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Smart Materials in Additive
Manufacturing, Volume 2: 4D
Printing Mechanics, Modeling,
and Advanced Engineering
Applications
This page intentionally left blank
Additive Manufacturing Materials and
Technologies Series

Smart Materials
in Additive
Manufacturing, Volume 2:
4D Printing Mechanics,
Modeling, and Advanced
Engineering Applications

Edited by

Mahdi Bodaghi
Ali Zolfagharian
Elsevier
Radarweg 29, PO Box 211, 1000 AE Amsterdam, Netherlands
The Boulevard, Langford Lane, Kidlington, Oxford OX5 1GB, United Kingdom
50 Hampshire Street, 5th Floor, Cambridge, MA 02139, United States
Copyright © 2022 Elsevier Inc. All rights reserved.
No part of this publication may be reproduced or transmitted in any form or by any means, electronic
or mechanical, including photocopying, recording, or any information storage and retrieval system,
without permission in writing from the publisher. Details on how to seek permission, further information
about the Publisher’s permissions policies and our arrangements with organizations such as the
Copyright Clearance Center and the Copyright Licensing Agency, can be found at our website:
www.elsevier.com/permissions.
This book and the individual contributions contained in it are protected under copyright by the Publisher
(other than as may be noted herein).

Notices
Knowledge and best practice in this field are constantly changing. As new research and experience broaden
our understanding, changes in research methods, professional practices, or medical treatment may
become necessary.
Practitioners and researchers must always rely on their own experience and knowledge in evaluating
and using any information, methods, compounds, or experiments described herein. In using such
information or methods they should be mindful of their own safety and the safety of others, including
parties for whom they have a professional responsibility.
To the fullest extent of the law, neither the Publisher nor the authors, contributors, or editors, assume
any liability for any injury and/or damage to persons or property as a matter of products liability, negligence
or otherwise, or from any use or operation of any methods, products, instructions, or ideas contained
in the material herein.

ISBN: 978-0-323-95430-3

For information on all Elsevier publications

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Typeset by STRAIVE, India

Dedication

This book is dedicated to my great parents, Mohammad and Kokab,

who raised me with love, compassion, and a sense of appreciation
for knowledge and innovation; and to my lovely wife for her
patience, support, and adventurous spirit.
— Mahdi Bodaghi
This book is dedicated to my parents and sisters for their consistent
support, to my wife for her patience and company, and to my son, Alan,
for motivating me to keep going.
— Ali Zolfagharian
This page intentionally left blank
Contents

Contributors xi
Editors biography xv
Preface xvii
Acknowledgments xix

1 4D printing mechanics, modeling, and advanced engineering

applications 1
Ali Zolfagharian and Mahdi Bodaghi
Introduction 1
4D printing electro-induced shape memory polymers 2
4D printing modeling using ABAQUS: A guide for beginners 3
4D printing modeling via machine learning 4
4D-printed pneumatic soft actuators modeling, fabrications,
and control 4
4D-printed auxetic structures with tunable mechanical properties 5
4D-printed shape memory polymers: modeling and fabrication 6
4D textiles—Materials, processes, and future applications 7
Closed-loop control of 4D-printed hydrogel soft robots 8
Hierarchical motion of 4D-printed structures using the temperature
memory effect 9
Manufacturing highly elastic skin integrated with twisted
coiled polymer muscles: Toward 4D printing 10
Multimaterial 4D printing simulation using grasshopper plugin 11
Origami-inspired 4D RF and wireless structures and modules 12
Shape-reversible 4D printing aided by shape memory alloys 12
Variable stiffness 4D printing 13
References 14

2 4D printing electro-induced shape memory polymers 19

Rytis Mitkus, Ferdinand Cerbe, and Michael Sinapius
Introduction 19
Materials, working principle, and similar structures in 4D printing 21
Integration of conductive PLA 26
Investigation of SMP structures 33
Conclusions 47
Acknowledgments 48
References 48
viii Contents

3 4D printing modeling using ABAQUS: A guide for beginners 53

Hamid Reza Jarrah, Ali Zolfagharian, Bernard Rolfe,
and Mahdi Bodaghi
Introduction 53
Methodology 54
Results and discussions 64
Conclusion 71
References 71

4 4D printing modeling via machine learning 73

Ali Zolfagharian, Lorena Durran, Khadijeh Sangtarash,
Seyed Ebrahim Ghasemi, Akif Kaynak, and Mahdi Bodaghi
Introduction 73
Methodology 74
FEM modeling using hyperplastic material constitutive laws 78
Results and discussions 83
Discussions 96
Conclusion 99
References 100

5 4D-printed pneumatic soft actuators modeling, fabrication,

and control 103
Charbel Tawk and Gursel Alici
Introduction 103
4D-printed pneumatic soft actuators 105
Discussion 125
Conclusion 127
References 128

6 4D-printed structures with tunable mechanical properties 141

Wael Abuzaid, Mohammad H. Yousuf, and Maen Alkhader
Introduction 141
Shape memory polymer material 146
Stability and functional properties of 4D-printed specimens 146
Summary and concluding remarks 187
References 189

7 4D-printed shape memory polymer: Modeling and

fabrication 195
Reza Noroozi, Ali Zolfagharian, Mohammad Fotouhi,
and Mahdi Bodaghi
Introduction 195
4D printing programming 197
Constitutive equations 199
Fabrication and modeling 4D-printed elements 204
Contents ix

Case studies 209

Conclusion 225
References 225

8 4D textiles: Materials, processes, and future applications 229

David Schmelzeisen, Hannah Kelbel, and Thomas Gries
Introduction 229
State of the art 231
Printing method 232
Form giving through surface tessellation 242
Applications 243
Conclusion and outcomes 247
References 248

9 Closed-loop control of 4D-printed hydrogel soft robots 251

Ali Zolfagharian, Mahdi Bodaghi, Pejman Heidarian,
Abbas Z Kouzani, and Akif Kaynak
Introduction 251
Motion mechanism of the soft actuator 252
Materials and methods 254
Results and discussions 257
Conclusion 275
References 276

10 Hierarchical motion of 4D-printed structures using

the temperature memory effect 279
Giulia Scalet, Stefano Pandini, Nicoletta Inverardi,
and Ferdinando Auricchio
Introduction 279
Temperature memory effect: Basics and literature review 280
Experimental testing 289
Constitutive modeling 298
Case study 300
Conclusions and perspectives 305
Acknowledgments 306
References 306

11 Manufacturing highly elastic skin integrated with twisted

and coiled polymer muscles: Toward 4D printing 311
Armita Hamidi and Yonas Tadesse
Introduction 311
Materials 314
Manufacturing 319
Results and discussion 321
Conclusion 323
References 325
x Contents

12 Multimaterial 4D printing simulation using a grasshopper

plugin 329
Germain Sossou, Hadrien Belkebir, and Fr
ed
eric Demoly
Introduction 329
Computational design for 4D printing 330
Case studies 335
Conclusion and future work 341
Appendix: The distribution Computation component 342
References 344

13 Origami-inspired 4D tunable RF and wireless structures

and modules 347
Yepu Cui, Syed A. Nauroze, and Manos M. Tentzeris
Introduction 347
Origami-inspired inkjet-printed FSS structures 353
Fabrication process of 4D-printed origami-inspired RF structures 359
4D-printed origami-inspired frequency selective surfaces 363
4D-printed chipless RFID pressure sensors for WSN applications 368
4D-printed origami-inspired deployable and reconfigurable
antennas 373
Conclusion 381
References 383

14 Shape-reversible 4D printing aided by shape memory alloys 387

Saeed Akbari, Amir Hosein Sakhaei, Sahil Panjwani, Kavin Kowsari,
and Qi Ge
Introduction 387
Materials and methods 389
Simulation of actuation cycle 393
Numerical and experimental results 397
Conclusions 403
References 404

15 Variable stiffness 4D printing 407

Yousif Saad Alshebly, Marwan Nafea, Khameel Bayo Mustapha,
Mohamed Sultan Mohamed Ali, Ahmad Athif Mohd Faudzi,
Michelle Tan Tien Tien, and Haider Abbas Almurib
Introduction 407
Design and working principle 410
Fabrication process and experimental setup 415
Results and discussion 416
Discussion 425
Conclusion 429
Acknowledgment 430
References 430
Index 435
Contributors

Wael Abuzaid Department of Mechanical Engineering, American University of

Sharjah, Sharjah, United Arab Emirates

Saeed Akbari RISE Research Institutes of Sweden, M€olndal, Sweden

Mohamed Sultan Mohamed Ali School of Electrical Engineering, Faculty of

Engineering, Universiti Teknologi Malaysia, Johor Bahru, Johor, Malaysia

Gursel Alici School of Mechanical, Materials, Mechatronic and Biomedical

Engineering, Applied Mechatronics and Biomedical Engineering Research (AMBER)
Group, ARC Centre of Excellence for Electromaterials Science, University of
Wollongong, Wollongong, NSW, Australia

Maen Alkhader Department of Mechanical Engineering, American University of

Sharjah, Sharjah, United Arab Emirates

Haider Abbas Almurib Department of Electrical and Electronic Engineering,

Faculty of Science and Engineering, University of Nottingham Malaysia, Semenyih,
Selangor, Malaysia

Yousif Saad Alshebly Department of Electrical and Electronic Engineering, Faculty

of Science and Engineering, University of Nottingham Malaysia, Semenyih, Selangor,
Malaysia

Ferdinando Auricchio Department of Civil Engineering and Architecture,

University of Pavia, Pavia, Italy

Hadrien Belkebir ICB UMR 6303 CNRS, University Bourgogne Franche-Comte,

UTBM, Belfort, France

Mahdi Bodaghi Department of Engineering, School of Science and Technology,

Nottingham Trent University, Nottingham, United Kingdom

Ferdinand Cerbe Institute of Mechanics and Adaptronics, TU Braunschweig,

Braunschweig, Germany

Yepu Cui School of Electrical and Computer Engineering, Georgia Institute of

Technology, Atlanta, GA, United States
xii Contributors

Frederic Demoly ICB UMR 6303 CNRS, University Bourgogne Franche-Comte,

UTBM, Belfort, France

Lorena Durran School of Engineering, Deakin University, Geelong, VIC, Australia

Mohammad Fotouhi Department of Materials, Mechanics, Management & Design

(3MD), Delft University of Technology, Delft, Netherlands

Qi Ge Digital Manufacturing and Design Center, Singapore University of Technology

and Design, Singapore, Singapore; Department of Mechanical and Energy
Engineering, Southern University of Science and Technology, Shenzhen, China

Seyed Ebrahim Ghasemi Department of Engineering Sciences, Hakim Sabzevari

University, Sabzevar, Iran

Thomas Gries Institut f€

ur Textiltechnik of RWTH Aachen University, Aachen,
Germany

Armita Hamidi David L. Hirschfeld Department of Engineering, Angelo State

University, San Angelo, TX, United States

Pejman Heidarian School of Engineering, Deakin University, Geelong, VIC,

Australia

Nicoletta Inverardi Department of Mechanical and Industrial Engineering,

University of Brescia, Brescia, Italy

Hamid Reza Jarrah Department of Engineering, School of Science and Technology,

Nottingham Trent University, Nottingham, United Kingdom

Akif Kaynak School of Engineering, Deakin University, Geelong, VIC, Australia

Hannah Kelbel Institut f€

ur Textiltechnik of RWTH Aachen University, Aachen,
Germany

Abbas Z Kouzani School of Engineering, Deakin University, Geelong, VIC,

Australia

Kavin Kowsari Digital Manufacturing and Design Center, Singapore University of

Technology and Design, Singapore, Singapore

Rytis Mitkus Institute of Mechanics and Adaptronics, TU Braunschweig,

Braunschweig, Germany
Contributors xiii

Ahmad Athif Mohd Faudzi School of Electrical Engineering, Faculty of

Engineering, Universiti Teknologi Malaysia, Johor Bahru, Johor, Malaysia

Khameel Bayo Mustapha Department of Mechanical, Materials and Manufacturing

Engineering, Faculty of Science and Engineering, University of Nottingham
Malaysia, Semenyih, Selangor, Malaysia

Marwan Nafea Department of Electrical and Electronic Engineering, Faculty of

Science and Engineering, University of Nottingham Malaysia, Semenyih, Selangor,
Malaysia

Syed A. Nauroze School of Electrical and Computer Engineering, Georgia Institute

of Technology, Atlanta, GA, United States

Reza Noroozi Department of Engineering, School of Science and Technology,

Nottingham Trent University, Nottingham, United Kingdom; Faculty of Engineering,
School of Mechanical Engineering, University of Tehran, Tehran, Iran

Stefano Pandini Department of Mechanical and Industrial Engineering, University of

Brescia, Brescia, Italy

Sahil Panjwani Digital Manufacturing and Design Center, Singapore University of

Technology and Design, Singapore, Singapore

Bernard Rolfe School of Engineering, Deakin University, Geelong, VIC, Australia

Amir Hosein Sakhaei School of Engineering and Digital Arts, University of Kent,
Canterbury, United Kingdom

Khadijeh Sangtarash School of Engineering, Deakin University, Geelong, VIC,

Australia

Giulia Scalet Department of Civil Engineering and Architecture, University of Pavia,

Pavia, Italy

David Schmelzeisen Institut f€

ur Textiltechnik of RWTH Aachen University, Aachen,
Germany

Michael Sinapius Institute of Mechanics and Adaptronics, TU Braunschweig,

Braunschweig, Germany

Germain Sossou ICB UMR 6303 CNRS, University Bourgogne Franche-Comte,

UTBM, Belfort, France
xiv Contributors

Yonas Tadesse Mechanical Engineering Department, The University of Texas at

Dallas, Richardson, TX, United States

Charbel Tawk School of Mechanical, Materials, Mechatronic and Biomedical

Engineering, Applied Mechatronics and Biomedical Engineering Research (AMBER)
Group, ARC Centre of Excellence for Electromaterials Science, University of
Wollongong, Wollongong, NSW, Australia; Faculty of Engineering and Information
Sciences, University of Wollongong in Dubai, Dubai, United Arab Emirates

Manos M. Tentzeris School of Electrical and Computer Engineering, Georgia

Institute of Technology, Atlanta, GA, United States

Michelle Tan Tien Tien Department of Electrical and Electronic Engineering,

Faculty of Science and Engineering, University of Nottingham Malaysia, Semenyih,
Selangor, Malaysia

Mohammad H. Yousuf Faculty of Engineering and Information Sciences, University

of Wollongong Dubai, Dubai, United Arab Emirates

Ali Zolfagharian School of Engineering, Deakin University, Geelong, VIC, Australia

Editors biography

Dr. Mahdi Bodaghi, BSc, MSc, PhD, PGCAP,

FHEA, CEng, MIMechE, is Senior Lecturer in the
Department of Engineering, School of Science and
Technology at Nottingham Trent University. Mahdi
heads the 4D Materials and Printing Laboratory
(4DMPL) that hosts a broad portfolio of projects
focusing on the electro-thermo-mechanical multi-
scale behaviors of smart materials, soft robots, and
3D/4D printing technologies. In the recent 12 years,
he has been working toward the advancement of
state-of-the-art smart materials and additive
manufacturing, which has led him to cofound the
4D Printing Society and to coedit the Smart
Materials in Additive Manufacturing book series. His research has led to the publication
of more than 120 scientific papers in prestigious journals on mechanics, manufacturing,
and materials science as well as the presentation of his work at major international con-
ferences. Mahdi has also served as Chairman and Member of Scientific Committees for
10 International Conferences, as Guest Editor for 10 journals, as Editorial Board
Member for 8 scientific journals, and as Reviewer for more than 130 journals. Mahdi’s
research awards include the Best Doctoral Thesis Award (2015), the CUHK Post-
doctoral Fellowship (2016), the Annual Best Paper Award in Mechanics and Material
Systems presented by the American Society of Mechanical Engineers (2017), Horizon
Postdoctoral Fellowship Award (2018), and the IJPEM-GT Contribution Award (2021)
recognized by the Korea Society for Precision Engineering.
xvi Editors biography

Dr. Ali Zolfagharian, BSc, MSc, PhD, ADPRF,

GCHE, is Senior Lecturer in the Faculty of Sci-
ence, Engineering and Built Environment, School
of Engineering at Deakin University, Australia. He
has been among the 2% top-cited scientists listed
by Stanford University and Elsevier (2020), the
Alfred Deakin Medallist for Best Doctoral Thesis
(2019), and the Alfred Deakin Postdoctoral
Fellowship Awardee (2018). He has been directing
the 4D Printing and Robotic Materials laboratory
at Deakin University since 2018. Ali is the
cofounder of the 4D Printing Society, the coeditor
of the Smart Materials in Additive Manufacturing
book series published by Elsevier, and a technical committee member of five inter-
national conferences. From 2020 to 2022, he has received more than AUD 200k
research funds from academic and industrial firms. Ali’s research outputs on flexible
manipulators, soft grippers, robotic materials 3D/4D printing, and bioprinting include
71 articles, being editor of 2 journals, 15 special issues, and 5 books.
Preface

This is the second book in the series Smart Materials in Additive Manufacturing
focusing on four-dimensional (4D) printing mechanics, modeling, and advanced engi-
neering applications. This book presents recent practical advances and innovations in
4D printing from the perspectives of engineering design and modeling in emerging
directions, with the goal of being useful for students and early career researchers in
the field at the higher education level.
Significant progress has been made in 4D printing by researchers in leading uni-
versities and laboratories throughout the world, integrating developments in additive
manufacturing of dynamic structures with stimuli-responsive materials, known as
smart materials, to build smart structures and mechanisms. However, as 4D printing
technology is still in its early phases of research and development, industries will most
likely learn more about it in the coming years. With the Fourth Industrial Revolution
well underway, industries that take advantage of its enormous opportunities will
surely benefit commercially. With this information, institutions, researchers, and stu-
dents who invest in cutting-edge 4D printing technology have enormous potential.
Currently, there are relatively limited tools and resources available for including
4D printing in university courses and curricula, as most studies use the bottom-up
approach to find the target design. Therefore, the research in 4D printing applications
toward a strategic top-down modeling and designing approaches are ongoing demand.
This book is primarily aimed at students and educators studying multidisciplinary
fields, either as a self-contained course or as a module within a larger engineering
course. There is sufficient depth for an undergraduate- or graduate-level course, with
many references to point the student further along the path.
The current book, focusing on 4D printing mechanics, modeling, and advanced
engineering applications, has case studies, including the design, modeling, and exper-
imental steps, to help readers improve their understanding of 4D printing by repeating
and carrying out the exercises presented. Researchers in 4D printing may also find this
text useful in helping them understand the state of the art and the opportunities for
further research. Entrepreneurs and research and development experts will also find
this book useful as it will guide them in developing new start-ups based on engineering
applications of 4D printing.
In this book, recent techniques, structural design, modeling, and simulation tools
and software to realize the applications based on 4D printing are presented. The chap-
ters present case studies of research where the 4D printing has provided useful appli-
cations for smart structures and mechanisms in the textile industry, soft robotics,
bioprinting, origami, auxetics and metamaterials, micromachines, sensors, and wire-
less devices. The readers will have access to the detailed design, modeling, simulation,
and manufacturing steps for applications in different fields that will be suitable for the
xviii Preface

technical level of 4D printing teaching and learning required for diverse educational
levels.
Putting this book together was an intense collaborative process for the authors and
editors and they hope that readers will benefit from it. Working on this book has been
an incredible experience, and it has allowed us to expand our network of specialists
with whom we can collaborate to advance this area even further and continue the
Smart Materials in Additive Manufacturing book series.
Mahdi Bodaghi
Ali Zolfagharian
Acknowledgments

The coeditors express their sincere gratitude and deep appreciation to all the authors
for their significant and excellent contributions to this book. Their enthusiasm, com-
mitment, and technical expertise have made this pioneering book possible. We are
also grateful to Elsevier for supporting this book project, and we extend our special
thanks to the Editorial Team, Dennis, Mariana, and Surya, for their proactive support
and cooperative attitude, with both the publishing initiative in general and the editorial
aspects.
This page intentionally left blank
4D printing mechanics, modeling,
and advanced engineering 1
applications
Ali Zolfaghariana and Mahdi Bodaghib
a
School of Engineering, Deakin University, Geelong, VIC, Australia
b
Department of Engineering, School of Science and Technology, Nottingham Trent
University, Nottingham, United Kingdom

Introduction
4D-printed structures may fold or unfold in predetermined forms if activated by an
external stimulus, thereby opening the door to various exciting applications. To do
so, a geometric code that offers instructions about how a structure moves or shifts until
a stimulus activates it should be programmed during the printing stage. This facilitates
the design of intelligent and sensitive structures that can be adapted to complex envi-
ronmental factors. This book has collected and classified recent advances and inno-
vations in modeling and programming of 4D-printed smart materials from an
engineering point of view and explores the potential of 4D-printed structures in
emerging directions.
In the application of 4D printing, given a selected material, a printing approach, and
a programming method, the final step for establishing 4D printing is modeling the
original structure and predicting its shape- and property-changing behavior (Shen,
Erol, Fang, & Kang, 2020). New structural designs and advanced simulation and
modeling tools can further advance 4D printing. For example, porous materials with
multiscale pore size enable faster diffusion and mass transport for water and chemical-
based actuation, or multimaterial, functionally graded, and bilayer structures are
extensively inspiring researchers for 4D programming. Indeed, simulating the smart
material dynamic process requires multiphysics simulations. The mechanical calcu-
lation, or finite-element analysis (FEA), needs to be combined with extra physical
fields such as thermal, electrical, and magnetic, depending on the stimuli mechanism.
Additionally, the inhomogeneity and anisotropy of printed structures based on differ-
ent printing methods and parameters is a current research direction. For shape actu-
ation involving multiphysics problems, finite-element modeling (FEM) could be used
to accurately predict the shape transformation of the printed shape under external
stimuli through an inverse design problem. Yet, this is a challenging problem even
with the full capability of modeling of the material system. From optimization theory,
the solution to such an inverse problem could be unstable or even nonexisting. To this
end, artificial intelligence methods, machine learning and deep learning algorithms,

Smart Materials in Additive Manufacturing, Volume 2: 4D Printing Mechanics, Modeling, and Advanced Engineering Applications
https://doi.org/10.1016/B978-0-323-95430-3.00001-4
Copyright © 2022 Elsevier Inc. All rights reserved.
2 Smart Materials in Additive Manufacturing, Volume 2

Fig. 1.1 The 4D-printed structures covered in this book.

offer a powerful approach to optimize material distribution for the rational design of
smart materials for controlled shape shifting. Topology optimization is also used to
optimize the design of 4D-printed smart structures based on the target architecture
with reduced weight. Currently, there are limited tools available on this topic. Most
studies are using numerical tools to find the target design, while analytical calculations
could also be applied in some simple geometries. Therefore, the research efforts and
progress in 4D-printed structures and systems toward strategic top-down modeling
and designing approaches are ongoing.
4D printing finds its applications in textile industries (Koch, Schmelzeisen, &
Gries, 2021), soft robotics (Zolfagharian, Kaynak, & Kouzani, 2019; Zolfagharian,
Kaynak, Noshadi, & Kouzani, 2019), bioprinting (Askari et al., 2021), origami
(Mehrpouya, Azizi, Janbaz, & Gisario, 2020), auxetic (Yousuf, Abuzaid, &
Alkhader, 2020), micromachines (Spiegel et al., 2020), sensors (Faller, Krivec,
Abram, & Zangl, 2018; Khosravani & Reinicke, 2020), and wireless devices
(Cui, Nauroze, & Tentzeris, 2019).
This book discusses some areas of research where the application of 4D-printed
materials has proved to be useful in engineering applications, so that the readers will
be introduced to various fields of 4D-printed structures and applications (Fig. 1.1).
The following introduce the chapters presented in this book, which present different
mechanics, modeling techniques, and engineering applications of 4D-printed smart
materials and structures.

4D printing electro-induced shape memory polymers

A novel approach to the internal heating of 4D-printed SMP structures is to integrate
heating elements into the structures (Ka
cergis, Mitkus, & Sinapius, 2019). This
approach uses 3D printable conductive materials to change the stiffness of the
4D printing mechanics, modeling, and advanced engineering applications 3

structure, taking advantage of the Joule heating effect. The use of this approach in soft
robotics enables a change in the stiffness of the structure (Bodaghi, Damanpack, &
Liao, 2017; Bodaghi & Liao, 2019; Hu, Damanpack, Bodaghi, & Liao, 2017). The
use of conductive filaments allows the application of an electric current to generate
Joule heating, thus changing the stiffness of the conductive material itself and of sur-
rounding materials. Furthermore, the deformation of conductive traces changes their
resistance, so they can be used for various sensing purposes as well. In such systems,
there are several factors to be considered, including different methods to attach cables
to printed electrodes to find a connection with the lowest resistance, the influence of
printing speed and extrusion temperature on the resistance of the material, heating per-
formance, and the influence of the maximum bending of 4D-printed structures.
In this chapter, we present an approach to combining plain polylactic acid (PLA)
with conductive PLA (CPLA) in a single part to activate SMP structures with electric
current, also known as Joule heating. The CPLA is encapsulated inside the structure
and covered with nonconductive PLA. The SMP structures reported here with conduc-
tive traces can be activated with 60 V and offer full shape-morphing in a few minutes,
where the speed of deformation depends on the applied electric current. These smart
structures can be fully printed with a single machine and do not require any specific
tools or devices. Embedding electronics opens new possibilities for controlled defor-
mation and sensing for various applications, such as flexible grippers. The SMP struc-
tures presented here are one of the first of such kinds that use printable conductive
materials for heating purposes to activate the morphing of the structure. The printing
parameters and their influence on the performance of 4D-printed structures are pres-
ented. Further, different cable connection methods are of interest to apply high current
to the structure. Since conductive PLA has quite a large resistance, the influence of
printing parameters on the resistance of conductive PLA is investigated to achieve
the highest performance possible. Also, the influence of placement of the conductive
PLA layer within a 4D-printed shape-morphing structure is investigated. For this char-
acterization, a special testing stand, capable of measuring maximum free deformation
and blocking force, is designed.

4D printing modeling using ABAQUS: A guide for beginners

The advent of 4D printing in AM, which requires knowledge in multiphysics, chem-
istry, and engineering skills, is bringing many engineering applications. This serves as
a significant multidisciplinary research and training platform for both academia and
the professional world. Due to reduced prices, more design flexibility, and faster
manufacturing techniques, this newly developed technology has become a viable
commercial prospect. With the increasing use of AM and smart materials in industry,
industries are looking to academics with interdisciplinary skills and expertise.
This chapter presents an easy-to-implement and follow approach for students and
early career researchers new to the field of 4D printing modeling and simulation, pro-
viding them with a significant edge in an increasingly competitive job market
and higher degree research. This chapter provides a straightforward step-by-step
4 Smart Materials in Additive Manufacturing, Volume 2

approach, including design, multiphysics modeling principles, and finite-element

method (FEM) simulation of a shape memory polymer and hydrogel composite
4D-printed structure using ABAQUS software for new researchers and students to
the field of 4D printing. This study may be used in a variety of cross-disciplinary engi-
neering courses and classes to educate and practice theoretical modeling and simula-
tion for 4D printing.

4D printing modeling via machine learning

One of the current challenges in 4D printing of soft robots and actuators is the model-
ing and prediction of their motion, particularly due to the nonlinearity of the materials.
To achieve a target shape in such systems, an inverse nonlinear problem should be
solved to estimate the shape change of 4D-printed systems in response to the amount
and time of stimuli (Zolfagharian et al., 2021). However, using machine learning (ML)
techniques trained via FEM numerical results could help with saving time and effort
during design improvement and modification to handle the variable physical
responses of incorporated materials.
This chapter presents a case study guiding the development of ML models for
predicting the behavior of nonlinear 4D printing problems. This includes creating
an FEM to accurately simulate experimental actuation and running a series of simu-
lations to obtain training data for the ML modeling. First, the effectiveness of using a
linear model to estimate the bending angle of a hyperelastic material is analyzed.
Then, in the ANSYS software package, an FEM method using a hyperelastic material
model is developed to accurately model the deflection of the actuator in response to
the input pressure for variable geometrical features. More than a thousand training
samples from the FEM simulations are generated to use as training data for the
ML model. The ML model is developed to predict the bending angle of the 4D-printed
system. The ML model accurately predicts FEM and experimental data and proves to
be a viable solution for 4D printing modeling of soft robots and dynamic structures.
This work helps the readers understand how to best develop models for nonlinear 4D
printing problems using ML methods.

4D-printed pneumatic soft actuators modeling,

fabrications, and control
Soft actuators are one of the primary and critical components of a soft robot. Soft
robots demand dexterous, fast, and reversible soft actuators that must be able to
contract, extend, bend, and/or twist with favorable performance while delivering suf-
ficient output forces (Tawk & Alici, 2021). A soft actuator converts an input stimulus
into a useful mechanical output. In general, soft actuators can be classified according
to the input stimulus required for their activation (Zolfagharian, Kaynak, & Kouzani,
2020). For example, chemical species are required for electroactive polymer actua-
tors, air for pneumatic actuators, liquid for hydraulic actuators, heat for shape memory
Other documents randomly have
different content
The Project Gutenberg eBook of The Every-day Book
and Table Book. v. 3 (of 3)
 This ebook is for the use of anyone anywhere in the United States and most
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Title: The Every-day Book and Table Book. v. 3 (of 3)

Author: William Hone

Release date: October 15, 2016 [eBook #53277]

Language: English

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*** START OF THE PROJECT GUTENBERG EBOOK THE EVERY-DAY BOOK AND
TABLE BOOK. V. 3 (OF 3) ***
 Please see the Transcriber’s Notes at the
end of this text.

PETRARCH’S INKSTAND.
In the Possession of Miss Edgeworth, presented to her
by a Lady.
By beauty won from soft Italia’s land,
Here Cupid, Petrarch’s Cupid, takes his stand.
Arch suppliant, welcome to thy fav’rite isle,
Close thy spread wings, and rest thee here awhile;
Still the true heart with kindred strains inspire,
Breathe all a poet’s softness, all his fire;
But if the perjured knight approach this font,
Forbid the words to come as they were wont,
Forbid the ink to flow, the pen to write,
And send the false one baffled from thy sight.
Miss Edgeworth.
 THE

EVERY-DAY BOOK
AND

TABLE BOOK;
OR,

EVERLASTING CALENDAR OF POPULAR

AMUSEMENTS,
SPORTS, PASTIMES, CEREMONIES, MANNERS,
CUSTOMS, AND EVENTS,
INCIDENT TO

Each of the Three Hundred and Sixty-five

Days,
IN PAST AND PRESENT TIMES;

FORMING A

COMPLETE HISTORY OF THE YEAR, MONTHS, AND SEASONS,

AND A

PERPETUAL KEY TO THE ALMANAC;

INCLUDING
 ACCOUNTS OF THE WEATHER, RULES FOR HEALTH AND CONDUCT, REMARKABLE AND

IMPORTANT ANECDOTES, FACTS, AND NOTICES, IN CHRONOLOGY, ANTIQUITIES, TOPO-

GRAPHY, BIOGRAPHY, NATURAL HISTORY, ART, SCIENCE, AND GENERAL LITERATURE;

DERIVED FROM THE MOST AUTHENTIC SOURCES, AND VALUABLE ORIGINAL COMMUNI-

CATIONS, WITH POETICAL ELUCIDATIONS, FOR DAILY USE AND DIVERSION.

BY WILLIAM HONE.
I tell of festivals, and fairs, and plays,
Of merriment, and mirth, and bonfire blaze;
I tell of Christmas-mummings, new year’s day,
Of twelfth-night king and queen, and children’s
play;
I tell of valentines, and true-love’s-knots,
Of omens, cunning men, and drawing lots:

I tell of brooks, of blossoms, birds and bowers,

Of April, May, of June, and July-flowers;
I tell of May-poles, hock-carts, wassails, wakes,
Of bridegrooms, brides, and of their bridal
cakes;
I tell of groves, of twilights, and I sing
The court of Mab, and of the fairy king.
Herrick.

WITH FOUR HUNDRED AND THIRTY-SIX ENGRAVINGS.

IN THREE VOLUMES.
VOL. III.

LONDON:
PRINTED FOR THOMAS TEGG,
73, CHEAPSIDE.
J. HADDON, PRINTER, CASTLE STREET, FINSBURY.
 PREFACE.
On the close of the Every-Day Book, which commenced on New Year’s Day,
1825, and ended in the last week of 1826, I began this work.
The only prospectus of the Table Book was the eight versified lines on the
title-page. They appeared on New Year’s Day, prefixed to the first number;
which, with the successive sheets, to the present date, constitute the volume
now in the reader’s hands, and the entire of my endeavours during the half year.
So long as I am enabled, and the public continue to be pleased, the Table
Book will be continued. The kind reception of the weekly numbers, and the
monthly parts, encourages me to hope that like favour will be extended to the
half-yearly volume. Its multifarious contents and the illustrative engravings, with
the help of the copious index, realize my wish, “to please the young, and help
divert the wise.” Perhaps, if the good old window-seats had not gone out of
fashion, it might be called a parlour-window book—a good name for a volume of
agreeable reading selected from the book-case, and left lying about, for the
constant recreation of the family, and the casual amusement of visitors.
W. HONE.

Midsummer, 1827.

THE FRONTISPIECE.
PETRARCH’S INKSTAND.

Miss Edgeworth’s lines express her estimation of the gem she has the
happiness to own. That lady allowed a few casts from it in bronze, and a
gentleman who possesses one, and who favours the “Table Book” with his
approbation, permits its use for a frontispiece to this volume. The engraving will
not be questioned as a decoration, and it has some claim to be regarded as an
elegant illustration of a miscellany which draws largely on art and literature, and
on nature itself, towards its supply.
“I delight,” says Petrarch, “in my pictures. I take great pleasure also in
images; they come in show more near unto nature than pictures, for they do but
appear; but these are felt to be substantial, and their bodies are more durable.
Amongst the Grecians the art of painting was esteemed above all handycrafts,
and the chief of all the liberal arts. How great the dignity hath been of statues;
and how fervently the study and desire of men have reposed in such pleasures,
emperors and kings, and other noble personages, nay, even persons of inferior
degree, have shown, in their industrious keeping of them when obtained.”
Insisting on the golden mean, as a rule of happiness, he says, “I possess an
amazing collection of books, for attaining this, and every virtue: great is my
delight in beholding such a treasure.” He slights persons who collect books “for
the pleasure of boasting they have them; who furnish their chambers with what
was invented to furnish their minds; and use them no otherwise than they do
their Corinthian tables, or their painted tables and images, to look at.” He
contemns others who esteem not the true value of books, but the price at which
they may sell them—“a new practice” (observe it is Petrarch that speaks) “crept
in among the rich, whereby they may attain one art more of unruly desire.” He
repeats, with rivetting force, “I have great plenty of books: where such scarcity
has been lamented, this is no small possession: I have an inestimable many of
books!” He was a diligent collector, and a liberal imparter of these treasures. He
corresponded with Richard de Bury, an illustrious prelate of our own country,
eminent for his love of learning and learned men, and sent many precious
volumes to England to enrich the bishop’s magnificent library. He vividly
remarks, “I delight passionately in my books;” and yet he who had accumulated
them largely, estimated them rightly: he has a saying of books worthy of himself
—“a wise man seeketh not quantity but sufficiency.”
Petrarch loved the quiet scenes of nature, and these can scarcely be
observed from a carriage or while riding, and are never enjoyed but on foot; and
to me—on whom that discovery was imposed, and who am sometimes
restrained from country walks, by necessity—it was no small pleasure, when I
read a passage in his “View of Human Nature,” which persuaded me of his
fondness for the exercise: “A journey on foot hath most pleasant commodities; a
man may go at his pleasure; none shall stay him, none shall carry him beyond
his wish; none shall trouble him; he hath but one labour, the labour of nature—
to go.”
In “The Indicator” there is a paper of peculiar beauty, by Mr. Leigh Hunt, “on
receiving a sprig of myrtle from Vaucluse,” with a paragraph suitable to this
occasion: “We are supposing that all our readers are acquainted with Petrarch.
Many of them doubtless know him intimately. Should any of them want an
introduction to him, how should we speak of him in the gross? We should say,
that he was one of the finest gentlemen and greatest scholars that ever lived;
that he was a writer who flourished in Italy in the fourteenth century, at the time
when Chaucer was young, during the reigns of our Edwards; that he was the
greatest light of his age; that although so fine a writer himself, and the author of
a multitude of works, or rather because he was both, he took the greatest pains
to revive the knowledge of the ancient learning, recommending it every where,
and copying out large manuscripts with his own hand; that two great cities,
Paris and Rome, contended which should have the honour of crowning him; that
he was crowned publicly, in the metropolis of the world, with laurel and with
myrtle; that he was the friend of Boccaccio the father of Italian prose; and lastly,
that his greatest renown nevertheless, as well as the predominant feelings of his
existence, arose from the long love he bore for a lady of Avignon, the far-famed
Laura, whom he fell in love with on the 6th of April, 1327, on a Good Friday;
whom he rendered illustrious in a multitude of sonnets, which have left a sweet
sound and sentiment in the ear of all after lovers; and who died, still
passionately beloved, in the year 1348, on the same day and hour on which he
first beheld her. Who she was, or why their connection was not closer, remains a
mystery. But that she was a real person, and that in spite of all her modesty she
did not show an insensible countenance to his passion, is clear from his long-
haunted imagination, from his own repeated accounts, from all that he wrote,
uttered, and thought. One love, and one poet, sufficed to give the whole
civilized world a sense of delicacy in desire, of the abundant riches to be found
in one single idea, and of the going out of a man’s self to dwell in the soul and
happiness of another, which has served to refine the passion for all modern
times; and perhaps will do so, as long as love renews the world.”
At Vaucluse, or Valchiusa, “a remarkable spot in the old poetical region of
Provence, consisting of a little deep glen of green meadows surrounded with
rocks, and containing the fountain of the river Sorgue,” Petrarch resided for
several years, and composed in it the greater part of his poems.
The following is a translation by sir William Jones, of
 AN ODE, BY PETRARCH,
To the Fountain of Valchiusa
Ye clear and sparkling streams!
(Warm’d by the sunny beams)
Through whose transparent crystal Laura play’d;
Ye boughs that deck the grove,
Where Spring her chaplets wove,
While Laura lay beneath the quivering shade;
Sweet herbs! and blushing flowers!
That crown yon vernal bowers,
For ever fatal, yet for ever dear;
And ye, that heard my sighs
When first she charm’d my eyes,
Soft-breathing gales! my dying accents hear.
If Heav’n has fix’d my doom,
That Love must quite consume
My bursting heart, and close my eyes in death
Ah! grant this slight request,—
That here my urn may rest,
When to its mansion flies my vital breath.
This pleasing hope will smooth
My anxious mind, and soothe
The pangs of that inevitable hour;
My spirit will not grieve
Her mortal veil to leave
In these calm shades, and this enchanting bower
Haply, the guilty maid
Through yon accustom’d glade
To my sad tomb will take her lonely way
Where first her beauty’s light
O’erpower’d my dazzled sight,
When love on this fair border bade me stray:
There, sorrowing, shall she see,
Beneath an aged tree,
Her true, but hapless lover’s lowly bier;
Too late her tender sighs
Shall melt the pitying skies,
And her soft veil shall hide the gushing tear
O! well-remember’d day,
When on yon bank she lay,
Meek in her pride, and in her rigour mild;
The young and blooming flowers,
Falling in fragrant showers,
Shone on her neck, and on her bosom smil’d
Some on her mantle hung,
Some in her locks were strung,
Like orient gems in rings of flaming gold;
Some, in a spicy cloud
Descending, call’d aloud,
“H L d Y th th i f i h ld ”
 “Here Love and Youth the reins of empire hold.”
I view’d the heavenly maid
And, rapt in wonder, said—
“The groves of Eden gave this angel birth,”
Her look, her voice, her smile,
That might all Heaven beguile,
Wafted my soul above the realms of earth
The star-bespangled skies
Were open’d to my eyes;
Sighing I said, “Whence rose this glittering scene?”
Since that auspicious hour,
This bank, and odorous bower,
My morning couch, and evening haunt have been.
Well mayst thou blush, my song,
To leave the rural throng
And fly thus artless to my Laura’s ear,
But, were thy poet’s fire
Ardent as his desire,
Thou wert a song that Heaven might stoop to hear
It is within probability to imagine, that the original of this “ode” may have
been impressed on the paper, by Petrarch’s pen, from the inkstand of the
frontispiece.
Vol. I.—1.

THE
TABLE BOOK.

Formerly, a “Table Book” was a memorandum book, on which any thing was
graved or written without ink. It is mentioned by Shakspeare. Polonius, on
disclosing Ophelia’s affection for Hamlet to the king, inquires
“When I had seen this hot love on the wing,
—————————— what might you,
Or my dear majesty, your queen here, think,
If I had play’d the desk, or table-book?”
Dr. Henry More, a divine, and moralist, of the succeeding century, observes,
that “Nature makes clean the table-book first, and then portrays upon it what
she pleaseth.” In this sense, it might have been used instead of a tabula rasa, or
sheet of blank writing paper, adopted by Locke as an illustration of the human
mind in its incipiency. It is figuratively introduced to nearly the same purpose by
Swift: he tells us that
“Nature’s fair table-book, our tender souls,
We scrawl all o’er with old and empty rules,
Stale memorandums of the schools.”
Dryden says, “Put into your Table-Book whatsoever you judge worthy.”[1]
I hope I shall not unworthily err, if, in the commencement of a work under
this title, I show what a Table Book was.
Table books, or tablets, of wood, existed before the time of Homer, and
among the Jews before the Christian æra. The table books of the Romans were
nearly like ours, which will be described presently; except that the leaves, which
were two, three, or more in number, were of wood surfaced with wax. They
wrote on them with a style, one end of which was pointed for that purpose, and
the other end rounded or flattened, for effacing or scraping out. Styles were
made of nearly all the metals, as well as of bone and ivory; they were differently
formed, and resembled ornamented skewers; the common style was iron. More
anciently, the leaves of the table book were without wax, and marks were made
by the iron style on the bare wood. The Anglo-Saxon style was very handsome.
Dr. Pegge was of opinion that the well-known jewel of Alfred, preserved in the
Ashmolean museum at Oxford, was the head of the style sent by that king with
Gregory’s Pastoral to Athelney.[2]
A gentleman, whose profound knowledge of domestic antiquities surpasses
that of preceding antiquaries, and remains unrivalled by his contemporaries, in
his “Illustrations of Shakspeare,” notices Hamlet’s expression, “My tables,—meet
it is I set it down.” On that passage he observes, that the Roman practice of
writing on wax tablets with a style was continued through the middle ages; and
that specimens of wooden tables, filled with wax, and constructed in the
fourteenth century, were preserved in several of the monastic libraries in France.
Some of these consisted of as many as twenty pages, formed into a book by
means of parchment bands glued to the backs of the leaves. He says that in the
middle ages there were table books of ivory, and sometimes, of late, in the form
of a small portable book with leaves and clasps; and he transfers a figure of one
of the latter from an old work[3] to his own: it resembles the common “slate-
books” still sold in the stationers’ shops. He presumes that to such a table book
the archbishop of York alludes in the second part of King Henry IV.,
“And therefore will he wipe his tables clean
And keep no tell tale to his memory.”
As in the middle ages there were table-books with ivory leaves, this
gentleman remarks that, in Chaucer’s “Sompnour’s Tale,” one of the friars is
provided with
“A pair of tables all of ivory,
And a pointel ypolished fetishly,
And wrote alway the names, as he stood,
Of alle folk that yave hem any good.”
He instances it as remarkable, that neither public nor private museums
furnished specimens of the table books, common in Shakspeare’s time.
Fortunately, this observation is no longer applicable.
A correspondent, understood to be Mr. Douce, in Dr. Aikin’s “Athenæum,”
subsequently says, “I happen to possess a table-book of Shakspeare’s time. It is
a little book, nearly square, being three inches wide and something less than
four in length, bound stoutly in calf, and fastening with four strings of broad,
strong, brown tape. The title as follows: ‘Writing Tables, with a Kalender for xxiiii
yeeres, with sundrie necessarie rules. The Tables made by Robert Triple.
London, Imprinted for the Company of Stationers.’ The tables are inserted
immediately after the almanack. At first sight they appear like what we call
asses-skin, the colour being precisely the same, but the leaves are thicker:
whatever smell they may have had is lost, and there is no gloss upon them. It
might be supposed that the gloss has been worn off; but this is not the case, for
most of the tables have never been written on. Some of the edges being a little
worn, show that the middle of the leaf consists of paper; the composition is laid
on with great nicety. A silver style was used, which is sheathed in one of the
covers, and which produces an impression as distinct, and as easily obliterated
as a black-lead pencil. The tables are interleaved with common paper.”
 In July, 1808, the date of the preceding communication, I, too, possessed a
table book, and silver style, of an age as ancient, and similar to that described;
except that it had not “a Kalender.” Mine was brought to me by a poor person,
who found it in Covent-garden on a market day. There were a few ill-spelt
memoranda respecting vegetable matters formed on its leaves with the style. It
had two antique slender brass clasps, which were loose; the ancient binding had
ceased from long wear to do its office, and I confided it to Mr. Wills, the
almanack publisher in Stationers’-court, for a better cover and a silver clasp.
Each being ignorant of what it was, we spoiled “a table-book of Shakspeare’s
time.”
The most affecting circumstance relating to a table book is in the life of the
beautiful and unhappy “Lady Jane Grey.” “Sir John Gage, constable of the Tower,
when he led her to execution, desired her to bestow on him some small present,
which he might keep as a perpetual memorial of her: she gave him her table-
book, wherein she had just written three sentences, on seeing her husband’s
body; one in Greek, another in Latin, and a third in English. The purport of them
was, that human justice was against his body, but the divine mercy would be
favourable to his soul; and that, if her fault deserved punishment, her youth at
least, and her imprudence, were worthy of excuse, and that God and posterity,
she trusted, would show her favour.”[4]

Having shown what the ancient table book was, it may be expected that I
should say something about
My
Table Book.
The title is to be received in a larger sense than the obsolete signification:
the old table books were for private use—mine is for the public; and the more
the public desire it, the more I shall be gratified. I have not the folly to suppose
it will pass from my table to every table, but I think that not a single sheet can
appear on the table of any family without communicating some information, or
affording some diversion.
On the title-page there are a few lines which briefly, yet adequately, describe
the collections in my Table Book: and, as regards my own “sayings and doings,”
the prevailing disposition of my mind is perhaps sufficiently made known
through the Every-Day Book. In the latter publication, I was inconveniently
limited as to room; and the labour I had there prescribed to myself, of
commemorating every day, frequently prevented me from topics that would have
been more agreeable to my readers than the “two grains of wheat in a bushel of
chaff,” which I often consumed my time and spirits in endeavouring to discover—
and did not always find.
 In my Table Book, which I hope will never be out of “season,” I take the
liberty to “annihilate both time and space,” to the extent of a few lines or days,
and lease, and talk, when and where I can, according to my humour. Sometimes
I present an offering of “all sorts,” simpled from out-of-the-way and in-the-way
books; and, at other times, gossip to the public, as to an old friend, diffusely or
briefly, as I chance to be more or less in the giving “vein,” about a passing
event, a work just read, a print in my hand, the thing I last thought of, or saw,
or heard, or, to be plain, about “whatever comes uppermost.” In short, my
collections and recollections come forth just as I happen to suppose they may be
most agreeable or serviceable to those whom I esteem, or care for, and by
whom I desire to be respected.
My Table Book is enriched and diversified by the contributions of my friends;
the teemings of time, and the press, give it novelty; and what I know of works
of art, with something of imagination, and the assistance of artists, enable me to
add pictorial embellishment. My object is to blend information with amusement,
and utility with diversion.
My Table Book, therefore, is a series of continually shifting scenes—a kind of
literary kaleidoscope, combining popular forms with singular appearances—by
which youth and age of all ranks may be amused; and to which, I respectfully
trust, many will gladly add something, to improve its views.

[1] Johnson.
[2] Fosbroke’s Encyclopædia of Antiquities.
[3] Gesner De rerum fossilium figuris, &c. Tigur. 1565. 12mo.
[4] Glossary by Mr. Archd. Nares.

Ode to the New Year

From the Every Day Book: set to Music for the Table Book,
By J. K.
 All hail to the birth of the Year! See golden-hair’d
Phœbus afar, Prepares to renew his career, And is
mounting his dew-spangled car. Stern Winter congeals every
brook, That murmur’d so lately with glee, And places a
snowy peruke On the head of each bald-pated tree.
Play music:
midi (3 kB)
⁂ For the remaining verses, see the Every-Day Book, vol ii. p. 25.

The New Year.

HAGMAN-HEIGH.
Anciently on new year’s day the Romans were accustomed to carry small
presents, as new year’s gifts, to the senators, under whose protection they were
severally placed. In the reigns of the emperors, they flocked in such numbers
with valuable ones, that various decrees were made to abolish the custom;
though it always continued among that people. The Romans who settled in
Britain, or the families connected with them by marriage, introduced these new
year’s gifts among our forefathers, who got the habit of making presents, even
to the magistrates. Some of the fathers of the church wrote against them, as
fraught with the greatest abuses, and the magistrates were forced to relinquish
them. Besides the well-known anecdote of sir Thomas More, when lord
chancellor,[5] many instances might be adduced from old records, of giving a pair
of gloves, some with “linings,” and others without. Probably from thence has
been derived the fashion of giving a pair of gloves upon particular occasions, as
at marriages, funerals, &c. New year’s gifts continue to be received and given by
all ranks of people, to commemorate the sun’s return, and the prospect of
spring, when the gifts of nature are shared by all. Friends present some small
tokens of esteem to each other—husbands to their wives, and parents to their
children. The custom keeps up a cheerful and friendly intercourse among
acquaintance, and leads to that good-humour and mirth so necessary to the
spirits in this dreary season. Chandlers send as presents to their customers large
mould candles; grocers give raisins, to make a Christmas pudding, or a pack of
cards, to assist in spending agreeably the long evenings. In barbers’ shops
“thrift-box,” as it is called, is put by the apprentice boys against the wall, and
every customer, according to his inclination, puts something in. Poor children,
and old infirm persons, beg, at the doors of the charitable, a small pittance,
which, though collected in small sums, yet, when put together, forms to them a
little treasure; so that every heart, in all situations of life, beats with joy at the
nativity of his Saviour.
The Hagman Heigh is an old custom observed in Yorkshire on new year’s
eve, as appertaining to the season. The keeper of the pinfold goes round the
town, attended by a rabble at his heels, and knocking at certain doors, sings a
barbarous song, beginning with—
“Tonight it is the new year’s night, to-morrow is the day;
We are come about for our right and for our ray,
As we us’d to do in old king Henry’s day:
Sing, fellows, sing, Hagman Heigh,” &c.
The song always concludes with “wishing a merry Christmas and a happy
new year.” When wood was chiefly used as fuel, in heating ovens at Christmas,
this was the most appropriate season for the hagman, or wood-cutter, to remind
his customers of his services, and to solicit alms. The word hag is still used in
Yorkshire, to signify a wood. The “hagg” opposite to Easby formerly belonged to
the abbey, to supply them with fuel. Hagman may be a name compounded from
it. Some derive it from the Greek Αγιαμηνη, the holy month, when the festivals
of the church for our Saviour’s birth were celebrated. Formerly, on the last day
of the year, the monks and friars used to make a plentiful harvest, by begging
from door to door, and reciting a kind of carol, at the end of every stave of
which they introduced the words “agia mene,” alluding to the birth of Christ. A
very different interpretation, however, was given to it by one John Dixon, a
Scotch presbyterian minister, when holding forth against this custom in one of
his sermons at Kelso. “Sirs, do you know what the hagman signifies? It is the
devil to be in the house; that is the meaning of its Hebrew original.”[6]

SONNET
ON THE NEW YEAR.
When we look back on hours long past away,
And every circumstance of joy, or woe
That goes to make this strange beguiling show,
Call’d life, as though it were of yesterday,
We start to learn our quickness of decay.
Still flies unwearied Time;—on still we go
And whither?—Unto endless weal or woe,
As we have wrought our parts in this brief play.
Yet many have I seen whose thin blanched locks
But ill became a head where Folly dwelt,
Who having past this storm with all its shocks,
Had nothing learnt from what they saw or felt:
Brave spirits! that can look, with heedless eye,
On doom unchangeable, and fixt eternity.

[5] Every-Day Book, i. 9.

[6] Clarkson’s History of Richmond, cited by a correspondent, A. B.

Antiquities.
Westminster Abbey.
The following letter, written by Horace Walpole, in relation to the tombs, is
curious. Dr. ——, whom he derides, was Dr. Zachary Pearce, dean of
Westminster, and editor of Longinus, &c.
Strawberry-hill, 1761.
I heard lately, that Dr. ——, a very learned personage, had consented to let
the tomb of Aylmer de Valence, earl of Pembroke, a very great personage, be
removed for Wolfe’s monument; that at first he had objected, but was wrought
upon by being told that hight Aylmer was a knight templar, a very wicked set of
people as his lordship had heard, though he knew nothing of them, as they are
not mentioned by Longinus. I own I thought this a made story, and wrote to his
lordship, expressing my concern that one of the finest and most ancient
monuments in the abbey should be removed; and begging, if it was removed,
that he would bestow it on me, who would erect and preserve it here. After a
fortnight’s deliberation, the bishop sent me an answer, civil indeed, and
commending my zeal for antiquity! but avowing the story under his own hand.
He said, that at first they had taken Pembroke’s tomb for a knight templar’s;—
observe, that not only the man who shows the tombs names it every day, but
that there is a draught of it at large in Dart’s Westminster;—that upon
discovering whose it was, he had been very unwilling to consent to the removal,
and at last had obliged Wilton to engage to set it up within ten feet of where it
stands at present. His lordship concluded with congratulating me on publishing
learned authors at my press. I don’t wonder that a man who thinks Lucan a
learned author, should mistake a tomb in his own cathedral. If I had a mind to
be angry, I could complain with reason,—as having paid forty pounds for ground
for my mother’s funeral—that the chapter of Westminster sell their church over
and over again: the ancient monuments tumble upon one’s head through their
neglect, as one of them did, and killed a man at lady Elizabeth Percy’s funeral;
and they erect new waxen dolls of queen Elizabeth, &c. to draw visits and
money from the mob.

Biographical Memoranda.
Cometary Influence.
Brantome relates, that the duchess of Angoulême, in the sixteenth century,
being awakened during the night, she was surprised at an extraordinary
brightness which illuminated her chamber; apprehending it to be the fire, she
reprimanded her women for having made so large a one; but they assured her it
was caused by the moon. The duchess ordered her curtains to be undrawn, and
discovered that it was a comet which produced this unusual light. “Ah!”
exclaimed she, “this is a phenomenon which appears not to persons of common
condition. Shut the window, it is a comet, which announces my departure; I
must prepare for death.” The following morning she sent for her confessor, in
the certainty of an approaching dissolution. The physicians assured her that her
apprehensions were ill founded and premature. “If I had not,” replied she, “seen
the signal for death, I could believe it, for I do not feel myself exhausted or
peculiarly ill.” On the third day after this event she expired, the victim of terror.
Long after this period all appearances of the celestial bodies, not perfectly
comprehended by the multitude, were supposed to indicate the deaths of
sovereigns, or revolutions in their governments.
 Two Painters.
When the duke d’Aremberg was confined at Antwerp, a person was brought
in as a spy, and imprisoned in the same place. The duke observed some slight
sketches by his fellow prisoner on the wall, and, conceiving they indicated talent,
desired Rubens, with whom he was intimate, and by whom he was visited, to
bring with him a pallet and pencils for the painter, who was in custody with him.
The materials requisite for painting were given to the artist, who took for his
subject a group of soldiers playing at cards in the corner of a prison. When
Rubens saw the picture, he cried out that it was done by Brouwer, whose works
he had often seen, and as often admired. Rubens offered six hundred guineas
for it; the duke would by no means part with it, but presented the painter with a
larger sum. Rubens exerted his interest, and obtained the liberty of Brouwer, by
becoming his surety, received him into his house, clothed as well as maintained
him, and took pains to make the world acquainted with his merit. But the levity
of Brouwer’s temper would not suffer him long to consider his situation any
better than a state of confinement; he therefore quitted Rubens, and died
shortly afterwards, in consequence of a dissolute course of life.
Representation of a Pageant Vehicle and Play.
 Representation of a Pageant Vehicle and
Play.
The state, and reverence, and show,
Were so attractive, folks would go
From all parts, ev’ry year, to see
These pageant-plays at Coventry.
This engraving is from a very curious print in Mr. Sharp’s “Dissertatien on the
Pageants or Dramatic Mysteries, anciently performed at Coventry.”
Coventry is distinguished in the history of the drama, because, under the title
of “Ludus Coventriæ,” there exists a manuscript volume of most curious early
plays, not yet printed, nor likely to be, unless there are sixty persons, at this
time sufficiently concerned for our ancient literature and manners, to encourage
a spirited gentleman to print a limited number of copies. If by any accident the
manuscript should be destroyed, these plays, the constant theme of literary
antiquaries from Dugdale to the present period, will only be known through the
partial extracts of writers, who have sometimes inaccurately transcribed from the
originals in the British Museum.[7]
Mr. Sharp’s taste and attainments qualifying him for the task, and his
residence at Coventry affording him facility of research among the muniments of
the corporation, he has achieved the real labour of drawing from these and
other unexplored sources, a body of highly interesting facts, respecting the
vehicles, characters, and dresses of the actors in the pageants or dramatic
mysteries anciently performed by the trading companies of that city; which,
together with accounts of municipal entertainments of a public nature, form his
meritorious volume.
Very little has been known respecting the stage “properties,” before the rise
of the regular drama, and therefore the abundant matter of that nature,
adduced by this gentleman, is peculiarly valuable. With “The Taylors’ and
Shearemens’ Pagant,” complete from the original manuscript, he gives the songs
and the original music, engraved on three plates, which is eminently remarkable,
because it is, perhaps, the only existing specimen of the melodies in the old
Mysteries. There are ten other plates in the work; one of them represents the
club, or maul, of Pilate, a character in the pageant of the Cappers’ company. “By
a variety of entries it appears he had a club or maul, stuffed with wool; and that
the exterior was formed of leather, is authenticated by the actual existence of
such a club or maul, discovered by the writer of this Dissertation, in an antique
chest within the Cappers’ chapel, (together with an iron cresset, and some
fragments of armour,) where it had probably remained ever since the breaking
up of the pageant.” The subject of the Cappers’ pageant was usually the trial
and crucifixion of Christ, and the descent into hell.
The pageant vehicles were high scaffolds with two rooms, a higher and a
lower, constructed upon four or six wheels; in the lower room the performers
dressed, and in the higher room they played. This higher room, or rather, as it
may be called, the “stage,” was all open on the top, that the beholders might
hear and see. On the day of performance the vehicles were wheeled, by men,
from place to place, throughout the city; the floor was strewed with rushes; and
to conceal the lower room, wherein the performers dressed, cloths were hung
round the vehicle: there is reason to believe that, on these cloths, the subject of
the performance was painted or worked in tapestry. The higher room of the
Drapers’ vehicle was embattled, and ornamented with carved work, and a crest;
the Smiths’ had vanes, burnished and painted, with streamers flying.
In an engraving which is royal quarto, the size of the work, Mr. Sharp has
laudably endeavoured to convey a clear idea of the appearance of a pageant
vehicle, and of the architectural appearance of the houses in Coventry, at the
time of performing the Mysteries. So much of that engraving as represents the
vehicle is before the reader on the preceding page. The vehicle, supposed to be
of the Smiths’ company, is stationed near the Cross in the Cross-cheaping, and
the time of action chosen is the period when Pilate, on the charges of Caiphas
and Annas, is compelled to give up Christ for execution. Pilate is represented on
a throne, or chair of state; beside him stands his son with a sceptre and poll-
axe, and beyond the Saviour are the two high priests; the two armed figures
behind are knights. The pageant cloth bears the symbols of the passion.
Besides the Coventry Mysteries and other matters, Mr. Sharp notices those of
Chester, and treats largely on the ancient setting of the watch on Midsummer
and St. John’s Eve, the corporation giants, morris dancers, minstrels, and waites.

I could not resist the very fitting opportunity on the opening of the new year,
and of the Table Book together, to introduce a memorandum, that so important
an accession has accrued to our curious literature, as Mr. Sharp’s “Dissertation
on the Coventry Mysteries.”

[7] By a notice in Mr. Sharp’s “Dissertation,” he proposes to publish the “Coventry

Mysteries,” with notes and illustrations, in two vols. octavo: 100 copies on royal paper,
at three guineas; and 25, on imperial paper, at five guineas. Notwithstanding he limits
the entire impression to these 125 copies, and will commence to print as soon as the
names of sixty subscribers are sent to his publishers, it appears that this small number
is not yet complete. The fact is mentioned here, because it will be a reproach to the
age if such an overture is not embraced.

“The Thing to a T.”

A young man, brought up in the city of London to the business of an
undertaker, went to Jamaica to better his condition. Business flourished, and he
wrote to his father in Bishopsgate-street to send him, with a quantity of black
and grey cloth, twenty gross of black Tacks. Unfortunately he had omitted the
top to his T, and the order stood twenty gross of black Jacks. His correspondent,
on receiving the letter, recollected a man, near Fleet-market, who made quart
and pint tin pots, ornamented with painting, and which were called black Jacks,
and to him he gave the order for the twenty gross of black Jacks. The maker,
surprised, said, he had not so many ready, but would endeavour to complete the
order; this was done, and the articles were shipped. The undertaker received
them with other consignments, and was astonished at the mistake. A friend,
fond of speculation, offered consolation, by proposing to purchase the whole at
the invoice price. The undertaker, glad to get rid of an article he considered
useless in that part of the world, took the offer. His friend immediately
advertised for sale a number of fashionable punch vases just arrived from
England, and sold the jacks, gaining 200 per cent.!
 The young undertaker afterwards discoursing upon his father’s blunder, was
told by his friend, in a jocose strain, to order a gross of warming-pans, and see
whether the well-informed correspondents in London would have the sagacity to
consider such articles necessary in the latitude of nine degrees north. The young
man laughed at the suggestion, but really put in practice the joke. He desired his
father in his next letter to send a gross of warming-pans, which actually, and to
the great surprise of the son, reached the island of Jamaica. What to do with
this cargo he knew not. His friend again became a purchaser at prime cost, and
having knocked off the covers, informed the planters, that he had just imported
a number of newly-constructed sugar ladles. The article under that name sold
rapidly, and returned a large profit. The parties returned to England with
fortunes, and often told the story of the black jacks and warming-pans over the
bottle, adding, that “Nothing is lost in a good market.”

Books.
—————————————— Give me
Leave to enjoy myself. That place, that does
Contain my books, the best companions, is
To me a glorious court, where hourly I
Converse with the old sages and philosophers;
And sometimes for variety, I confer
With kings and emperors, and weigh their counsels;
Calling their victories, if unjustly got,
Unto a strict account; and in my fancy,
Deface their ill-placed statues. Can I then
Part with such constant pleasures, to embrace
Uncertain vanities? No: be it your care
To augment a heap of wealth: it shall be mine
To increase in knowledge.
Fletcher.

Imagination.
Imagination enriches every thing. A great library contains not only books, but
“the assembled souls of all that men held wise.” The moon is Homer’s and
Shakspeare’s moon, as well as the one we look at. The sun comes out of his
chamber in the east, with a sparkling eye, “rejoicing like a bridegroom.” The
commonest thing becomes like Aaron’s rod, that budded. Pope called up the
spirits of the Cabala to wait upon a lock of hair, and justly gave it the honours of
a constellation; for he has hung it, sparkling for ever, in the eyes of posterity. A
common meadow is a sorry thing to a ditcher or a coxcomb; but by the help of
its dues from imagination and the love of nature, the grass brightens for us, the
air soothes us, we feel as we did in the daisied hours of childhood. Its verdures,
its sheep, its hedge-row elms,—all these, and all else which sight, and sound,
and association can give it, are made to furnish a treasure of pleasant thoughts.
Even brick and mortar are vivified, as of old at the harp of Orpheus. A
metropolis becomes no longer a mere collection of houses or of trades. It puts
on all the grandeur of its history, and its literature; its towers, and rivers; its art,
and jewellery, and foreign wealth; its multitude of human beings all intent upon
excitement, wise or yet to learn; the huge and sullen dignity of its canopy of
smoke by day; the wide gleam upwards of its lighted lustre at night-time; and
the noise of its many chariots, heard, at the same hour, when the wind sets
gently towards some quiet suburb.—Leigh Hunt.

Actors.
Madame Rollan, who died in 1785, in the seventy-fifth year of her age, was a
principal dancer on Covent-garden stage in 1731, and followed her profession,
by private teaching, to the last year of her life. She had so much celebrity in her
day, that having one evening sprained her ancle, no less an actor than Quin was
ordered by the manager to make an apology to the audience for her not
appearing in the dance. Quin, who looked upon all dancers as “the mere garnish
of the stage,” at first demurred; but being threatened with a forfeiture, he
growlingly came forward, and in his coarse way thus addressed the audience:
“Ladies and Gentlemen,
“I am desired by the manager to inform you, that the dance intended for this
night is obliged to be postponed, on account of mademoiselle Rollan having
dislocated her ancle: I wish it had been her neck.”

In Quin’s time Hippesley was the Roscius of low comedy; he had a large scar
on his cheek, occasioned by being dropped into the fire, by a careless nurse,
when an infant, which gave a very whimsical cast to his features. Conversing
with Quin concerning his son, he told him, he had some thoughts of bringing
him on the stage. “Oh,” replied the cynic, “if that is your intention, I think it is
high time you should burn his face.”

On one of the first nights of the opera of Cymon at Drury-lane theatre, when
the late Mr. Vernon began the last air in the fourth act, which runs,
“Torn from me, torn from me, which way did they take her?”
a dissatisfied musical critic immediately answered the actor’s interrogation in the
following words, and to the great astonishment of the audience, in the exact
tune of the air,
“Why towards Long-acre, towards Long-acre.”
This unexpected circumstance naturally embarrassed poor Vernon, but in a
moment recovering himself, he sung in rejoinder, the following words, instead of
the author’s:
“Ho, ho, did they so,
Then I’ll soon overtake her,
I’ll soon overtake her.”
Vernon then precipitately made his exit amidst the plaudits of the whole house.

Home Department.
Potatoes.
If potatoes, how much soever frosted, be only carefully excluded from the
atmospheric air, and the pit not opened until some time after the frost has
entirely subsided, they will be found not to have sustained the slightest injury.
This is on account of their not having been exposed to a sudden change, and
thawing gradually.
A person inspecting his potato heap, which had been covered with turf, found
them so frozen, that, on being moved, they rattled like stones: he deemed them
irrecoverably lost, and, replacing the turf, left them, as he thought, to their fate.
He was not less surprised than pleased, a considerable time afterwards, when
he discovered that his potatoes, which he had given up for lost, had not suffered
the least detriment, but were, in all respects, remarkably fine, except a few near
the spot which had been uncovered. If farmers keep their heaps covered till the
frost entirely disappears, they will find their patience amply rewarded.

London.
Lost Children.
The Gresham committee having humanely provided a means of leading to
the discovery of lost or strayed children, the following is a copy of the bill, issued
in consequence of their regulation:—
To the Public.
London.
If persons who may have lost a child, or found one, in the streets, will go
with a written notice to the Royal Exchange, they will find boards fixed up near
the medicine shop, for the purpose of posting up such notices, (free of
expense.) By fixing their notice at this place, it is probable the child will be
restored to its afflicted parents on the same day it may have been missed. The