To set this arrangement around at right angles, or where the shafts will bring the wheels together, as for bevel gears, a bent lever arm would need to be used, as shown in Fig. 2, but the bend in the connecting arms brings in another feature that must be provided, as it allows the wheels to turn either with or against each other, and leaves two places where the bent arms will come to a dead center. What is needed here is another element that will take all the twisting strain on the rod and keep the pitch of both arms alike in every portion of a revolution. To do this the ball and socket joint will need to be replaced by a gambrel joint like a ship's compass, and arranging the bent driving arms as shown in Fig. 3; then the driving end of the connecting frame will move about in a true circle, producing as great a tendency to turn the driving wheel in one position as another. In this arrangement there must be at least six nicely fitted journals and their bearings, four of which will be required to take care of the forked connecting rod that joins the wheels together. Besides all this the bearings must all line up with the same center that the shafts are centered from or there will be a "pinch" somewhere in the system. It may seem at first that there must be more or less end-on movement provided for, and that the bearings should be spherical; but that it is not the case will be noticed when all the points are understood to be working from one center similar to that provided for in bevel gears.--_Boston Journal of Commerce._ [Illustration: FIG. 3.] * * * * * THE DECORATIVE TREATMENT OF NATURAL FOLIAGE.[1] [Footnote 1: Lectures before the Society of Arts, London, 1891.] By HUGH STANNUS. _Lecture I._ Sec. 1.--THE ELEMENTS OF DECORATION. The chief impelling Motives which have caused that treatment of objects which is now termed _Decorative_, have been: (a) That necessitated by the Usage, which is FUNCTIONAL; (b) That resulting from the Instinct to please the eye, which is AESTHETIC; (c) That arising from the Desire to record or to teach, which is the DIDACTIC motive; The AESTHETIC instinct of the early peoples was gratified by: (a) The _forms_ of their weapons or tools; (b) The _patterns_ with which they are decorated; (c) The _imitation_ of the surrounding animals, e.g. the Deer scratched on the horn at the British Museum. Imitation was afterward applied to the vegetable creation; and much of what is termed Ornament was derived from that class of elements. The ELEMENTS OF DECORATION are the material used by the Artist. They might be considered to include everything that is visible; but since Decoration is a result of the aesthetic instinct, the field is narrowed to such as are pleasing _at the first glance_. And the selection is further limited to such as are suitable to the shape and size of objects.