals rather than the organization’s.
3) The company’s response to external changes may
be slow.
4) People may not be trained to take different
managerial responsibilities, instead they become
specialists.
5) Department members may engage in groupthink and
may need outside input.

8-27
outside input to become creative.
4. LOOKING AT ALTERNATIVE WAYS TO DE-
PARTMENTALIZE
a. By PRODUCT (A book publisher might have
departments for trade books, textbooks, and
technical books.)
b. By CUSTOMER GROUP (A pharmaceutical
company might have separate departments
that focus on the consumer market, on hos-
pitals, and on doctors.)
c. By GEOGRAPHIC LOCATIONS (There may
be operations in Asia, Europe, and South
America.)
d. By PROCESS (A firm that makes leather
coats may have one department to cut the
leather, another to dye it, and a third to sew
the coat.)
e. Some firms use a COMBINATION of de-
partmental techniques, called HYBRID
FORMS.
Contrast the various organizational models.
IV. ORGANIZATIONAL MODELS
A. There are several ways to structure an organization
to accomplish goals.
1. Traditional organizational models are giving way
to new structures, although there may be prob-
lems.
2. Some newer models violate traditional man-
agement principles.

8-28
PPT 8-28
Ways to Departmentalize
TEXT FIGURE 8.5
WAYS to DEPARTMENTALIZE
8-28
LO 8-3
PPT 8-29
WAYS to DEPARTMENTALIZE
8-29
LO 8-3
critical thinking
exercise 8-2
HOW DO ORGANIZATIONS GROUP
ACTIVITIES?
This exercise asks students to search the websites of several
organizations to identify the primary method of departmentali-
zation. (See the complete exercise on page 8.86 of this manu-
al.)
test
prep
PPT 8-30
Progress Assessment
TEST PREP
8-30
• Why are organizations becoming ﬂatter?
• What are some reasons for having a narrow span
of control in an organization?
• What are the advantages and disadvantages of
departmentalization?
• What are the various ways a ﬁrm can
departmentalize?

8-29
B. LINE ORGANIZATIONS
1. A LINE ORGANIZATION is an organization that
has direct two-way lines of responsibility, author-
ity, and communication running from the top to
the bottom of the organization, with all people
reporting to only one supervisor (i.e., the military
and small businesses).
a. The line organization has no specialists for
management support.
b. Line managers can issue orders and enforce
discipline.
2. DISADVANTAGES IN LARGE ORGANIZA-
TIONS:
a. Too inflexible
b. Few specialists to advise line employees
c. Lines of communication too long
d. Unable to handle complex decisions
3. Such organizations usually become line-and-
staff organizations.
C. LINE-AND-STAFF ORGANIZATIONS
1. Line-and-staff organizations have both line and
staff personnel.
2. LINE PERSONNEL are employees who are part
of the chain of command that is responsible for
achieving organizational goals.
3. STAFF PERSONNEL are employees who ad-
vise and assist line personnel in meeting their
goals.
4. Line personnel have FORMAL AUTHORITY to

8-30
PPT 8-31
Four Ways to Structure an
Organization
FOUR WAYS to STRUCTURE an
ORGANIZATION
8-31
LO 8-4
1. Line Organizations
2. Line-and-Staff
Organizations
3. Matrix-Style
Organizations
4. Cross-Functional Self-
Managed Teams
PPT 8-32
Line Organizations
LINE ORGANIZATIONS
8-32
LO 8-4
• Line Organization -- Has direct two-way lines of
responsibility, authority and communication running
from the top to the bottom. Everyone reports to one
supervisor.
• There are no specialists, legal, accounting,
human resources or information technology
departments.
• Line managers issue orders, enforce discipline
and adjust the organization to changes.
THE MANHATTAN PROJECT
To build the world’s first atomic bomb, the military turned to
General Leslie Groves, known for his administrative ability,
organizational skill, and decisiveness. (See the complete lec-
ture enhancer on page 8.79 of this manual.)
GREATER EFFICIENCY, FEWER
JOBS
Line jobs are not always safe. As Campbell’s employees saw,
with greater efficiency there was less need for large staffs.
(See the complete lecture enhancer on page 8.79 of this manu-
al.)
PPT 8-33
Line Personnel
LINE PERSONNEL
8-33
LO 8-4
• Line Personnel -- Workers responsible for directly
achieving organizational goals, and include
production, distribution and marketing employees.
• Line personnel have authority to make policy
decisions.
PPT 8-34
Staff Personnel
STAFF PERSONNEL
8-34
LO 8-4
• Staff Personnel -- Employees who advise and assist
line personnel in meeting their goals, and include
marketing research, legal advising, IT and human
resource employees.
PPT 8-35
Sample Line-and-Staff
Organization
TEXT FIGURE 8.6
A Sample Line-and-Staff Organization
SAMPLE LINE-and-STAFF
ORGANIZATION
8-35
LO 8-4

Other documents randomly have
different content

FOR KING OR COUNTRY.
A Story of the Revolution.
BY JAMES BARNES.
CHAPTER XVIII.
A CONFUSION OF IDENTITY.
After Abel Norton had left the young man whom he supposed to be his friend George
Frothingham, the spy, he hurried over to the westward toward the rocky shore of the
Hudson. Abel had never seen the "other half," and did not know that George had a twin
brother who might pass for his reflection in a mirror, even to the curve of his little finger-
tip.
The scheme for the capture of General Howe or his brother had fallen through
completely, and the two gentlemen, for some reason, had been more wary than usual
about accepting promiscuous invitations. Abel's only wish now was to assist in relieving
George (now that his wound enabled him some freedom) from the danger of being a
"mysterious prisoner." He knew that if the latter's identity were disclosed he would get
short shrift and no favor.
"Was it not lucky I met him? They must fare well at the sugar-house," Abel said to
himself, as he plunged down a steep bank into a rocky hollow.
There was a cluster of huts nestling opposite. Wooden screens from which in the spring
and fall the fish-nets were hung to dry surrounded them. A few boats were hauled
bottom upward before the door, and the icy water of the Hudson lapped the shore of a
small inlet only a stone's throw distant. As he reached the door of one of the larger
hovels he was seized with a violent attack of coughing, and in the midst of it the door
was opened, and a rough, bearded man stood there holding a flickering candle, which he
was shielding with his knotty fingers.
"What in the name of glory have we here?" he asked.
"Jonas, good friend, it is I," spluttered Abel. "There's work for you and Roger to-night,
and money in it."
"Well," replied the man, speaking in a deep drawling tone, "come inside."
He held the door open, and Mr. Norton essayed to pass him. A coughing fit more violent
than the first struck him like an internal hurricane, and, being close to the candle, the
blast from his lips extinguished the light in an instant.
"You must have swallowed the north wind," said the fisherman. "Roger, lad, get a light."

There was a movement in the further corner, and a young man raking together the
embers of the fire in the large stone fireplace. A blaze broke out, and the candle was
soon relit, throwing dancing shadows over the beams strung with gill and seine nets.
Piles of floats were littered about, a sheaf of oars and a few sturgeon lances stood in the
corner. The floor was covered with shavings.
"And what is the business on a night like this?" spoke up the younger man, whom the
other addressed as "Roger."
"You are to row a silent man across the river."
"It's a bad night to cross," growled the older fisherman, looking out through the little
window at the snow-flakes sifting through the ray of light.
"There's gold for you in the venture," coughed Abel Norton, who had regained his
composure partly, but was wheezing badly. He shook the water from the shoulders of his
great coat, and dove into a capacious pocket. "This will be doubled if you succeed," he
said, putting two gold pieces on the edge of a sawhorse.
"What time and where, Mr. Norton?" said the younger man, more respectfully.
"Be at Striker's wharf at eleven o'clock. A tall young man will hail you. Ask no questions,
but put him on the other side. He may add something to this himself."
"Will we try it, lad?" put in the older fisherman.
"Aye," was the response; "we have butted the tide at a worse hour for good reason."
A minute more Abel was outside and climbing the bank; he skirted through the vacant
fields, and again was amidst the houses. The effect of his illness was apparent, his steps
were rather faltering, and it was ten o'clock when he reached Broadway. He turned down
the lane, and stopped before the brick house in which Mr. Anderson had once held his
school. He knocked on the door, and a lanky servant girl admitted him. "I would see your
master at once," said Abel, as he passed on into the study.
Mr. Anderson was seated at the end of the long table, his great horn spectacles giving
him an expression of constant surprise. A green shade shielded his eyes from the glare of
a bright lamp. "Gadzooks!" he exclaimed. "Are you not taking risks, out on such a night
as this?"
"There are larger risks often taken," responded the older man, throwing himself back in a
chair and pulling at his neckerchief. "I am going to break a rule, for the matter is urgent.
We must talk despite the embargo laid on certain subjects of conversation. Listen. Our
young friend has escaped. Number Four has broken out."
"I did not know it was to be to-night," said Mr. Anderson. "Are you sure? I was at the
prison this afternoon, and saw no signal. You remember, if everything was ready, he was
to place two crusts of bread outside the door of his cell. Only one was there. That meant
to-morrow."
"Nevertheless, I saw him and talked with him not two hours agone," answered Abel.
"The boat—" began the schoolmaster, excitedly.

"They will meet him at Striker's wharf at eleven o'clock. The last patrol goes down at half
past ten."
"You have done good work; but one more question, and then, we will resume the rules.
How was he dressed?"
"In the uniform of a British officer," answered Abel.
"Whew!" whistled Mr. Anderson. "There may be some mistake."
"No chance of it," said Abel. "I talked with him."
Mr. Anderson had arisen and taken off his spectacles. He reached down from a hook a
fine fur-lined coat, and was stretching it across his shoulders. "You had best home and to
bed, good friend," he said. "We'll say no more upon the subject. It's a fine night."
"Aye, for in-doors," coughed Abel Norton; and both conspirators passed out into the cold
air. They parted on the door-step. It had stopped snowing.
A wise plan for plotters to follow is that of never referring, even amongst themselves, by
word of mouth to the matter they wish kept secret. If each receives his instructions from
one source, and acts accordingly, there is a better chance for success and less danger of
detection.
The friends of American liberty that had remained banded together in the city for the
purpose of supplying Washington with information had adopted this wise plan. Their
orders were received from Number One, who was none other than that trusted servant of
the King, Rivington, printer by special appointment to his Majesty. This worthy had come
to the patriot cause early in the fall. But he was the last man to suspect.
The conspirators were seldom or never seen in one another's company, and some were
not even supposed to know the others. The action and discoveries of each, however,
were made understood by their system of cipher correspondence. As an instance of the
relation, the captain and lieutenant (Rivington and Anderson) were supposed to be on
terms of bitter enmity.
The latter was now making all haste to gain the lower part of town. A suspicion had
seized him that perhaps everything was not right. When he came to the City Arms he
hurried into the coffee-room.
A young officer with a deep bass voice was singing a song full of sighs and apostrophes
to some distant fair one.
Mr. Anderson slid into an empty chair and joined in the noise and applause that followed
the musical effort. He then turned to his neighbor.
"Ah, Captain Markham," he said, "have you seen our handsome young friend, Lieutenant
Frothingham, to-night?"
"I was talking to him less than an hour ago," replied the Captain, who, strange to say,
was not in his cups. "He was to return, I take it, from what he said."
Hardly had bespoken the words when the subject of them entered. William's face wore a
preoccupied expression, and seeing one of the inn servants, he beckoned him to one

side. Mr. Anderson caught the gesture, and noticed that the servant had followed the
Lieutenant into the hallway.
If by chance he could have seen what occurred he would have been surprised, for, after a
short conversation, the servant departed with three gold pieces clinking in his palm. He
had then made his way to the stables and aroused one of the tall young grooms. From
the stables he had walked to William's lodgings with a complete suit of the groom's
clothing over his arm. It comprised a short jacket and leather gaiters like those worn by
the young prisoner at the sugar-house, a good costume for facing the snow.
William entered the room a second time, and seeing Mr. Anderson, dragged a chair
across and sat down close to him.
The little schoolmaster drew a secret from a simple nature with as much delight as a
keen terrier would draw a badger from his hiding-place.
"What do you think has happened?" he inquired, to see how much the young man knew.
"Concerning what?" answered William, on his guard.
"Concerning the person uppermost in your mind," returned the schoolmaster.
"I hope nothing ill," was William's anxious interruption.
"No, no, perhaps not ill. 'Twas good you warned me."
"It has caused me many sleepless hours," said William. "Let us draw apart, for I must
talk freely with you."
They pushed back their chairs, and sought a deserted corner by the open fireplace.
"As a lad," remarked Mr. Anderson, "your brother was not prone to waste words. You are
like him. Talk quickly."
"I am betwixt two fires," said the young man—"my duty and my affections, Mr. Anderson.
You know me. I love my brother as I love my life, but I serve my—"
"King," suggested the schoolmaster.
"King," repeated William, wondering why he had found it so difficult to say country, as he
had intended. "I would die to save my brother's life, I think most honestly," went on the
young Lieutenant. "I would that he was free, but I cannot, any more than you, connive at
the escape of a prisoner who might bear important news to the enemy. There is nothing
wrong in feigning to know naught of his existence, but to aid in his escape I could not.
Therefore I told you, and left the matter in your hands, knowing your interest. You think
not harshly of me? Pray think how you would feel were you in my position. I feel
sometime as if I were not young at all, as if the separation from the brother who is in my
heart had aged me far beyond my years, so deeply do I feel it."
"You said that you could trust me with his welfare. Now, prithee, what has brought the
subject up in this new light?" asked Schoolmaster Anderson. "Remember that should it be
known who he was, and the authorities should find out what a dangerous person had
been amongst them, his life would not be worth the dregs in that wine-glass."
William shuddered. "There's a plot to aid in his escape."

"That I know well," returned the schoolmaster. "If it were frustrated and he kept safe,
you would rejoice—hey?"
"'Twould be my duty," returned William.
"Have you aught against the calling of a spy?" inquired Schoolmaster Anderson.
William reflected. "If it were base to be one," he replied, "my brother George would have
been far from it, that I promise you. A spy risks his life to serve his king—"
"Or country," put in Mr. Anderson. "Ay, he is usually a brave, fearless man, and should not
be condemned. He can harm no one but his enemy."
"The stake he plays for is his life," continued William.
"Now the one who spoke to you to-night—" said Mr. Anderson, as if carrying on a train of
thought of his own.
"Spoke to me, sir? I said naught concerning that," answered the young man, hastily.
"If he had knowledge who you were—"
"But he mistook me," again interrupted William. "What are you driving at? To whom do
you refer?"
"His name has slipped me," replied the schoolmaster. "You may be able to jog my
memory. I saw you talking with him a short while ago. I can find out easily."
"No; listen," said William. And then he told of his meeting with Abel Norton, and the
conversation in the doorway, omitting, however, entirely the reference to the boat.
When he had finished Mr. Anderson replied. "This is interesting news to me," he said;
"but it was not to this strange person that I referred. It was to your neighbor at the
table, Captain—what's his name?—over there, who had been talking to you before you
left. So that was an adventure on the street? What are you going to do?"
William saw that he had been trapped into telling what he had better, perhaps, have kept
quiet. "I have been ordered to the forces at the north," he said, confused.
"Indeed?" replied Schoolmaster Anderson. "Success to you. I judged that you were not a
kind to idle in tavern parlors, or your regiment one to grow stale in barracks."
"But I am going alone," said William, entrapped again.
"Ah!" said the schoolmaster; "much better, mayhap; changes are oft for the best." A roar
of laughter from the table attracted his attention. "Come, we are missing all the gayety,"
he said. And slipping his arm through William's, he strolled up and joined the group, who
were listening to a red-faced adjutant relating a story of being lost in an Irish bog.
When William looked around a moment or so later the schoolmaster had disappeared.
He had slipped away unnoticed, and his nimble feet were flying up the road. He swung
about the corner into Vine Street. The sentry at the door of the prison was fast asleep,
his heavy head resting on his folded arms. The schoolmaster ducked adroitly underneath
him and opened the door; he crossed the court-yard to the prison entrance, and pulled

the bell. There was a stirring within, and the jailer stood there unsteadily, half asleep,
with a blanket thrown about his shoulders.
"What want you now?" he asked.
"The prisoner on the second floor," said Schoolmaster Anderson. "His Lordship would
have him examined. Know you whether he has a birth-mark on his cheek?"
"I don't know or care," answered the jailer.
"'Tis to decide a wager," said the little man, clicking his heels together, "and if he has not
one, half of it is for yourself. You remember the inspection the other day?"
"Ay," said the jailer. "Is the bet for a large amount?"
"Wait until you hear," laughed the schoolmaster. "I saw it plainly. Come, let us up, I say."
But now the jailer took a sudden turn. "I would not have him disturbed. I have a kindly
feeling for the lad."
"What, turning soft-hearted?" answered the schoolmaster, who had already pushed half
up the stairway. He picked up a lantern from the wall.
"Leave the poor lad alone," said the jailer, gruffly.
By this time the sound of Mr. Anderson's heels was echoing down the corridor. He held
the lantern above his head, and a look of astonishment spread over his features.
He retraced his steps to where the jailer stood, leaning against the wall, his hands
outstretched for support.
"You may save your pity and your solicitude," said Mr. Anderson, banging up the lantern.
"There will be some reckoning made for this condition of affairs to-night."
"What? What?" stammered the jailer.
"Mark what I say," went on the schoolmaster, looking the other squarely in the face with
his twinkling ferretlike eyes. "Your prisoner has escaped. You careless sluggard!"
Of course all this requires an explanation.
It had been a momentous day for the prisoner in the little cell. The signal, as agreed
upon in another cipher letter which had been smuggled in to him, was this: If the bars
were ready to be misplaced he would put two crusts of bread outside the doorway of his
cell; if for any reason the time should be postponed, only one would be placed on the
flagging. Some one on an ostensible visit to another part of the jail would be on the
lookout for this simple sign. It happened that just before this visit was paid, the under
jailer, unseen, swept away one of the crusts of bread, so the signal appeared to read for
the following night.
The bars, however, were ready to be removed. It would take but a slight exertion to
make a hole large enough for him to draw his body through. But how to escape from the
door below or to pass the sentry at the gateway?
When the second jailer appeared early in the evening, George stopped him and handed
him five golden guineas. "Have a feast at my expense," he said. "Share it with the people

here who have been so good to me; to-day is my birthday." (This was a fact, and, for
that reason, William's as well.) "Listen, also; go you to Fraunce's Tavern and buy four
bottles of the best Lone Star Madeira. Present them to the head prison-keeper with the
compliments of an officer. Pretend you do not know from whom they come. He might not
accept them from a prisoner in his care."
Probably the man had never held so much gold in the grasp of his dirty fingers before.
He fairly grovelled. "Lord bless you, sir, leave me to do the lying," he said.
George's last generous offer had almost proved his undoing, for shortly after dark he had
heard the sounds of carousing and some merriment from the jailer's quarters. The sentry
at the head of the stairs had disappeared, and the sound of the file biting away the last
remaining bits of steel would have been audible were it not for the clamor below. He was
about to push the loosened iron out when a wheezy voice humming a snatch of a song
was heard coming down the corridor. It was the head jailer.
"Stone walls do not a prison make, nor iron bars a cage,"
he chanted thickly. "I can be generous as well as other folk. I am not a hard man. My
guest of honor must drink with me." In an instant he was before the doorway. "Here's a
good health to you, my unknown friend. Long live the King!" With that the jailer wavered
unsteadily and tossed off a glass of Madeira.
George feared that he was about to be discovered, and pretended sleep; but this was all
the visit amounted to, for soon he heard the heavy footsteps lumber down the stairway,
still protesting that it was not "a flint heart."
Now was the time. George pushed the bars gently, and they came off without much
trouble. He laid them on the quilt, and drew himself through the aperture, then he
tiptoed carefully down the steps.
A ray of light from a room to the right showed that the door was partly ajar. He looked
inside. The jailer was fast asleep. Before him on the table wore three empty bottles of
Madeira. A heavy military cloak hung from a peg at one side, and a huge three-cornered
hat above it. George throw the cloak about his shoulders and placed the hat upon his
head. It came down over his ears. He drew the bolt of the big front door and stepped out
under the stars—for it had ceased snowing—and into the court-yard. The only entrance
was guarded by a man leaning on his musket.
How to pass him was the question. But as the young fugitive drew nearer he perceived
that the tall soldier was fast asleep. He was leaning on one side of the door with his foot
propped against a post on the other. His leg made a barrier.
Making his body as small as possible, George essayed to stoop under the outstretched
leg; but his shoulder jostled the sentry, and he awoke. George recognized the ex-
corporal.
"Well, well, McCune," he said, shaking the man roughly; "asleep at your post, man! It will
never do!"
The sentry drew himself up as best he could, and his musket snapped to a present.
"Pardon me, Lieutenant," he said. "Do not report me, or I will get the lash." The poor

fellow trembled as he spoke.
"Let it not occur again," said George, "and I will see."
"May the saints bless you, sir!" said the sentry thickly, as he watched the figure of his
supposed officer disappearing about the corner. It was at this moment that Anderson and
William were holding their talk at the tavern.
At eleven o'clock a small boat jumped about under the rafters at the end of Striker's
wharf. A man with a boat-hook held it securely against the pier head.
"'Tis time he were coming," he said to another behind.
IN AN INSTANT THE BOAT SWEPT OUT INTO THE
SWIRLING TIDE.
At that moment a soft hail was heard, and a young man bent over the edge of the
timbers. In an instant he had lowered himself into the boat, the oars were manned, and
it had swept out into the swirling tide of the river.
Hardly had it disappeared when another figure of the same size and general appearance
came on a quick walk to the water's edge. He hailed softly, looking under the pier.
There was no answer, or no boat in sight. The cloaked figure then turned about and
hurried back to the eastward.
Had something gone amiss?
[to be continued.]

MAKING THE FIRE IN THE
LAST SCENE OF "DIE
WALKÜRE."
Calciums, Cloud-machine,
Lycopodium Torch, Red
MYSTERIES OF STAGE SCENERY.
BY W. J. HENDERSON.
You have taken off your overcoat and made yourself as comfortable as possible in an
angular little folding-chair that never was intended to give any human being a minute's
comfort. The orchestra has crashed through the last measures of the overture. The
footlights are turned up; the auditorium lights are turned down; the curtain rises. You see
a beautiful valley, winding away among very purple mountains till it loses itself in the
crimson of the glowing sunset. The sky is as luminous as if it were nature itself, and you
are almost tempted to believe that the rear wall of the theatre has been removed, and
that you are looking out at something real. Presently you notice a few soft fleecy clouds
drifting across the sky. The crimson fades gradually, and the pale gray of a brief twilight
follows. The sky grows darker and darker, and presently you see the twinkle of a single
star, then another and another. And now a gentle greenish glow begins to pervade the
scene. It increases in power till the stage is flooded with the bright refulgence of a
summer moon. The whole thing is beautifully managed, and is most realistic.
But after a time the moonlight fades out, and leaves
behind it a threatening gloom. A dull distant peal of
thunder proclaims the approach of a storm. There is a
flash of lightning. The storm breaks. Peal upon peal of
crashing thunder rends the sky. The wind howls and
shrieks, and the sharp cut of the driving rain is
distinctly heard. The curtain falls at the end of the act,
and you rub your eyes and wonder if you have been
dreaming or have really seen these things on a wooden
stage.
The next act shows a scene in the forest, and as the
sunlight filters through the rustling leaves, the dancing
shadows on rock and trunk are plainly seen. Again the
scene changes. This time it is a fire. The stage is filled
with flames and smoke and the crash of falling timbers.
You are almost tempted to believe that the house is
really afire. But the same old curtain comes down at
the end, and only a strong smell of powder reminds
you of what you have seen. In the last act of this
surprising play the hero and heroine, converted into
disembodied spirits, go to the heavenly regions on a
winged horse; and you see them, glowing with
supernatural light, go flying across the deep blue sky.
You leave the theatre in a state of wonder.

Fire, and Steam-box in
Operation.
How is it all done?
Of course I have been imagining a play in which many
different effects were combined; but nevertheless you
have seen these illusions, though not all in the same play.
Spectral appearances are often managed nowadays with a stereopticon. For instance, in
Siegfried there is a scene in the forest in which the music of the opera is supposed to
depict the rustling of the leaves. In order to heighten the effect of this scene it is
customary to produce the illusion of the flickering of the sunlight caused by the waving
foliage. This is done by means of movable glasses, something like the arrangement of a
kaleidoscope without the variety of colors. The white light is thrown through these
moving glasses, and the audience sees the waving shadows, as if caused by sunlight
filtering through wind-shaken leaves. In the last act of Die Walküre the sisters of
Brünnhilde are heard coming through the air to their customary place of assembly to the
wild measures of the "Ride of the Valkyries." It is also necessary that they should be
seen. This necessity is fulfilled by the stereopticon. A picture of a Valkyr maid mounted
on her steed is thrown on the dark drop-curtain at the back of the stage, and is made to
pass from the upper left-hand corner down to the lower right-hand corner. By keeping
the power of the light at a moderate pitch, the picture is prevented from being too hard
and definite. Again, when the sisters, fleeing before the angry Wotan, depart in a body, a
picture representing the group passes from the lower right-hand corner to the upper left-
hand corner, while the stormy music of the "Ride" dies away. The effect is very fine
indeed.
In the Flying Dutchman there is a view of the sea in the first scene, and a gale of wind is
supposed to be blowing. The audience sees thin, gray, filmy scud scurrying across the sky
from the beginning of the scene until the gale ends. This is also a stereopticon effect,
and is produced by passing properly painted glasses across the opening of the lens.
These few instances will give the reader some idea of the part which the stereopticon
now plays in the illusions of the stage. It cannot be said that the results are always
satisfactory, and, no doubt, in the course of time a better plan will be introduced.
One of the most familiar and beautiful effects produced upon the stage is the change
from day to night or from night to day. The former, owing to the conditions surrounding
stage illusions, is the more striking, and is that most frequently seen. In order to produce
this effect the rearmost piece of scenery is a "drop," which is made about double the
height of the ordinary scenes. This drop is painted to represent sky. The lower half is
colored with the bright tints of the sunset, and these gradually blend in the middle of the
drop into the subdued shades of a moonlit night. Sometimes the setting sun itself is
shown, and this is effected by cutting a circular hole in the drop, pasting a piece of red
muslin over the back of it, and putting a light behind it. The drop is now hung so that the
lower half alone is visible. Now the scenery of the distance is painted upon a separate
piece, which is "profiled"—that is, the irregular line made by trees, houses, mountains,
etc., is cut out with a circular saw. This profile piece is set about four feet in front of the
sky drop. Some six or eight feet further toward the front is hung what is called a cut-
gauze drop, though this is sometimes omitted, especially if the view at the rear embraces
an expanse of water. If it is woods, however, the cut-gauze drop is always used. This

BEHIND THE SCENES.
Man up in the Flies
producing flickering
Sunlight.
drop has sides and a top of canvas, painted as the case requires. The open central part is
filled with stout gauze netting, which gives a charming aerial effect to the distance.
Now all is ready for the sunset except the lights, which are arranged thus: Behind the
profile a row runs across the stage to throw its light on the lower part of the sky drop.
The top part is illuminated by the border lights. A similar arrangement is made in front of
the profile, while the foreground depends for its light on the borders and footlights. In all
new theatres these are electric lights in three circuits. One circuit consists of lights with
white globes, another red, and the third green. For broad daylight effects the white are
used. In the scene we are describing, beginning with sunset, the red circuit is turned on.
Calcium-lights with red glasses are stationed at the sides of the stage, and thus the
whole scene is suffused with a glow of red light. The change from sunset to moonlight is
effected by slowly and imperceptibly lowering the sky drop. As the sun disappears behind
the distant hills the red "mediums," as they are called, are turned off and the green ones
gradually turned on. When the night sky has fairly got down to its place the green
mediums are all turned on at full force, and green glasses are placed in front of the
calciums. The stage appears now to be flooded with moonlight. Of course the moon
cannot be shown, for it would naturally be too far toward the audience. I was once in a
theatre where the sun went down behind a mountain, and in half a minute the moon
rose in the very same place. And the strangest part of it was that the audience did not
pay any attention to this astounding freak of nature.
The change from moonlight to sunrise is, of course,
effected by simply reversing the process just described.
Either one of these changes may be rendered more
effective by certain additions. For instance, in the sunset
part of the drop all the spaces between the clouds may
be cut out. Muslin is then pasted over these openings,
and is painted to represent the sky between the clouds.
By placing lights behind this muslin a beautiful
transparent sky is produced, and by gradually changing
the color and intensity of the light as the sun goes down
the appearance of the scene is made very realistic. This
method is seldom employed, except in plays in which the
scenic effects are an important element. A moonlit river is
made also by cutting out the canvas, putting in muslin,
and lighting it from the rear.
Moonrise is produced with a sky drop, cut out between
the clouds, as in the case of the sunset just described,
and a "moon-box." This moon-box is simply a box with a
circular hole cut in one side of it. Over this hole is pasted
a piece of white muslin, and inside the box is a light. The
box is placed behind the muslin sky drop, with the hole
against the drop. The light is turned on, and the moon is
drawn slowly upward by wires. Of course the illuminated
face of the moon shows through the muslin, and
disappears when it passes behind the thick canvas clouds. By having another piece of

muslin painted red, and imperceptibly fading to white in its upper part, the orb of night
can be made to appear red at the horizon, and gradually change to pale yellow as it
floats upward, just as it does on a summer night. A few floating clouds may be added to
the general effect by hanging in front of the sky drop a gauze drop with a few muslin
clouds sewn on it, and moving the whole slowly. These matters charm the eye and create
an illusion when they are skilfully managed.
I spoke of a moonlit river. Sometimes you see in the theatre a river or a bay which does
not simply lie calmly luminous under the rays of the stage moon, but which sparkles with
dancing ripples. This is a very pretty stage effect, and is by no means difficult to produce.
The position of the moon having been determined, the next thing is to make what Mr.
Howard Pyle so gracefully describes as the "moon path." Beginning at the upper edge of
the water, a number of irregular holes are cut in the scene. These are then covered on
the back with muslin, and the whole is painted over to represent water. Behind these
holes is placed an endless sheet of canvas, passing around two cylinders of wood, one at
the top and the other at the bottom. The lower cylinder has a crank by which the sheet is
turned. In the sheet are cut a number of holes similar to those in the scene. A strong
light is now placed between the two sides of the sheet. When the crank is turned the
flashing of the light from the moving holes in the sheet through the stationary ones in
the scene produces a fine ripple. It is necessary to turn the crank so that the front part of
the sheet is always ascending, because in this way the holes through which the light
flows pass upward, and that makes the mimic waves seem to dance upward toward the
sky. Sometimes the man who turns the crank becomes tired, and the audience is
surprised to see the ripples go by fits and starts. For this reason an electric motor is
better, or a steam attachment, if such a thing can be had in the theatre. The moonlit sky
above the waters may be improved by the addition of a few twinkling stars, and these
are easily enough produced by hanging large spangles on bent pins. The slightest tremor
of the drop will cause them to shake, and the flashing of the light which they reflect
produces the illusion of twinkling.

STUDYING TO BE MUSICIANS.
Some agreeable writer, whose name I have forgotten, said that there was no art which
had so many devotees as music, and none of which there was such widespread
ignorance. If I should say that there must be in the city of New York not less than 50,000
girls engaged in learning how to play upon the piano, I should perhaps astonish some of
the readers of this paper, yet it is my firm belief that these figures are much too small.
Such institutions as the National Conservatory of Music and the New York College of
Music have each from 600 to 800 piano students, and there are some thirty smaller
conservatories in the city. The number of private pupils is enormous, and one often
wonders whether it can be possible that Americans are so fond of music that every family
contains a student. The truth is, however, that nine-tenths of the girls who study the
piano—I had almost said study music, but they do not do that—are actuated not by a
love of music, but simply by a desire to possess an accomplishment. These young women
are quite contented if they can acquire sufficient technical skill to perform a few brilliant,
showy pieces in such a manner as to surprise their friends. There are a few, of course,
who learn to play the piano because they are really fond of music, and desire to be able
to give themselves artistic pleasure. And there are a few others who are studying
seriously in the hope of becoming fine artists, capable of delighting the public, or, at the
worst, of becoming professors in conservatories. Even then they are not much worse off
than the great artists of the concert stage, for it is only once in a generation that a man
like Paderewski arises, who can earn hundreds of thousands of dollars. Most of the noted
pianists are compelled to teach in order to make a living, for concert engagements are
not numerous. Their devotion to their art is the result of a deep and absorbing love for it,
which must be its own reward.
Life in the music schools of New York is by no means as picturesque as life in the art
schools, so charmingly described by Mr. Ralph; but it is interesting, and it has a
remarkable jargon of its own, quite unintelligible to the non-musical person. The girls—
the boy students are very few—flock to the New York schools from the entire surrounding
country. Every morning train brings them from Newark, Paterson, Elizabeth, Yonkers,
Tarrytown, Nyack, Greenwich, and other outlying towns and cities, where, indeed, good
teachers may often be found, but not the advantage of conservatory systems. The New
York girls come in street cars, in carriages with liveried coachmen, and on foot, for the
students are of all classes. It is an inspiriting sight to see them trooping in on a stormy
winter morning, with their heavy wraps, their snow-covered furs, their stout overshoes,
their arms full of music, their cheeks full of roses, and their eyes dancing with the glow of
exercise. Then there is the usual chatter about the lessons as they assemble in the
waiting-room.
"Oh, I don't believe I shall ever manage that queer passage in the bass—the one where
the chord of five notes is, don't you know?"

"Yes, I had that sonata last year; but, my dear, it's child's play to the Schumann piece I
have now."
"Oh, dear!" says another, drearily, "I do wish that Bach had never lived. I'm sure I can't
see anything pretty in his eternal fugues."
"Well, I don't think they're any worse than these Deppe two-finger exercises."
"Wait till you begin counterpoint, dear," says another, consolingly.
And then the bell strikes, and off they all go, still chattering, to the various class-rooms or
lesson-rooms. A few minutes later the conservatory becomes a dreadful babel of
confused sounds. Down in the basement some one is groaning out an organ fugue by
Thiele, with a great clattering of heels on the pedals. On the first floor the sight-reading
class is droning angularly a part song by Weinzierl in the large room, while in the
apartment next to them the "gold medal" pupil is pounding Schumann's Etudes
Symphoniques into sounding brass without any tinkling of cymbals. Upstairs one young
woman is pursuing the uneven sopranos of her way up and down the scale, a boy is
playing a violin étude in several kinds of pitch, and a dozen girls are hammering out their
semi-weekly allowance of Bach, Beethoven, Weber, Mozart, and Chopin all at once. The
teachers—German, Polish, Russian, French, Italian, occasionally American—sit, stand, or
pace the floor, according to their temperaments, and correct, guide, and urge gently or
excitably as the case may be.
"No, my dear, the accent on the second beat, and the pedal taken after it, and held over
to the first beat of the next bar."
"Ach! You, dere! You play mit your knuckle! Vat is dat? Bay, bay; hit de bay!"
"Ah, mon enfant! You sing wiz ze troat vide oppen, so—ba-a-a-ah. Is it not? Vell, I vish
you sing viz ze glottis a lettle pinch, so—bu-u-u-uh. Now, sing."
And the unhappy pupil closes her throat up, as if she had a sort of artistic croup, and
tries to force her voice through by main strength. In the mass of pupils in the
conservatory there are always twenty or thirty who are studying seriously, with the hope
of making artistic careers for themselves. These do not simply study the pianos or
singing; they study music, which is a vastly more laborious undertaking. For once a week
there is the lesson in harmony, which is one of the driest and most discouraging topics in
the world. Yet no one can be said to know anything about music who does not
understand harmony. Just think of it—harmony, counterpoint and fugue, form, theory,
composition, instrumentation, sight-reading, history of music. Those are the subjects
which the educated musician must know, and they are all taught in the regular music-
schools. Harmony is the science of chords, you know. The teacher explains the laws by
which the various intervals are governed, leading the pupil step by step till he has
advanced from a simple "resolution" like this:
to something like this:

Then comes that wonderful art of counterpoint, culminating in the building of a grand
and complex composition out of two little phrases, called subject and answer, which flash
and frown one against the other like lightnings against a blue-black sky. The student has
to learn all about form—how a symphony is constructed from the humble beginning of a
simple motive like this:
Furthermore, he must study instrumentation, and learn how the small army of voices in
the modern orchestra are to be used. He must know their compass, their capacity for fast
performance, the notes upon which it is possible to make trills, the keys in which they
stand, and, above all, the character of the writing best suited to them. And again, he
must be acquainted with the history of his art, for without it he is quite ignorant of the
purposes of the composers whose works he attempts to perform. What a light it throws
upon the correct interpretation of Mozart to know that in his day smoothness, finish, and
a singing tone were the requisites of good playing. What a valuable thing it is for the
pupil to know that Mozart desired to have the passages flow like oil, and that he was
opposed to all decided violations of the time. What a flood of illumination it throws on all
music to know the meaning of the three great periods of musical history, polyphonic,
classic, and romantic. These subjects are taught to classes by lectures and special
teachers; but it is a sufficient evidence of the light-mindedness with which most pupils
approach, music that not more than five per cent. of the conservatory students enter
these classes. The composition classes, of course, are only for very advanced students.
Indeed, in Dr. Antonin Dvoràk's composition class at the National Conservatory several
well-known composers are to be found.
And what do the music students outside of their study and practice hours? You can see
them by the dozen at concerts and at the opera. They are especially conspicuous at the
matinée entertainments. They have a school-girlish look, coupled with an air of wisdom,
and they devote great attention to pianists' hands and arms. If the student is an aspiring
young vocalist, she uses her opera-glass continually. I said to one of them at an opera
matinée once,
"Why do you constantly watch Madame Lehmann through your opera-glass?"
"Well," she replied, "my teacher says that I must keep my tongue flat, because all good
singers do, and I'm trying to see how Madame Lehmann holds hers."
"And how does she?"
"I can't see it all; I believe she has swallowed it."
Another said to me:
"I am watching Mr. Paderewski's wrists. My teacher says I must keep my wrists up, and
there he goes every few minutes and lets his drop below the key-board."

"Perhaps when you are as far advanced as Mr. Paderewski," I suggested, "your teacher
will allow you to do as you please with your wrists."
It takes time and devotion to make a good musician. I know that Mr. Paderewski is in the
habit of practising from four to six hours a day, in addition to the performance of his long
and difficult concert programmes, in order to preserve the skill which he acquired by long
and wearisome labor. Even the men who play in the orchestras spend several hours each
day in practice, for fingers will grow stiff and awkward unless they are used constantly.

FALCONRY, OR "HAWKING."
BY ZITELLA COCKE.
The training of hawks was a recognized profession in the last century. There were men
who devoted their lives to it, and drew immense salaries for their labor. Louis XIII., who
was devoted to this sport, and always rode out with his falconer and falcon for a hunt
before going to mass in the morning, paid his trainer by the day a sum which seemed
fabulous. Poor Louis XVI. did not care for the sport, and dismissed trainers and falcons
from his service as an unnecessary expense.
So much time and pains were taken in the training of these birds that it was the occasion
of a regular technical language, understood only by those who were versed in the art and
the sport. Training the bird was called "manning it." Jesses were part of the bird's
equipment, and consisted of narrow strips of strong leather fastened to its leg, by which
it could be held when not on the hunt. Flat gold or silver rings called "varvels" were
attached to the end of these jesses, with the owner's name and address written upon
them. Bells were frequently tied to the leg of the bird, so that when it flew out of sight it
could be traced by sound of the bell. To teach the bird to do what was called "jumping to
the fist" was a great art, and took great time and care to accomplish. And a pretty sight it
must have been—a sight quite worthy of being portrayed in Queen Matilda's embroidered
tapestry—to see the bird, eager and impatient, about to spring to its master's fist. The
graceful motion could not, of course, be represented in a picture, but as we imagine it,
we cannot wonder that hunting with hawks was even more fascinating than hunting with
hounds. And then to see it spring from the gauntleted fist into the air, and soar far away
until it became a mere speck in the sky, yet never forgetting its resting-place, and
returning to it after a flight of many a mile.
And this glove, or gauntlet, upon the hand of the falconer, and sometimes the monarch,
was an important feature of the equipment. It was made of thick buckskin, and the royal
gauntlets were wondrously adorned with gold and silver threads, and even jewels, set in
forms of flowers and family crests. The bird itself often wore a helmet bedecked with
plumes and jewels, to be removed, however, when it was pluming itself for flight. The call
to the hawk was a spirited cry—"Yo-ho-hup—yohup—yohup"; and another, "Helover—
helow—helow—helover."
When the bird was taken out and exercised, with a view to keeping him in good physical
condition, as well as in thorough acquaintance with the various things taught him by his
trainer, it was called "weathering."
The distance accomplished by these birds in a short time seems almost incredible, and
this circumstance alone would make them a terror to their victims. Few birds could
compete with the falcon. Its flight was as rapid as it was untiring, keeping always a little
above the victim, and swooping down upon it in such a way as to make resistance
impossible. In the air the heron itself was unable to resist his assailant, but if the two fell

to the earth the heron had the advantage, and the falcon rarely escaped without losing
one or both eyes. It was the eye always at which the heron aimed. A German Duke is
said to have wept bitterly when his favorite falcon, falling to the earth with a heron in his
talons, lost both of its eyes in the encounter which took place on the ground.
Lovers of dogs insisted that the hawk came to the "lure" only—the "lure" being the feed
which constitutes a part of the training—and was never actuated by an affection for its
master. But lovers of falconry declare the falcon to be capable of warm and lasting
affection. A Colonel Johnson, of the Rifle Brigade, was ordered to Canada with his
battalion. He had devoted much time and expense to the "manning," or training, of two
falcons, and he took them with him across the Atlantic. During the voyage, after feeding
them, he would fly them every day. Sometimes they sailed far out of sight, but always
returned to the master. One evening, after a longer flight than usual, one of the falcons
returned alone; the other, the chief favorite, was missing. Colonel Johnson made up his
mind that he would never see his falcon again, but one day, after the arrival of the
regiment in America, he saw a paragraph in a Halifax newspaper announcing that the
captain of an American schooner had in his possession a fine hawk, which had suddenly
made its appearance on board his ship during his passage from Liverpool. Colonel
Johnson believed this bird to be his much-prized falcon, and obtaining leave of absence,
started in pursuit of it. He went to Halifax, saw the captain of the schooner, and asked
permission to see the bird. The captain refused the request, "guessed" that he would
keep the bird himself, and asserted his disbelief in the Englishman's story. Colonel
Johnson proposed that his claim to the ownership of the bird should be put to the test by
an experiment. It was this: Colonel Johnson was to be admitted to an interview with the
hawk, which had shown no partiality for any person since its arrival in the New World,
and had repelled the caresses of its new owner. If at this meeting it exhibited
unequivocal signs of recognition such as would convince the by-standers that Colonel
Johnson was its original master, the American captain was to surrender all claim to it.
Several Americans present admitted this test to be perfectly reasonable, and the captain
was persuaded to acquiesce. He went up stairs, and returned with the falcon. The door
was hardly opened before the bird jumped from the captain's fist and perched upon the
shoulder of its long-lost master, rubbing its head against his cheek, taking hold of his
buttons and champing them playfully in its beak, and evincing by every way in its power
its delight and affection. The verdict was unanimous. Even the hard-hearted captain
relented, and the falcon was restored to its rightful owner.

1. 2.
3. 4.
PUTTING THE SIXTEEN-POUND SHOT.
From instantaneous Photographs taken of W. O. Hickok, Inter-collegiate Champion.

9.
Although putting the shot and throwing the hammer are events usually performed by the
same man in an athletic competition, it is a fact, nevertheless, that the two things do not
go well together. The hammer develops the pulling muscles in the back and arms, while
the shot, on the other hand, develops the pushing muscles.
At one time Hickok, the present inter-collegiate champion, devoted himself exclusively to
the shot, and soon got himself into such form that he could put 45 feet at any trial. Then
he started in to practise with the hammer, and found his best throw measured only 110
feet—his best former record being one hundred and forty odd. He kept on systematically
working then at both weights, but he soon noticed that the shot went down as the
hammer went up, so that in a month he could scarcely do 40 feet. At the next inter-
collegiate contest he put the shot 44 feet, which he considered a lucky performance—and
it was—although before training for the hammer event for the same contest he had put
over 45 feet.
To become successful in this event requires long and persistent work, just as in hammer-
throwing. Shot-putting is a great science to develop, and it usually takes several years
before an athlete can really become proficient in the event. The beginner must first

strengthen his arms, giving particular attention to the development of the triceps and
deltoids. This is best accomplished by work on the parallel bars, and by pounding a bag,
as in boxing. The latter exercise cultivates swiftness. Sprinting is also an important
exercise for a shot-putter, for it teaches him to be quick and light on his feet—a most
important feature of the general preparation.
In addition to these things he should, of course, constantly work at putting the shot—in
the gymnasium in winter, and on the field in the open-weather months. Let me say right
here to the beginner, always use a 16-lb. shot. Shun a 12-lb. shot as you would a shuttle-
cock. If you feel you are not strong enough to use the regulation weight, do not under
any consideration go into training for the event. Wait until you are strong enough. There
is plenty of time. The shot is an event that only strong and well-developed young men
should indulge in—and if you feel you are not strong enough to handle sixteen pounds,
you had better devote your energies to some other branch of athletics. The man who
works with a 12-lb. shot is like the boy who prepared for entering the cavalry by riding
assiduously on merry-go-rounds. In other words, practice with a lighter weight is a waste
of time; you will have to learn all over again when you take up the regulation 16-lb. shot.
The shot is put from a seven-foot circle, along four feet of the circumference of which is
placed a board four inches high. This is the so-called front of the circle, and the put is
measured from this board to the nearest mark made in the ground by the shot. A fair put
is one that has been made without any part of the competitor's body having touched in
front of the circle or on the board before the measurement is made. A put is counted a
foul if the competitor steps over the front half of the circle or on the board before the
measurement of his put has been made—and the foul counts as a trial. Therefore be sure
to remain in the circle until the field judge has measured and registered your put.
The careful athlete will always spare his right arm as much as he can. For instance, when
he picks up the shot he will hold it in his left hand, and he will do the same while he
steps into the circle and gets his footing. After this has been secured he will roll the shot
over into his right palm—as shown in illustration No. 3 on the opposite page—and then
he is ready to start.
Assuming as easy a position as possible, let the shot be well balanced in the right hand.
Do not grip it tightly. In starting off, as shown in the fourth illustration, place the whole
weight of the body upon the right leg, holding your left arm forward as a balance. Then
take a quick hop with the right leg, all the time keeping the shot as near the shoulder as
possible. Upon alighting after the hop, touch your left foot to the ground—and it ought to
fall very close to the board rim. This is the position shown in the sixth illustration. The
seventh shows the next movement, which is the transposition of the feet.
The correct attitude for getting across the circle on this hop is crouching. Then, as soon
as your left foot touches ground, you bring it swiftly backward, throwing the entire right
side of the body forward; and you turn half around, so that the right shoulder will be in
the exact direction in which the shot is to be put. After the impetus upward has been
given by the legs and body, shoot the arm outward with all the force at your command,
the motion being just such a one as you would make with the clinched fist against the
sparring-bag. This motion—the change of feet, the lift, the turn, the thrust—is a very
rapid one, but the photographs illustrate it very well in the last two pictures of the series.

Furthermore, this movement must be perfectly uniform from beginning to end, with no
jerks and hitches; but it takes long practice to acquire a perfect smoothness.
The shot must be allowed to leave the hand easily, and the forward effort of the put must
be so regulated that the equilibrium of the performer will be maintained. The perfect
performer allows his body to bend forward just to that point where, should he go half an
inch further, he would be forced to step out of the ring.
The beginner should practise with the shot for a good period every-day. He should work
until he begins to feel tired, but after he has become master of the event—say in a year
or so—he need practise but two or three times a week, and he will find that his form and
powers are thus best retained.
In England the university athletes put the shot from a ten-foot square instead of a seven-
foot circle. This gives them a certain advantage over American athletes, for they get a
longer run, and thus more speed, and hence a greater momentum at the end. Hickok can
put the shot from two to three feet farther from a ten-foot square than he can from a
seven-foot circle, and with practice he believes that he could do even better. If an
unlimited run, or series of hops, were allowed, the record for putting the shot would
certainly be much greater than it is at present; but there is no doubt that the average
form of athletes who take part in this event would be very much lower than it is now with
the present scientific restrictions.
The first important indoor games of the season were held on Saturday, February 8th, in
the Eighth Battalion Armory by the Barnard School. There were ten events on the
programme, all of which were open, and a cup was offered to the visiting school winning
the greatest number of points. This trophy went to Berkeley, who took two firsts and one
second, and still, no doubt, retained something up her sleeve.
The Barnard team captured six firsts and two seconds, and showed that there is plenty of
strong material in the school from which to develop a promising team for out-door work
in the spring. All the events were interesting to watch, there being no handicaps, and the
junior races were especially good, being rather more "for blood," perhaps, than the
others, and being always a better field for surprises, as new material of an unknown
quantity is continually appearing there.
Four records were broken, and the little fellows did most of the figure-smashing. W. S.
Hipple, who made such a good showing against Kilpatrick last fall, defeated Irwin-Martin
in the quarter-mile run, and then lowered the half-mile in-door record, made by Martin
two years ago, from 2 m. 14-2/5 sec. to 2 m. 5 sec.! The time of the man who finished
second to Hipple was 2 m. 19-4/5 sec. Beldford lowered the record for the mile. He took
the lead from the start, but had a sharp tussle with Manuel of Pingry's toward the end,
beating him in by only a few yards in 4 m. 54-2/5 sec.
Moore ran the first heat of the 60-yard dash in 7 seconds, and repeated his performance
when he won in the finals. He took another first in the 220, which was the only sprint run
without heats. His time in this was 26-1/5 seconds, with Goetting of Brooklyn High
second. The in-door scholastic record for the Junior 60-yard dash was made by Moeller,
Columbia Grammar, in 1893, 7-2/5 seconds. At this Barnard meeting, Wilson, Leech,
Hewitt, Armstead, and Tebyrica each won his heat in 7-1/5 seconds, but Armstead came

home first in the finals in 7-2/5 seconds. The record for the Junior 220-yard dash went
down likewise. The old mark was 28 seconds, made by Wilson last year. Wilson ran his
first heat this year in 27-2/5 seconds, Millard got the next in 27-3/5 seconds, and Wilson
took the final in 26-4/5 seconds.
The high-jump mark only got up to 5 feet 6 inches, where Pell and Brown tied. The
hurdles looked like an easy thing for Beers, but in the final heat he had a hot tussle with
Herrick and Harris, winning on a close margin. On account of a claimed foul the two
latter had to race over again, and Herrick won in 8-1/5 seconds. Beers had cleared the
distance in 8 seconds.
The summary of points made follows:
Name. Firsts.Seconds.Thirds.Total.
Barnard 6 2 .. 36
Berkeley 2 1 .. 13
Brooklyn High .. 2 1 7
Stevens Prep 1 .. .. 5
De La Salle 1 .. .. 5
Cutler .. 1 1 4
Colombia Grammar .. 1 1 4
Pingry .. 1 1 4
Adelphi .. 1 .. 3
Trinity .. 1 .. 3
Oxford .. .. 2 2
Alling's Art .. .. 1 1
Drisler .. .. 1 1
Dwight .. .. 1 1
At the meeting of the Long Island I.S.A.A. last week the protest entered by Brooklyn High
against Adelphi as a result of the League game of handball, played between them the
previous week, was decided. The protest grew out of one of those inexplicable
misunderstandings about rules which seem to crop up every now and then in all kinds of
sport. In this case the High-school claimed the game on points, while Adelphi wanted the
game on actual wins, which were 5 out of 7, the points being 133 to 131 in favor of High-
school. According to the Y.M.C.A. rules, which were adopted by the League, Adelphi won;
but both captains were ignorant of the rules, and agreed on playing for points. Before the
game was well advanced Captain Forney of Adelphi found out his mistake, and declared
he was playing for games won.
The decision reached was the most natural and logical one. It was found that both teams
had violated the rules equally by agreeing to play for points, and the game was awarded
to Adelphi, because that team had won in accordance with the Y.M.C.A., and
consequently the L.I.I.S.A.A., rules. This case is somewhat similar to the one which
cropped up on the football field last fall in this same Brooklyn League. It looks as though
the captains did not keep very well posted on the rules. And yet one of the first things a
captain should do is to know these by heart. Talk with the captain of a Yale or a Harvard
university team, and there is not a question of the most intricate nature covered by the

rules of his game that you can corner him on. It ought to be the same way with school
captains. Slipshod knowledge is worth nothing; absolute familiarity with the law is vital.
The Long Island League has decided to hold annual in-door games henceforth, and the
first ones will be given in the new Fourteenth Regiment Armory, Brooklyn, on Saturday,
the 29th. The following events will be open to members from any school that is a
member of the National Interscholastic Association: 75-yard dash, 75-yard dash (boys
under sixteen), 220-yard dash, 440-yard dash, 880-yard dash, 1-mile run, putting 12-
pound shot, running high jump, pole vault, and 75-yard hurdle. The rules governing
entries and competition will be those of the Long Island Association and of the A.A.A.
Entries close February 22d with H. O. Pratt, 232 Clinton Avenue, Brooklyn.
The convention of New Jersey schools, held in Plainfield last week, resulted in the
formation of a New Jersey Interscholastic A. A. Its members are Plainfield High-school;
Newark Academy; Pingry's School, of Elizabeth; Stevens Preparatory School, of Hoboken:
Rutgers Preparatory School, of New Brunswick; and the Montclair High-school. It was
decided that each school shall hold an athletic meeting every year. The State athletic
meet will be held on the first Saturday in June, and the annual meeting of the association
will take place on the same day. The association will control track athletics, baseball,
football, and cricket.
It is encouraging to see so many associations starting up in various parts of the country,
and I cannot but feel that the formation of the National Association has had much to do
with it. The schools have realized what a great advantage it will be to have an
established and recognized standard, and a central and controlling body; and knowing
that the only way for them to become members of such a central or parent body is to
first form an association, the result has been the organization of interscholastic leagues in
many sections where hitherto there had been only a desultory sort of interest and activity
in track athletics.
Another new association recently established is the Hudson River Interscholastic League.
It is composed of the Mohegan Lake School, of Peekskill; Riverview Academy, of
Poughkeepsie; and Holbrook's, of Sing Sing. Doubtless before long the many other
institutions in the towns along the Hudson will see the advantage of belonging to an
association, and will apply for admission. It looks now as if by the time the officers of the
National Association get ready to make their announcement of the spring games there
will be more than double the number of associations to answer the call than there was a
year ago at this same period.
The ice-polo season has been a most successful one in Boston this year, and many of the
games have proved exciting and close. Lack of space has prevented our giving any
detailed account of the matches in this Department, but I hope to be able to publish the
result of the winter's work and the scores of the League games, for the sake of the
record, as soon as the finals have been settled.
The suggestion made by Professor Atewell, of the Columbia Grammar School, to hold an
interscholastic gymnasium contest is an excellent one, and one that this Department
heartily endorses. Such a contest has many advantages over an in-door track-athletic
meeting, and now that most of the schools in the city are provided with gymnasiums, it

would seem an easy matter to arrange one. Trinity School, at present, seems to take the
greatest interest in gymnasium work of any school in the city. By gymnasium work I do
not mean exercise in the gymnasium preparatory for track athletics. I mean work on the
rings, bars, etc., and calisthenics.
The Graduate.
Any questions in regard to photograph matters will be willingly answered by the
Editor of this column, and we should be glad to hear from any of our club who can
make helpful suggestions.
PREPARATION OF TINTED SENSITIVE PAPERS.
NO. 2.—HOW TO MAKE VIOLET TONES.
To make violet tones the paper is first sensitized in the same way described for making
red prints. Make a solution of 96 grs. of nitrate of uranium and 4 oz. of water. Put this
solution in a shallow tray, such as is used for toning, and float the prepared photographic
paper on this for twenty seconds; drain carefully, and pin up to dry in a dark room. If
dried by artificial heat the paper is made more sensitive and prints more quickly.
As soon as the paper is dry wrap it in post-office paper, and then in black needle-paper—
such as sensitive papers are wrapped in—and lay it away in a drawer or covered box till
wanted. This paper may be prepared several days before using, but should not be kept
too long.
To print, place in the printing-frame and expose to light. If the negative is thin, three
minutes in bright sunlight or one hour in the shade or a very dull day will be necessary
for printing, and if a strong negative, ten minutes in bright sunlight or two hours in the
shade will be necessary.
Have ready prepared a solution of 8 grs. of chloride of gold and 4 oz. of water. As soon
as the print is taken from the frame wash it for twenty-five or thirty seconds in hot water
(120° Fahr.), and place face up in a toning-tray, and flood the print with the chloride-of-
gold solution. The print does not show when it is taken from the frame, but is developed
with the chloride-of-gold solution. When the detail is well out, and the color a rich violet,
take from the tray and wash in running water or in several changes of water, till none of

the coloring matter shows in the water. Pin by the corners on a flat board, and set the
board in an upright position till the prints are dry.
These violet prints are very attractive for certain kinds of work. Flower studies, especially
those of single flowers, make novel prints. A set of four different colored prints might be
made and used as decorations for a calendar. Mount the prints on square sheets of heavy
drawing or Bristol board, and on each sheet place a three months' calendar. These
calendars may be obtained at any stationery-store. The cards may be further decorated
by tracing fine gilt lines round the picture and calendar leaves. An appropriate motto may
also be added to each sheet.
Of course the first of the year has already passed, and it may seem out of season for
suggestions as to making calendars, but one of the prettiest birthday gifts to a friend is a
calendar beginning with the day of the month which marks his or her birthday. Such a
calendar is very convenient, for it laps over into the coming year, which is sometimes a
great advantage. Instead of mounting the prints directly on the card, an opening may be
cut in the card and the picture placed behind it, as described in "Tinted Papers," No. 1. If
this is done, a thinner piece of card-board should be pasted on the back, not only as a
finish, but as a protection to the picture.
Blue prints may be toned to a dark violet by first printing, washing them in clear water,
and then flowing them with a solution of 1 part potassium hydrate in 300 parts of water,
and again with a solution of 4½ oz. of alcohol (90 per cent.), 7½ oz. distilled water, 1 oz.
gallic acid. This gives the prints a dark purple or violet color, not so pleasing as that made
by the process just given, but, if not printed a too deep blue in the first place, look very
well.
Tinted papers—with the exception of carbon papers and blue prints—are not found in the
market, but must be prepared by the amateur.
Mr. Emil Dæche, Patron, of Jersey City, New Jersey, gives the formula which he uses
for toning aristo paper whereby he obtains fine chocolate tones, and asks if prints
made by this process will be permanent. The prints, if well washed, ought to be
permanent, and not turn yellow. The reason why prints turn yellow after having been
made some time is not so much the toning process as the fault of the paper. Aristo
prints are not as permanent as albumen, bromide, or platinotype prints, or even
those made on plain salted paper. Improvements are being made in aristo papers,
and they are now of much better keeping quality than those first put on the market.
If Mr. Dæche will kindly send a more detailed account of the process which he uses,
we should be glad to publish it for the benefit of the members of the Camera Club.

Constable & Co
Cotton Dress
Fabrics.
D. & J. Anderson's Zephyrs,
Chene and Persian Effects,
Silk Mixtures,
Stripes, Checks, and Plaids.
Wash Fabrics.
French Piqué,
Printed Dimity,
White Emb'd Nainsook.
Printed Linen Lawns.
Frères Koechlin's Organdies.
NOVELTIES.
Broadway & 19th st.
NEW YORK.

Welcome to our website – the perfect destination for book lovers and
knowledge seekers. We believe that every book holds a new world,
offering opportunities for learning, discovery, and personal growth.
That’s why we are dedicated to bringing you a diverse collection of
books, ranging from classic literature and specialized publications to
self-development guides and children's books.
More than just a book-buying platform, we strive to be a bridge
connecting you with timeless cultural and intellectual values. With an
elegant, user-friendly interface and a smart search system, you can
quickly find the books that best suit your interests. Additionally,
our special promotions and home delivery services help you save time
and fully enjoy the joy of reading.
Join us on a journey of knowledge exploration, passion nurturing, and
personal growth every day!
testbankdeal.com

Understanding Business 11th Edition Nickels Solutions Manual

More Related Content

Similar to Understanding Business 11th Edition Nickels Solutions Manual (20)

Recently uploaded (20)

Understanding Business 11th Edition Nickels Solutions Manual