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vi Foreword

high levels of rigor and achievement in the classroom accomplished educators. Following the pattern of the
while establishing a high degree of rapport with his previous editions, this textbook stresses the applica-
students. In addition to maintaining time-tested tra- tion of theory to actual engineering situations, and at
ditions for future generations of students, Dr. Bolton this important task it remains the best.
brings effective application of technology to this text-
book series.
The Ninth Edition of Engineering Mechanics con-
tinues the same high standards set by previous edi-
tions and adds new features of help and interest to JOHN L. JUNKINS
students. It contains a vast collection of interesting Distinguished Professor of Aerospace Engineering
and instructive problems. The faculty and students Holder of the Royce E. Wisebaker ‘39 Chair in
privileged to teach or study from the Meriam/Kraige/ Engineering Innovation
Bolton Engineering Mechanics series will benefit Texas A&M University
from several decades of investment by three highly College Station, Texas
 Preface
Engineering mechanics is both a foundation and a and uninteresting. This approach deprives the stu-
framework for most of the branches of engineering. dent of valuable experience in formulating problems
Many of the topics in such areas as civil, mechanical, and thus of discovering the need for and meaning of
aerospace, and agricultural engineering, and of theory. The second view provides by far the stronger
course engineering mechanics itself, are based upon motive for learning theory and leads to a better
the subjects of statics and dynamics. Even in a dis- balance between theory and application. The crucial
cipline such as electrical engineering, practitioners, role played by interest and purpose in providing the
in the course of considering the electrical compon- strongest possible motive for learning cannot be
ents of a robotic device or a manufacturing process, overemphasized.
may find themselves first having to deal with the Furthermore, as mechanics educators, we should
mechanics involved. stress the understanding that, at best, theory can
Thus, the engineering mechanics sequence is only approximate the real world of mechanics rather
critical to the engineering curriculum. Not only is than the view that the real world approximates the
this sequence needed in itself, but courses in engin- theory. This difference in philosophy is indeed basic
eering mechanics also serve to solidify the student’s and distinguishes the engineering of mechanics from
understanding of other important subjects, including the science of mechanics.
applied mathematics, physics, and graphics. In addi- Over the past several decades, several unfortu-
tion, these courses serve as excellent settings in nate tendencies have occurred in engineering educa-
which to strengthen problem-solving abilities. tion. First, emphasis on the geometric and physical
meanings of prerequisite mathematics appears to
have diminished. Second, there has been a signific-
ant reduction and even elimination of instruction in
Philosophy graphics, which in the past enhanced the visualiza-
tion and representation of mechanics problems.
The primary purpose of the study of engineering Third, in advancing the mathematical level of our
mechanics is to develop the capacity to predict the treatment of mechanics, there has been a tendency
effects of force and motion while carrying out the cre- to allow the notational manipulation of vector opera-
ative design functions of engineering. This capacity tions to mask or replace geometric visualization.
requires more than a mere knowledge of the physical Mechanics is inherently a subject which depends on
and mathematical principles of mechanics; also re- geometric and physical perception, and we should in-
quired is the ability to visualize physical configura- crease our efforts to develop this ability.
tions in terms of real materials, actual constraints, A special note on the use of computers is in order.
and the practical limitations which govern the beha- The experience of formulating problems, where
vior of machines and structures. One of the primary reason and judgment are developed, is vastly more
objectives in a mechanics course is to help the stu- important for the student than is the manipulative
dent develop this ability to visualize, which is so vital exercise in carrying out the solution. For this reason,
to problem formulation. Indeed, the construction of a computer usage must be carefully controlled. At
meaningful mathematical model is often a more im- present, constructing free-body diagrams and formu-
portant experience than its solution. Maximum pro- lating governing equations are best done with pencil
gress is made when the principles and their limita- and paper. On the other hand, there are instances in
tions are learned together within the context of which the solution to the governing equations can
engineering application. best be carried out and displayed using the computer.
There is a frequent tendency in the presentation Computer-oriented problems should be genuine in
of mechanics to use problems mainly as a vehicle to the sense that there is a condition of design or critic-
illustrate theory rather than to develop theory for ality to be found, rather than “makework” problems
the purpose of solving problems. When the first view in which some parameter is varied for no apparent
is allowed to predominate, problems tend to become reason other than to force artificial use of the com-
overly idealized and unrelated to engineering with puter. These thoughts have been kept in mind during
the result that the exercise becomes dull, academic, the design of the computer-oriented problems in the
vii
viii Preface

Ninth Edition. To conserve adequate time for prob- Chapter 6 on friction is divided into Section A on
lem formulation, it is suggested that the student be the phenomenon of dry friction and Section B on se-
assigned only a limited number of the computer- lected machine applications. Although Section B may
oriented problems. be omitted if time is limited, this material does
As with previous editions, this Ninth Edition of provide a valuable experience for the student in
Engineering Mechanics is written with the foregoing dealing with both concentrated and distributed fric-
philosophy in mind. It is intended primarily for the tion forces.
first engineering course in mechanics, generally Chapter 7 presents a consolidated introduc-
taught in the second year of study. Engineering tion to virtual work with applications limited to
Mechanics is written in a style which is both concise single-degree-of-freedom systems. Special emphasis
and friendly. The major emphasis is on basic prin- is placed on the advantage of the virtual-work and
ciples and methods rather than on a multitude of energy method for interconnected systems and
special cases. Strong effort has been made to show stability determination. Virtual work provides an
both the cohesiveness of the relatively few funda- excellent opportunity to convince the student of
mental ideas and the great variety of problems which the power of mathematical analysis in mechanics.
these few ideas will solve. Moments and products of inertia of areas are
presented in Appendix A. This topic helps to bridge
the subjects of statics and solid mechanics. Appendix
C contains a summary review of selected topics of ele-
Organization mentary mathematics as well as several numerical
techniques which the student should be prepared to
In Chapter 1, the fundamental concepts necessary use in computer-solved problems. Useful tables of
for the study of mechanics are established. physical constants, centroids, moments of inertia,
In Chapter 2, the properties of forces, moments, and conversion factors are contained in Appendix D.
couples, and resultants are developed so that the
student may proceed directly to the equilibrium of
nonconcurrent force systems in Chapter 3 without
unnecessarily belaboring the relatively trivial prob-
Pedagogical Features
lem of the equilibrium of concurrent forces acting on
The basic structure of this textbook consists of an
a particle.
article which rigorously treats the particular subject
In both Chapters 2 and 3, analysis of two-
matter at hand, followed by one or more sample
dimensional problems is presented in Section A before
problems. For the Ninth Edition, all homework prob-
three-dimensional problems are treated in Section B.
lems have been moved to a special Student Problems
With this arrangement, the instructor may cover all of
section found after Appendix D near the end of the
Chapter 2 before beginning Chapter 3 on equilibrium,
textbook. There is a Chapter Review at the end of
or the instructor may cover the two chapters in the
each chapter which summarizes the main points in
order 2A, 3A, 2B, 3B. The latter order treats force sys-
that chapter, and a corresponding Chapter Review
tems and equilibrium in two dimensions and then
Problem set found in the Student Problems section.
treats these topics in three dimensions.
Application of equilibrium principles to simple
trusses and to frames and machines is presented in
Chapter 4 with primary attention given to two- Problems
dimensional systems. A sufficient number of three-
dimensional examples are included, however, to The 89 Sample Problems appear on specially de-
enable students to exercise more general vector tools signed pages by themselves. The solutions to typical
of analysis. statics problems are presented in detail. In addition,
The concepts and categories of distributed forces explanatory and cautionary notes (Helpful Hints)
are introduced at the beginning of Chapter 5, with are number-keyed to the main presentation.
the balance of the chapter divided into two main sec- There are 898 homework exercises. The problem
tions. Section A treats centroids and mass centers; sets are divided into Introductory Problems and Repre-
detailed examples are presented to help students sentative Problems. The first section consists of simple,
master early applications of calculus to physical and uncomplicated problems designed to help students
geometrical problems. Section B includes the special gain confidence with the new topic, while most of the
topics of beams, flexible cables, and fluid forces, problems in the second section are of average difficulty
which may be omitted without loss of continuity of and length. The problems are generally arranged in
basic concepts. order of increasing difficulty. More difficult exercises
 Preface ix

appear near the end of the Representative Problems • Key Concepts areas within the theory presenta-
and are marked with the triangular symbol . Com- tion are specially marked and highlighted.
puter-Oriented Problems, marked with an asterisk, ap- • The Chapter Reviews are highlighted and feature
pear throughout the problems and also in a special itemized summaries.
section at the conclusion of the Chapter Review Prob-
• All Sample Problems are printed on specially de-
lems. Problems marked with the student-solution icon
signed pages for quick identification.
have solutions available onWileyPlus. The an-
swers to all problems have been provided in a special • Within-the-chapter photographs are provided in
section near the end of the textbook. order to provide additional connection to actual
In recognition of the need for emphasis on SI units, situations in which statics has played a major role.
there are approximately two problems in SI units for
every one in U.S. customary units. This apportionment
between the two sets of units permits anywhere from
a 50–50 emphasis to a 100-percent SI treatment.
A notable feature of the Ninth Edition, as with
Resources and Formats
all previous editions, is the wealth of interesting and
The following items have been prepared to comple-
important problems which apply to engineering
ment this textbook:
design. Whether directly identified as such or not,
virtually all of the problems deal with principles and
procedures inherent in the design and analysis of
engineering structures and mechanical systems. Instructor and Student Resources
The following resources are available online at www.
wiley.com/college/meriam. There may be additional
Illustrations resources not listed.
In order to bring the greatest possible degree of real- WileyPlus: A complete online learning system
ism and clarity to the illustrations, the electronic ver- to help prepare and present lectures, assign and
sion of this textbook series continues to be produced in manage homework, keep track of student progress,
full color. It is important to note that color is used con- and customize your course content and delivery.
sistently for the identification of certain quantities: Newly added materials for WileyPlus include step-
by-step video solutions for approximately 200
• red for forces and moments problems, all of which are similar to those found in
• green for velocity and acceleration arrows the textbook. These author-generated videos illus-
• orange dashes for selected trajectories of moving trate clear and concise solution strategies for stu-
points dents, further emphasizing key concepts and
demonstrating sound principles of problem solving
Subdued colors are used for those parts of an in mechanics.
illustration which are not central to the problem at Instructor’s Manual: Prepared by the authors
hand. Whenever possible, mechanisms or objects and independently checked, fully worked solutions to
which commonly have a certain color will be portrayed all problems in the text are available to faculty by
in that color. All of the fundamental elements of tech- contacting their local Wiley representative.
nical illustration which have been an essential part of All figures in the text are available in electronic
this Engineering Mechanics series of textbooks have format for use in creating lecture presentations.
been retained. The authors wish to restate the convic- All Sample Problems are available as elec-
tion that a high standard of illustration is critical to tronic files for display and discussion in the
any written work in the field of mechanics. classroom.

Special Features Formats

We have retained the following hallmark features of This Ninth Edition is available in a variety of
previous editions: formats, including conventional print, WileyPlus
standalone, standalone alone e-text (now with nu-
• All theory portions are constantly reexamined in merous enhancements), and other bundled formats.
order to maximize rigor, clarity, readability, and Please contact a Wiley representative (www.wiley.
level of friendliness. com/go/whosmyrep) for more information.
x Acknowledgments

Acknowledgments
Special recognition is due Dr. A. L. Hale, formerly of Bell are duly recognized. These include Executive Editor Linda
Telephone Laboratories, for his continuing contribution in Ratts, Associate Developmental Editor Adria Giattino, Ed-
the form of invaluable suggestions and accurate checking itorial Assistant Adriana Alecci, Senior Production Editor
of the manuscript. Dr. Hale has rendered similar service Ken Santor, Senior Designer Wendy Lai, and Senior Photo-
for all previous versions of this entire series of mechanics graph Editor Billy Ray. We wish to especially acknowledge
books, dating back to the early 1950s. He reviews all as- the long-term production efforts of Christine Cervoni of
pects of the books, including all old and new text and fig- Camelot Editorial Services, LLC, as well as the editing of
ures. Dr. Hale carries out an independent solution to each Helen Walden. The talented illustrators of Lachina con-
new homework exercise and provides the authors with sug- tinue to maintain a high standard of illustration excellence.
gestions and needed corrections to the solutions which ap- Finally, we wish to state the extremely significant con-
pear in the Instructor’s Manual. Dr. Hale is well known for tribution of our families for the patience and support over
being extremely accurate in his work, and his fine know- the many hours of manuscript preparation. In particular,
ledge of the English language is a great asset which aids Dale Kraige has managed the preparation of the manu-
every user of this textbook. script for the Ninth Edition and has been a key individual
We would like to thank the faculty members of the in checking all stages of the proof.
Department of Engineering Science and Mechanics at We are extremely pleased to participate in extend-
VPI&SU who regularly offer constructive suggestions. ing the time duration of this textbook series well past the
These include Saad A. Ragab, Norman E. Dowling, Michael sixty-five-year mark. In the interest of providing you with
W. Hyer (late), J. Wallace Grant, and Jacob Grohs. Scott the best possible educational materials over future years,
L. Hendricks has been particularly effective and accurate we encourage and welcome all comments and suggestions.
in his extensive review of the manuscript and preparation
of WileyPlus materials. Michael Goforth of Bluefield State
College is acknowledged for his significant contribution to
supplementary textbook materials. Nathaniel Greene of
Bloomfield State University of Pennsylvania is recognized
for his careful reading and suggestions for improvement. Blacksburg, Virginia Princeton, West Virginia
The contributions by the staff of John Wiley & Sons,
Inc., reflect a high degree of professional competence and
 Contents
1 Introduction to Statics 1 4 Structures 83

1/1 Mechanics 1 4/1 Introduction 83

1/2 Basic Concepts 2 4/2 Plane Trusses 84
1/3 Scalars and Vectors 2 4/3 Method of Joints 86
1/4 Newton’s Laws 5 4/4 Method of Sections 92
1/5 Units 6 4/5 Space Trusses 96
1/6 Law of Gravitation 9 4/6 Frames and Machines 99
1/7 Accuracy, Limits, and Approximations 10 4/7 Chapter Review 105
1/8 Problem Solving in Statics 11
1/9 Chapter Review 14 5 Distributed Forces 106

2 Force Systems 17 5/1 Introduction 106

Section A Centers of Mass and Centroids 108
2/1 Introduction 17 5/2 Center of Mass 108
2/2 Force 17 5/3 Centroids of Lines, Areas, and Volumes 110
Section A Two-Dimensional Force Systems 20 5/4 Composite Bodies and Figures;
2/3 Rectangular Components 20 Approximations 118
2/4 Moment 26 5/5 Theorems of Pappus 122
2/5 Couple 31 Section B Special Topics 125
2/6 Resultants 34 5/6 Beams—External Effects 125
Section B Three-Dimensional Force Systems 37 5/7 Beams—Internal Effects 128
2/7 Rectangular Components 37 5/8 Flexible Cables 135
2/8 Moment and Couple 41 5/9 Fluid Statics 143
2/9 Resultants 48 5/10 Chapter Review 153
2/10 Chapter Review 54
6 Friction 154
3 Equilibrium 55
6/1 Introduction 154
3/1 Introduction 55 Section A Frictional Phenomena 155
Section A Equilibrium in Two Dimensions 56 6/2 Types of Friction 155
3/2 System Isolation and the Free-Body 6/3 Dry Friction 155
Diagram 56
3/3 Equilibrium Conditions 66
Section B Equilibrium in Three Dimensions 74
3/4 Equilibrium Conditions 74
3/5 Chapter Review 82

xi
xii Contents

Section B Applications of Friction in Machines 164 A P P E NDIX C Selected Topics of Mathematics 215
6/4 Wedges 164 C/1 Introduction 215
6/5 Screws 165 C/2 Plane Geometry 215
6/6 Journal Bearings 169 C/3 Solid Geometry 216
6/7 Thrust Bearings; Disk Friction 169 C/4 Algebra 216
6/8 Flexible Belts 172 C/5 Analytic Geometry 217
6/9 Rolling Resistance 173 C/6 Trigonometry 217
6/10 Chapter Review 176 C/7 Vector Operations 218
C/8 Series 221
C/9 Derivatives 221
7 Virtual Work 177 C/10 Integrals 222
C/11 Newton’s Method for Solving Intractable
7/1 Introduction 177 Equations 225
7/2 Work 177 C/12 Selected Techniques for Numerical
7/3 Equilibrium 180 Integration 227
7/4 Potential Energy and Stability 188
7/5 Chapter Review 197 A P P E NDIX D Useful Tables 230
Table D/1 Physical Properties 230
APPE N D I X A Area Moments of Inertia 198 Table D/2 Solar System Constants 231
A/1 Introduction 198 Table D/3 Properties of Plane Figures 232
A/2 Definitions 199 Table D/4 Properties of Homogeneous Solids 234
A/3 Composite Areas 206 Table D/5 Conversion Factors; SI Units 238
A/4 Products of Inertia and Rotation of Axes 209
PROBLEMS P-1
APPE N D I X B Mass Moments of Inertia 214 INDEX I-1
PROBLEM ANSWERS PA-1
CHAPTER 1
Introduction

By Duke.of.arcH - www.flickr.com/photos/dukeofarch/Getty Images, Inc.

to Statics
CHAPTER OUTLINE
1/1 Mechanics
1/2 Basic Concepts
1/3 Scalars and Vectors
1/4 Newton’s Laws
1/5 Units
1/6 Law of Gravitation
1/7 Accuracy, Limits, and Approximations
1/8 Problem Solving in Statics Structures which support large forces must
1/9 Chapter Review be designed with the principles of mechanics
foremost in mind. In this view of Sydney,
Australia, one can see a variety of such
structures.

1/1 Mechanics
Mechanics is the physical science which deals with the effects of forces
on objects. No other subject plays a greater role in engineering analysis
than mechanics. Although the principles of mechanics are few, they
have wide application in engineering. The principles of mechanics are
central to research and development in the fields of vibrations, stability
and strength of structures and machines, robotics, rocket and space-
craft design, automatic control, engine performance, fluid flow, electri-
cal machines and apparatus, and molecular, atomic, and subatomic
behavior. A thorough understanding of this subject is an essential pre-
requisite for work in these and many other fields.
S. Terry/Science Source

Mechanics is the oldest of the physical sciences. The early history

of this subject is synonymous with the very beginnings of engineering.
The earliest recorded writings in mechanics are those of Archimedes
(287–212 B.C.) on the principle of the lever and the principle of buoy-
ancy. Substantial progress came later with the formulation of the laws
of vector combination of forces by Stevinus (1548–1620), who also for-
mulated most of the principles of statics. The first investigation of a
dynamics problem is credited to Galileo (1564–1642) for his experi-
Sir Isaac Newton
ments with falling stones. The accurate formulation of the laws of mo-
tion, as well as the law of gravitation, was made by Newton (1642–1727), who also
conceived the idea of the infinitesimal in mathematical analysis. Substantial 1
2 CHA PT E R 1 Introduction to Statics

contributions to the development of mechanics were also made by da Vinci,

Varignon, Euler, D’Alembert, Lagrange, Laplace, and others.
In this book we will be concerned with both the development of the principles
of mechanics and their application. The principles of mechanics as a science are
rigorously expressed by mathematics, and thus mathematics plays an important
role in the application of these principles to the solution of practical problems.
The subject of mechanics is logically divided into two parts: statics, which con-
cerns the equilibrium of bodies under action of forces, and dynamics, which con-
cerns the motion of bodies. Engineering Mechanics is divided into these two parts,
Vol. 1 Statics and Vol. 2 Dynamics.

1/2 Basic Concepts

The following concepts and definitions are basic to the study of mechanics, and they
should be understood at the outset.
Space is the geometric region occupied by bodies whose positions are described
by linear and angular measurements relative to a coordinate system. For three-
dimensional problems, three independent coordinates are needed. For two-dimensional
problems, only two coordinates are required.
Time is the measure of the succession of events and is a basic quantity in dy-
namics. Time is not directly involved in the analysis of statics problems.
Mass is a measure of the inertia of a body, which is its resistance to a change of
velocity. Mass can also be thought of as the quantity of matter in a body. The mass
of a body affects the gravitational attraction force between it and other bodies. This
force appears in many applications in statics.
Force is the action of one body on another. A force tends to move a body in the
direction of its action. The action of a force is characterized by its magnitude, by the
direction of its action, and by its point of application. Thus force is a vector quan-
tity, and its properties are discussed in detail in Chapter 2.
A particle is a body of negligible dimensions. In the mathematical sense, a
particle is a body whose dimensions are considered to be near zero so that we may
analyze it as a mass concentrated at a point. We often choose a particle as a differ-
ential element of a body. We may treat a body as a particle when its dimensions are
irrelevant to the description of its position or the action of forces applied to it.
Rigid body. A body is considered rigid when the change in distance between
any two of its points is negligible for the purpose at hand. For instance, the calcula-
tion of the tension in the cable which supports the boom of a mobile crane under load
is essentially unaffected by the small internal deformations in the structural mem-
bers of the boom. For the purpose, then, of determining the external forces which act
on the boom, we may treat it as a rigid body. Statics deals primarily with the calcula-
tion of external forces which act on rigid bodies in equilibrium. Determination of the
internal deformations belongs to the study of the mechanics of deformable bodies,
which normally follows statics in the curriculum.

1/3 Scalars and Vectors

We use two kinds of quantities in mechanics—scalars and vectors. Scalar quanti-
ties are those with which only a magnitude is associated. Examples of scalar quan-
tities are time, volume, density, speed, energy, and mass. Vector quantities, on the
other hand, possess direction as well as magnitude, and must obey the parallelogram
 Article 1/3 Scalars and Vectors 3

law of addition as described later in this article. Examples of vector quantities are
displacement, velocity, acceleration, force, moment, and momentum. Speed is a sca-
lar. It is the magnitude of velocity, which is a vector. Thus velocity is specified by a
direction as well as a speed.
Vectors representing physical quantities can be classified as free, sliding, or
fixed.
A free vector is one whose action is not confined to or associated with a unique
line in space. For example, if a body moves without rotation, then the movement
or displacement of any point in the body may be taken as a vector. This vector de-
scribes equally well the direction and magnitude of the displacement of every
point in the body. Thus, we may represent the displacement of such a body by a
free vector.
A sliding vector has a unique line of action in space but not a unique point of
application. For example, when an external force acts on a rigid body, the force can
be applied at any point along its line of action without changing its effect on the
body as a whole,* and thus it is a sliding vector.
A fixed vector is one for which a unique point of application is specified. The ac-
tion of a force on a deformable or nonrigid body must be specified by a fixed vector at
the point of application of the force. In this instance the forces and deformations
within the body depend on the point of application of the force, as well as on its mag-
nitude and line of action.

Conventions for Equations and Diagrams

A vector quantity V is represented by a line segment, Fig. 1/1, having the direction V
of the vector and having an arrowhead to indicate the sense. The length of the di-
rected line segment represents to some convenient scale the magnitude | V | of the 𝜃
vector, which is printed with lightface italic type V. For example, we may choose a −V
scale such that an arrow one inch long represents a force of twenty pounds.
In scalar equations, and frequently on diagrams where only the magnitude of FIGURE 1/1
a vector is labeled, the symbol will appear in lightface italic type. Boldface type is
used for vector quantities whenever the directional aspect of the vector is a part of
its mathematical representation. When writing vector equations, always be certain
to preserve the mathematical distinction between vectors and scalars. In handwrit-
ten work, use a distinguishing mark
→
for each vector quantity, such as an underline,
V, or an arrow over the symbol, V , to take the place of boldface type in print.

Working with Vectors

The direction of the vector V may be measured by an angle 𝜃 from some known
reference direction as shown in Fig. 1/1. The negative of V is a vector −V having
the same magnitude as V but directed in the sense opposite to V, as shown in
Fig. 1/1.
Vectors must obey the parallelogram law of combination. This law states that
two vectors V1 and V2, treated as free vectors, Fig. 1/2a, may be replaced by their
equivalent vector V, which is the diagonal of the parallelogram formed by V1 and V2
as its two sides, as shown in Fig. 1/2b. This combination is called the vector sum and
is represented by the vector equation

V = V1 + V2

*This is the principle of transmissibility, which is discussed in Art. 2/2.

4 CHA PT E R 1 Introduction to Statics

V2 V
V2 V
V2

V1 V1 V1
(a) (b) (c)
FIGURE 1/2

where the plus sign, when used with the vector quantities (in boldface type), means
vector and not scalar addition. The scalar sum of the magnitudes of the two vectors
is written in the usual way as V1 + V2. The geometry of the parallelogram shows
that V ≠ V1 + V2.
The two vectors V1 and V2, again treated as free vectors, may also be added head-
to-tail by the triangle law, as shown in Fig. 1/2c, to obtain the identical vector sum V.
V1 V1 We see from the diagram that the order of addition of the vectors does
not affect their sum, so that V1 + V2 = V2 + V1.
−V2
The difference V1 − V2 between the two vectors is easily obtained
Vʹ −V2 by adding −V2 to V1 as shown in Fig. 1/3, where either the triangle or
Vʹ parallelogram procedure may be used. The difference Vʹ between the
two vectors is expressed by the vector equation
FIGURE 1/3
V′ = V1 − V2

where the minus sign denotes vector subtraction.

Any two or more vectors whose sum equals a certain vector V are said to be
the components of that vector. Thus, the vectors V1 and V2 in Fig. 1/4a are the
components of V in the directions 1 and 2, respectively. It is usually most conve-
nient to deal with vector components which are mutually perpendicular; these are
called rectangular components. The vectors Vx and Vy in Fig. 1/4b are the x- and
y-components, respectively, of V. Likewise, in Fig. 1/4c, Vxʹ and Vyʹ are the xʹ- and
yʹ-components of V. When expressed in rectangular components, the direction of
the vector with respect to, say, the x-axis is clearly specified by the angle 𝜃, where
Vy
𝜃 = tan−1
Vx
A vector V may be expressed mathematically by multiplying its magnitude V by
a vector n whose magnitude is one and whose direction coincides with that of V. The
vector n is called a unit vector. Thus,

V = Vn

In this way both the magnitude and direction of the vector are conveniently contained
in one mathematical expression. In many problems, particularly three-dimensional

yʹ
2 y
V V V
Vyʹ
V2 Vy
𝜃
1 x
V1 Vx
Vxʹ xʹ
(a) (b) (c)
FIGURE 1/4
 Article 1/4 Newton’s Laws 5

ones, it is convenient to express the rectangular components of V, Fig. 1/5, z

in terms of unit vectors i, j, and k, which are vectors in the x-, y-, and
z-directions, respectively, with unit magnitudes. Because the vector V is the k
vector sum of the components in the x-, y-, and z-directions, we can express V
as follows: V
Vzk
V = Vxi + Vy j + Vzk j
𝜃z 𝜃y y

We now make use of the direction cosines l, m, and n of V, which are defined by
Vy j
l = cos 𝜃x m = cos 𝜃y n = cos 𝜃z 𝜃x

Thus, we may write the magnitudes of the components of V as Vx i

i
Vx = lV Vy = mV Vz = nV x
FIGURE 1/5
where, from the Pythagorean theorem,

V 2 = Vx 2 + Vy 2 + Vz 2

Note that this relation implies that l2 + m2 + n2 = 1.

1/4 Newton’s Laws

Sir Isaac Newton was the first to state correctly the basic laws governing the mo-
tion of a particle and to demonstrate their validity.* Slightly reworded with modern
terminology, these laws are:

Law I. A particle remains at rest or continues to move with uniform velocity

(in a straight line with a constant speed) if there is no unbalanced force acting
on it.
Law II. The acceleration of a particle is proportional to the vector sum of forces
acting on it and is in the direction of this vector sum.
Law III. The forces of action and reaction between interacting bodies are
equal in magnitude, opposite in direction, and collinear (they lie on the same
line).

The correctness of these laws has been verified by innumerable accurate phys-
ical measurements. Newton’s second law forms the basis for most of the analysis in
dynamics. As applied to a particle of mass m, it may be stated as

F = ma (1/1)

where F is the vector sum of forces acting on the particle and a is the resulting ac-
celeration. This equation is a vector equation because the direction of F must agree
with the direction of a, and the magnitudes of F and ma must be equal.
Newton’s first law contains the principle of the equilibrium of forces, which is
the main topic of concern in statics. This law is actually a consequence of the second
law, since there is no acceleration when the force is zero, and the particle either is at

*Newton’s original formulations may be found in the translation of his Principia (1687) revised
by F. Cajori, University of California Press, 1934.
6 CHA PT E R 1 Introduction to Statics

rest or is moving with a uniform velocity. The first law adds nothing new to the
description of motion but is included here because it was part of Newton’s classical
statements.
The third law is basic to our understanding of force. It states that forces always
occur in pairs of equal and opposite forces. Thus, the downward force exerted on the
desk by the pencil is accompanied by an upward force of equal magnitude exerted
on the pencil by the desk. This principle holds for all forces, variable or constant,
regardless of their source, and holds at every instant of time during which the forces
are applied. Lack of careful attention to this basic law is the cause of frequent error
by the beginner.
In the analysis of bodies under the action of forces, it is absolutely necessary to
be clear about which force of each action–reaction pair is being considered. It is nec-
essary first of all to isolate the body under consideration and then to consider only
the one force of the pair which acts on the body in question.

1/5 Units
In mechanics we use four fundamental quantities called dimensions. These are
length, mass, force, and time. The units used to measure these quantities cannot all
be chosen independently because they must be consistent with Newton’s second
law, Eq. 1/1. Although there are a number of different systems of units, only the two
systems most commonly used in science and technology will be used in this text.
The four fundamental dimensions and their units and symbols in the two systems
are summarized in the following table.

Dimensional SI Units U.S. Customary Units

Quantity Symbol Unit Symbol Unit Symbol
Mass M kilogram kg slug —
Base
Length L meter m foot ft
units Base
Time T second s second sec
units
Force F newton N pound lb

SI Units
The International System of Units, abbreviated SI (from the French, Système In-
ternational d’Unités), is accepted in the United States and throughout the world,
and is a modern version of the metric system. By international agreement, SI units
will in time replace other systems. As shown in the table, in SI, the units kilogram
(kg) for mass, meter (m) for length, and second (s) for time are selected as the base
units, and the newton (N) for force is derived from the preceding three by Eq. 1/1.
Thus, force (N) = mass (kg) × acceleration (m/s2) or

N = kg · m/s2

Thus, 1 newton is the force required to give a mass of 1 kg an acceleration of 1 m/s2.

Consider a body of mass m which is allowed to fall freely near the surface of the
earth. With only the force of gravitation acting on the body, it falls with an accelera-
tion g toward the center of the earth. This gravitational force is the weight W of the
body and is found from Eq. 1/1:

W (N) = m (kg) × g (m/s2 )

 Article 1/5 Units 7

U.S. Customary Units

The U.S. customary, or British system of units, also called the foot-pound-second
(FPS) system, has been the common system in business and industry in English-
speaking countries. Although this system will in time be replaced by SI units, for
many more years engineers must be able to work with both SI units and FPS units,
and both systems are used freely in Engineering Mechanics.
As shown in the table, in the U.S. or FPS system, the units of feet (ft) for length,
seconds (sec) for time, and pounds (lb) for force are selected as base units, and the slug
for mass is derived from Eq. 1/1. Thus, force (lb) = mass (slugs) × acceleration (ft/sec2), or
lb-sec2
slug =
ft
Therefore, 1 slug is the mass which is given an acceleration of 1 ft/sec2 when acted
on by a force of 1 lb. If W is the gravitational force or weight and g is the accelera-
tion due to gravity, Eq. 1/1 gives
W (lb)
m (slugs) =
g (ft /sec2 )
Note that seconds is abbreviated as s in SI units, and as sec in FPS units.
In U.S. units the pound is also used on occasion as a unit of mass, especially to
specify thermal properties of liquids and gases. When distinction between the two
units is necessary, the force unit is frequently written as lbf and the mass unit as
lbm. In this book we use almost exclusively the force unit, which is written simply
as lb. Other common units of force in the U.S. system are the kilopound (kip), which
equals 1000 lb, and the ton, which equals 2000 lb.
The International System of Units (SI) is termed an absolute system because the
measurement of the base quantity mass is independent of its environment. On the
other hand, the U.S. system (FPS) is termed a gravitational system because its base
quantity force is defined as the gravitational attraction (weight) acting on a standard
mass under specified conditions (sea level and 45° latitude). A standard pound is also
the force required to give a one-pound mass an acceleration of 32.1740 ft/sec2.
In SI units the kilogram is used exclusively as a unit of mass—never force. In the
MKS (meter, kilogram, second) gravitational system, which has been used for many
years in non-English-speaking countries, the kilogram, like the pound, has been
used both as a unit of force and as a unit of mass.

Primary Standards
Primary standards for the measurements of mass, length, and time
have been established by international agreement and are as follows:

Mass. The kilogram is defined as the mass of a specific platinum–

iridium cylinder which is kept at the International Bureau of
Weights and Measures near Paris, France. An accurate copy of
this cylinder is kept in the United States at the National Insti-
tute of Standards and Technology (NIST), formerly the National
Omikron/Science Source

Bureau of Standards, and serves as the standard of mass for the

United States.
Length. The meter, originally defined as one ten-millionth of the
distance from the pole to the equator along the meridian through
Paris, was later defined as the length of a specific platinum–
iridium bar kept at the International Bureau of Weights and
Measures. The difficulty of accessing the bar and reproducing
accurate measurements prompted the adoption of more accurate The standard kilogram
8 CHA PT E R 1 Introduction to Statics

and reproducible standards of length for the meter, which is now defined as the
distance traveled by light in a vacuum in (1∕299 792 458) second.
Time. The second was originally defined as the fraction 1/(86 400) of the mean
solar day. However, irregularities in the earth’s rotation led to difficulties with
this definition, and a more accurate and reproducible standard has been ad-
opted. The second is now defined as the duration of 9 192 631 770 periods of the
radiation of a specific state of the cesium-133 atom.

For most engineering work, and for our purpose in studying mechanics, the
accuracy of these standards is considerably beyond our needs. The standard
value for gravitational acceleration g is its value at sea level and at a 45° lati-
tude. In the two systems these values are

SI units g = 9.806 65 m /s2

U.S. units g = 32.1740 ft /sec2

The approximate values of 9.81 m/s2 and 32.2 ft/sec2, respectively, are sufficiently
accurate for the vast majority of engineering calculations.

Unit Conversions
A list of the SI units used in mechanics is shown in Table D/5 of Appendix D, along
with the numerical conversions between U.S. customary and SI units. Although this
table is useful for obtaining a feel for the relative size of SI and U.S. units, in time
engineers will find it essential to think directly in terms of SI units without converting
from U.S. units. In statics we are primarily concerned with the units of length and
force, with mass needed only when we compute gravitational force, as explained in
Art. 1/6. Unit conversion is unnecessary for the majority of problems in this textbook.
Figure 1/6 depicts examples of force, mass, and length in the two systems of
units, to aid in visualizing their relative magnitudes.

9.81 N 1 lbf 32.2 lbf

FORCE
(2.20 lbf) (4.45 N) (143.1 N)

1 lbm
(0.454 kg)
1 kg
MASS (2.20 lbm)

1 ft 1 slug or 32.2 lbm

(14.59 kg)
(0.305 m)
LENGTH
1m

FIGURE 1/6 (3.28 ft)

 Article 1/6 Law of Gravitation 9

1/6 Law of Gravitation

In statics as well as dynamics we often need to compute the weight of a body, which
is the gravitational force acting on it. This computation depends on the law of
gravitation, which was also formulated by Newton. The law of gravitation is ex-
pressed by the equation

m1m2
F=G (1/2)
r2

where F = the mutual force of attraction between two particles

G = a universal constant known as the constant of gravitation
m1, m2 = the masses of the two particles
r = the distance between the centers of the particles

The mutual forces F obey the law of action and reaction, since they are equal
and opposite and are directed along the line joining the centers of the particles,
as shown in Fig. 1/7. By experiment the gravitational constant is found to be
G = 6.673(10−11) m3 /(kg · s2 ).

Gravitational Attraction of the Earth

Gravitational forces exist between every pair of bodies. On the

NASA Marshall Space Flight Center (NASA-

surface of the earth the only gravitational force of appreciable
magnitude is the force due to the attraction of the earth. For ex-
ample, each of two iron spheres 100 mm in diameter is attracted
to the earth with a gravitational force of 37.1 N, which is its
weight. On the other hand, the force of mutual attraction between
the spheres if they are just touching is 0.000 000 095 1 N. This
force is clearly negligible compared with the earth’s attraction of
37.1 N. Consequently the gravitational attraction of the earth is
the only gravitational force we need to consider for most engineer-
ing applications on the earth’s surface.
The gravitational attraction of the earth on a body (its weight)

MSFC)
exists whether the body is at rest or in motion. Because this at-
traction is a force, the weight of a body should be expressed in
newtons (N) in SI units and in pounds (lb) in U.S. customary units. The gravitational force which the
Unfortunately, in common practice the mass unit kilogram (kg) earth exerts on the moon (fore-
has been frequently used as a measure of weight. This usage ground) is a key factor in the motion
should disappear in time as SI units become more widely used, of the moon.
because in SI units the kilogram is used exclusively for mass and
the newton is used for force, including weight.

m1
F F m2

FIGURE 1/7
10 CH A PT E R 1 Introduction to Statics

For a body of mass m near the surface of the earth, the gravitational attraction
F on the body is specified by Eq. 1/2. We usually denote the magnitude of this
gravitational force or weight with the symbol W. Because the body falls with an
acceleration g, Eq. 1/1 gives

W = mg
m (1/3)

The weight W will be in newtons (N) when the mass m is in kilograms (kg) and the
acceleration of gravity g is in meters per second squared (m/s2). In U.S. customary
units, the weight W will be in pounds (lb) when m is in slugs and g is in feet per sec-
ond squared. The standard values for g of 9.81 m/s2 and 32.2 ft/sec2 will be suffi-
ciently accurate for our calculations in statics.
The true weight (gravitational attraction) and the apparent weight (as mea-
sured by a spring scale) are slightly different. The difference, which is due to the
rotation of the earth, is quite small and will be neglected. This effect will be dis-
cussed in Vol. 2 Dynamics.

1/7 Accuracy, Limits, and Approximations

The number of significant figures in an answer should be no greater than the num-
ber of figures justified by the accuracy of the given data. For example, suppose the
24-mm side of a square bar was measured to the nearest millimeter, so we know the
side length to two significant figures. Squaring the side length gives an area of
576 mm2. However, according to our rule, we should write the area as 580 mm2,
using only two significant figures.
When calculations involve small differences in large quantities, greater accu-
racy in the data is required to achieve a given accuracy in the results. Thus, for
example, it is necessary to know the numbers 4.2503 and 4.2391 to an accuracy of
five significant figures to express their difference 0.0112 to three-figure accuracy. It
is often difficult in lengthy computations to know at the outset how many signifi-
cant figures are needed in the original data to ensure a certain accuracy in the
answer. Accuracy to three significant figures is considered satisfactory for most
engineering calculations.
In this text, answers will generally be shown to three significant figures unless the
answer begins with the digit 1, in which case the answer will be shown to four signifi-
cant figures. For purposes of calculation, consider all data given in this book to be exact.

Differentials
The order of differential quantities frequently causes misunderstanding in the
derivation of equations. Higher-order differentials may always be neglected com-
pared with lower-order differentials when the mathematical limit is approached.
For example, the element of volume ΔV of a right circular cone of altitude h and
base radius r may be taken to be a circular slice a distance x from the vertex and of
thickness Δx. The expression for the volume of the element is

𝜋r2 2 1
ΔV = [x Δx + x(Δx) 2 + 3 (Δx) 3]
h2
 Article 1/8 Problem Solving in Statics 11

Note that, when passing to the limit in going from ΔV to dV and from Δx to dx, the
terms containing (Δx)2 and (Δx)3 drop out, leaving merely

𝜋r2 2
dV = x dx
h2
which gives an exact expression when integrated.

Small-Angle Approximations
When dealing with small angles, we can usually make use of simpli-
fying approximations. Consider the right triangle of Fig. 1/8 where 1 Arc length =
the angle 𝜃, expressed in radians, is relatively small. If the hypote- sin 𝜃
1×𝜃=𝜃
𝜃
nuse is unity, we see from the geometry of the figure that the arc
cos 𝜃
length 1 × 𝜃 and sin 𝜃 are very nearly the same. Also, cos 𝜃 is close to
unity. Furthermore, sin 𝜃 and tan 𝜃 have almost the same values. FIGURE 1/8
Thus, for small angles we may write

sin 𝜃 ≅ tan 𝜃 ≅ 𝜃 cos 𝜃 ≅ 1

provided that the angles are expressed in radians. These approximations may be
obtained by retaining only the first terms in the series expansions for these three
functions. As an example of these approximations, for an angle of 1°

1° = 0.017 453 rad tan 1° = 0.017 455

sin 1° = 0.017 452 cos 1° = 0.999 848

If a more accurate approximation is desired, the first two terms may be retained,
and they are

sin 𝜃 ≅ 𝜃 − 𝜃3 /6 tan 𝜃 ≅ 𝜃 + 𝜃3 /3 cos 𝜃 ≅ 1 − 𝜃2 /2

where the angles must be expressed in radians. (To convert degrees to radians,
multiply the angle in degrees by 𝜋/180°.) The error in replacing the sine by the
angle for 1° (0.0175 rad) is only 0.005 percent. For 5° (0.0873 rad) the error is
0.13 percent, and for 10° (0.1745 rad), the error is still only 0.51 percent. As the
angle 𝜃 approaches zero, the following relations are true in the mathematical limit:

sin d𝜃 = tan d𝜃 = d𝜃 cos d𝜃 = 1

where the differential angle d𝜃 must be expressed in radians.

1/8 Problem Solving in Statics

We study statics to obtain a quantitative description of forces which act on engi-
neering structures in equilibrium. Mathematics establishes the relations between
the various quantities involved and enables us to predict effects from these rela-
tions. We use a dual thought process in solving statics problems: We think about
both the physical situation and the corresponding mathematical description. In
the analysis of every problem, we make a transition between the physical and the
mathematical. One of the most important goals for the student is to develop the
ability to make this transition freely.
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—— Post, i. 383 n.; ii. 143, 144; iii. 18 n., 76, 93, 126, 243 n., 350; x.
138, 150, 220; xi. 495.
—— and Evening of the Roman Empire (Claude’s), ix. 54, 57.
Morocchius (in Shakespeare’s Merchant of Venice), i. 322, 391, 392.
Morocco, Emperor of (in Peter Pindar), viii. 168.
Moroni, Giovanni Battista, ix. 34.
Morose (in Jonson’s Silent Woman), viii. 42.
Morpeth, Lord, xi. 386.
Mortimer (in Cumberland’s Faithless Lover), ii. 83.
—— (in Shakespeare’s Henry IV.), i. 284.
Morton, Charles, x. 357.
—— Thomas, iii. 162; vi. 453; viii. 442; xi. 374.
—— (Scott’s Old Mortality), iv. 247.
Mosaics of the Church of St Mark, Venice, ix. 274.
Mosca (in Jonson’s Fox or Volpone), viii. 44.
Moscow, iii. 99, 178; vi. 241; xi. 195, 196.
Moses, iii. 265, 297; viii. 58; xi. 233, 472 n.; xii. 263.
—— Cosmogony of, xii. 279.
—— (Michael Angelo’s), ix. 362; x. 208.
—— (Poussin’s), ix. 473.
—— (Sheridan’s), viii. 250.
—— in Egypt (an Oratorio), ix. 202.
—— (in a play), viii. 387; xii. 24.
Mosheim, Johann Lorenz von, iii. 276.
Mossop, Henry, ii. 63, 64.
Moth (in Shakespeare’s Midsummer Night’s Dream), i. 61, 244; viii.
275.
Mother Bombie (by John Lyly), v. 197, 198.
—— Cole (in Foote’s The Minor), viii. 167.
—— and Child, The (Raphael’s), viii. 148.
—— Hubberd’s Tale (Spenser’s Shepherds’ Calendar), v. 98.
—— and a Sleeping Child (Guido’s), ix. 51.
Mother’s Picture, Verses on his (by Cowper), v. 95.
Motto, or Invocation to his Muse (Cowley’s), viii. 58.
Moudon (a town), ix. 285, 295, 296.
Mouldy (Shakespeare’s 2nd Henry IV.), viii. 33.
Moulins (a town), ix. 178, 179.
Mounsey, George, vi. 192, 195, 197, 198, 199, 201.
Mount, Sermon from the, v. 184.
Mountaineers, The (G. Colman, junr.), ii. 109; viii. 239.
Mountford, Sir Charles, v. 213.
Mountfort, Susanna, i. 157; viii. 160.
Mountjoy, Lady, ix. 473.
Mourning Bride (Congreve’s), i. 176; vi. 195; vii. 306; xi. 382.
Mourritt (operatic singer), ix. 171.
Moustache (Macready’s Henry IV.), viii. 442.
Mowbray (Shakespeare’s Richard II.), i. 273.
Mozart, Johann Chrysostom Wolfgang Amadeus, ii. 174, 178, 200,
201; iii. 311; vi. 74; vii. 239; viii. 325–7, 362–4, 370–1, 452, 535; xi.
427, 455, 500; xii. 168, 345, 384.
Mrs Battle’s Opinions on Whist (Lamb’s), iv. 364; vi. 199, 245.
Mrs James (in Fielding’s Amelia), viii. 114; x. 33.
—— Leicester’s School (Lamb’s), v. 146.
—— Malaprop (in Sheridan’s Rivals), viii. 165, 508; x. 142; xi. 307.
—— Marwood (Congreve’s Way of the World), viii. 74.
—— Oakley (in Geo. Colman the elder’s The Jealous Wife), viii. 316,
505; xi. 304.
—— Patch (in Mrs Centlivre’s Busy-Body), viii. 503.
Much Ado about Nothing (Shakespeare’s), i. 335; iii. 200; viii. 32,
401 n.
Mucklewrath (Scott’s Old Mortality), iv. 247.
Mudford, William, vi. 111, 196, 293 n.; x. 219; xi. 547.
Mudge, Dr, vi. 368, 419, 512.
Mudges, The, vi. 366, 367, 374, 510, 512.
—— Zachary, vi. 368.
Muiopotmos (Spenser’s), viii. 404.
Mulberry Tree, The (a song), viii. 301.
Muleteers (Correggio’s), ix. 35.
Muley-Muloch (in Dryden’s Don Sebastian), v. 357, 358.
Mulgrave, Lord, i. 374.
Müller, Johannes von, iii. 154.
Mumps (in Oulton’s Frightened to Death), viii. 359.
Munchausen, Baron, vii. 37, 138.
Munden, Joseph Shepherd, ii. 147, 148, 368; v. 269 n.; vi. 275–6 n.,
418, 453; viii. 71, 226–7, 256, 264–5, 278, 286, 310, 317, 343, 359,
386, 392, 400, 416, 459, 465, 525, 534, 536; xi. 303, 306, 366,
377–8, 392; xii. 24, 198 n.
Munden’s Sir Peter Teazle, xi. 392.
Mundungus, x. 149 n.
Mungo (in Bickerstaffe’s Padlock), ii. 84.
Müntz, John Henry, x. 164.
Murder of Dentatus (Haydon’s), xi. 482.
Murillo, Bartolomeo Esteban, vi. 219; ix. 23, 25, 26, 54, 158, 186,
389, 390; xi. 205 n., 249; xii. 262.
Murphys, The, v. 359; viii. 164.
Murray, Chas., viii. 309.
—— John, i. 376, 379, 380; iii. 124, 194, 217, 218; iv. 302, 312; vi. 89,
211; vii. 376, 378, 515; ix. 247 n.; xi. 423, 486, 489, 580; xii. 267,
320.
—— Lindley, iii. 445; iv. 241 n., 391; xii. 232.
Murray, William (Earl of Mansfield), iii. 416.
—— Mr (Pope’s friend), viii. 555.
—— Miss, viii. 529.
Muse, Invocation to, or Motto (Cowley’s), viii. 58.
Music, History of (Burney’s), x. 288 n.
—— Messora’s, xi. 245.
Music-piece (Giorgione’s), ix. 271.
—— (Titian’s), ix. 11, 70.
Musical Instruments, Personification of (in Tatler), i. 9; viii. 98.
—— Party (Giorgione’s), ix. 26.
Musician and the Nightingale, The Contest between the (by
Crashaw), viii. 53.
Musidorus and Philoclea (Sir Philip Sidney’s), ix. 58.
Mustapha and Alaham (by Fulke Greville), v. 231; vii. 255; xii. 34.
Mustard Seed (in Shakespeare’s Midsummer Night’s Dream), i. 61,
244; viii. 275.
My Aunt (a farce), viii. 239, 240.
—— Father (in Sterne’s Tristram Shandy), i. 12; viii. 121, 151.
—— First Acquaintance with Poets, xii. 259.
—— Grandmother (by Prince Hoare), i. 155; vi. 416; viii. 230.
—— Landlady’s Night-Gown (Oulton’s), viii. 328.
—— Spouse and I (C. Dibdin’s), viii. 525.
—— Uncle Toby (in Sterne’s Tristram Shandy), i. 12; viii. 11, 121, 151;
x. 39; xi. 553.
—— Wife! What Wife? (by Barrett), viii. 237.
Myrrha (Byron’s Sardanapalus), ii. 307.
Myrtle (in Steele’s Conscious Lovers), viii. 158.
Mysie Happer (in Scott’s Monastery), viii. 454.
Mysterious Mother, The (Walpole’s), x. 165.
Mysteries, The, x. 60.
—— of Udolpho, The (by Mrs Radcliffe), viii. 125; xii. 64.
Mystery of the Passions, x. 60.
 N.

Naiad, i. 19.
Nairn, iv. 280.
Naldi, Guiseppe, viii. 326, 365, 372; xi. 308.
Namur, Siege of, i. 429.
Nantreuil, Charles François le Bœuf, ix. 127.
Nantucket, x. 315.
Nantwich, ii. 167.
Nanty Ewart (in Scott’s Redgauntlet), vii. 319.
Napier, John, vi. 85.
—— (of Marchiston), xii. 441.
—— MacVey, xii. 255.
Naples, ii. 180, 223; iii. 179; vi. 347, 379, 385; ix. 233, 249, 253, 256,
259, 419, 475 n.; x. 56, 277, 282, 283, 287 n., 292, 300.
Napoleon Buonaparte. See Buonaparte, Napoleon.
Narcissa (in Smollett’s Roderick Random), xii. 64.
Narcissus, i. 25; xii. 200.
—— and The Graces (Bishop’s), iv. 102.
—— Looking into Water (Barry’s), ix. 419.
Narni (a town), ix. 258.
Narrative of Facts (Holcroft’s), ii. 139, 156, 201, 205.
Nash, Sir B., vi. 451.
—— Miss, viii. 254.
Nasmyth, Peter, xi. 245, 246, 247.
Nathan, Mr (an actor), viii. 401.
—— the Wise (Lessing’s), x. 119.
Nathaniel (in Shakespeare’s Love’s Labour’s Lost), i. 332.
National Antipathies, ix. 138.
—— Gallery, ix. 3; xii. 215.
Natural Son (Kotzebue’s). See Mrs Inchbald’s Lover’s Vows.
Natural Disinterestedness of the Human Mind, The (Coleridge’s), xii.
266.
Nature and Art (Mrs Inchbald’s), ii. 336; vi. 364; viii. 123, 127; x. 41.
—— State of (Hobbes), vi. 308.
Naufragium Joculare (Cowley’s), v. 214.
Nayrs, The, vi. 150.
Neal, Daniel, iii. 265; iv. 217; xi. 443.
—— John, x. 313.
Neapolitan Nobleman (Titian’s), vii. 292; ix. 385.
Neate, Bill (pugilist), iv. 223; xii. 8 et seq.
Nebuchadnezzar, xii. 204.
Nebuchadnezzar’s image, viii. 407.
Ned Christian (in Scott’s Peveril of the Peak), xi. 538.
—— Softly (in The Tatler), vii. 64.
Neely. See Sherwood, Neely, and Jones.
Negro (or African), i. 69.
Nehemiah, ii. 4.
Nell (in Coffey’s The Devil to Pay), viii. 252, 389; xii. 24, 122.
Nelson, Lord, i. 97; vi. 85, 359, 522.
—— Life of (Southey’s), ii. 48.
Nelson’s Victory, iii. 195.
Nemours, Duc de, vii. 308; viii. 326.
Neptune, i. 34; vi. 168; ix. 348.
—— The (of John of Bologna), ix. 205.
—— The (Elgin Marbles), ix. 467, 492.
—— and Amphitrite (Titian’s), ix. 75.
Nerestan (in Voltaire’s Zaire), xi. 282.
Nerissa (in Shakespeare’s Merchant of Venice), i. 322; iv. 260.
Nero, i. 390; iv. 61; ix. 221; x. 231; xii. 285.
Nero’s Golden House, ix. 234.
Nessus, iv. 104; xi. 268.
Nestor (in Shakespeare’s Troilus and Cressida), i. 221.
—— (Homer’s), xii. 155.
Netcher, Caspar, ix. 354.
Nether-Stowey, x. 150; xii. 265, 269, 270, 272, 274.
Net-maker and His Wife. See Zembuca.
Neufchatel, The Lake of, ix. 296.
Neuilly, Barrier of, ix. 133 n., 158, 159; xii. 191.
Neuss (a town), ix. 299.
Nevers (a town), ix. 177.
Neville, Living in London (? Jameson’s), viii. 242, 243.
New Books, On Reading, xii. 161.
—— Eloise (Rousseau’s), i. 91, 427; vi. 186; vii. 24, 28, 224, 304; ix.
146, 281, 285; x. 75; xii. 14, 54, 123 n., 169.
—— English Drama. See William Oxberry.
—— English Opera, The, viii. 314, 320, 323, 329.
—— Holland, iv. 46.
—— Inn, The (Ben Jonson’s), v. 263, 265.
—— Jerusalem, The, v. 94; xii. 463.
—— Lanark, iii. 172; iv. 198.
—— Man of Feeling (Godwin’s), x. 399.
—— Monthly Magazine, The, iv. 186, 348, 418 et seq.; vi. 485–6, 494,
504 et seq.; vii. 481, 485–7, 489, 507, 509–11; ix. 62 n., 446, 469,
470; x. 221–2; xi. p. vii, 496, 590; xii. 1, 15, 26, 38, 51, 59, 68, 78,
95, 104, 119, 125, 131.
—— Pygmalion. See Liber Amoris.
—— River, The, vii. 129.
—— Road, The (London), ii. 163.
—— Scots Mag. See Edinburgh Magazine.
—— Testament, The, v. 183; vi. 392.
New Times (a newspaper), iii. 233, 284, 286, 313, 314; x. 217, 218; xi.
316; xii. 289.
—— View of Society, A, iii. 121.
—— View of Society (Owen’s), iv. 198.
—— Way to Pay Old Debts, A (Massinger), viii. 272;
also referred to in v. 266, 267 n.; vii. 313; viii. 277; xii. 168.
—— Year’s Ode (Southey’s), iii. 49.
—— York, ii. 205; viii. 473.
—— Zealand, iii. 360.
Newark-upon-Trent, ii. 12.
Newbury, xi. 309; xii. 2, 6, 13.
New Castile, x. 57.
Newcastle, ii. 166.
—— Duke of, xii. 41, 383.
—— Duchess of, iv. 216; viii. 69, 503; xii. 37.
—— The Marquis of, xi. 53.
Newfoundland Dog, vi. 452.
Newgate, ii. 148, 150, 171, 206; iv. 195; v. 97; vii. 449; ix. 157; x. 227,
377, 380, 381; xi. 373.
—— Calendar, iv. 250; vi. 314; viii. 269; xi. 190; xii. 34 n., 355.
Newington Green, x. 357.
Newman Street, ii. 147, 163, 199.
Newmarket, ii. 23, 24, 26, 28, 30, 31, 32, 35–7, 40–2, 45, 46, 49, 50,
52–5, 107; vii. 211.
Newport, Lord (Vandyke’s), ix. 61.
Newport-Pagnell, ii. 14.
News, The, x. 220.
Newspaper (Crabbe’s), xi. 606.
Newstead Abbey, x. 169.
Newton, Bishop (Reynolds’s), ix. 399.
Newton, Sir Isaac, i. 10 n., 46, 82, 100; iii. 140, 141, 151; iv. 8, 45; v.
163; vi. 85, 239, 304; vii. 153, 249, 306, 358, 371, 458; viii. 99; ix.
243; x. 13, 134, 222, 249; xi. 258, 263 n., 273, 311; xii. 26, 27, 153
n., 154 n., 279, 441.
Ney, Marshal, iii. 165; ix. 146.
Nice Valour; or, The Passionate Madman (Beaumont and Fletcher),
v. 295.
Nicholas Gimcrack (in The Tatler), iii. 40; vi. 118, 119.
N.—— (Nicholson, William), ii. 91, 95, 100, 173, 175, 191–3, 195–6,
217, 219, 264, 279; vi. 92; vii. 230.
Nicias, viii. 17.
Nick Strumpfer (Scott’s The Pirate), xi. 534.
Nicknames, On, xi. 442.
Nicolas the Barber (in Cervantes’ Don Quixote), x. 27.
Nicole, Pierre, xi. 289.
Niger, The, ix. 255.
Night (Michael Angelo’s), ix. 363.
—— Picture of (Brown’s), v. 315.
—— at Dresden, The (Correggio’s), xii. 357.
—— Scene (Hogarth’s), viii. 136, 137; ix. 80.
—— Thoughts (Young’s), ii. 91; v. 375.
—— Walker, The (Beaumont and Fletcher’s), v. 261.
Nightingale, To the (Drummond of Hawthornden), v. 300.
Nile, The, i. 232; vii. 344; ix. 350.
—— the Battle of the, i. 97.
Nimeguen, ix. 299, 300.
Nimrod, vi. 168.
Nina (an Italian Opera), vii. 325, 335; ix. 174, 175 n.
Nine Muses (Tintoretto’s), ix. 42.
Ninette à la Cour (C. S. Favart’s), xi. 380.
Ninon de l’Enclos, xii. 37.
Niobe (The Elgin), ix. 379; x. 82.
—— (Raphael’s), i. 70.
—— (R. Wilson’s), ii. 198; ix. 393; xi. 200.
Nipperkin (in Sprigs of Laurel), xii. 24.
Nismes, Massacre of, iii. 118, 216.
No Song, No Supper (by Hoare), vii. 193; viii. 406, 416.
Noah’s Ark, vii. 96; ix. 335; xii. 263.
Noble, Walter, x. 243.
—— Kinsmen (Fletcher’s), v. 190.
—— Lord, Letter to a (Burke’s). See Letter to Bedford, Duke of.
—— Peasant, The (Holcroft’s), ii. 87, 109, 268.
Noblet, Mademoiselle, ix. 174.
Nodin (a picture dealer), ii. 205.
Noel, Mademoiselle, i. 53; ix. 170.
Nokes, James, i. 157; viii. 160.
Nola, the Philosopher of, x. 145.
Nollekens, Joseph, vi. 373, 379, 384; vii. 88, 90; xii. 221, 439.
Noman (in Homer’s Odyssey), xi. 452.
Nonjuror (Cibber’s), viii. 162.
Noon (Hogarth’s), viii. 137, 140; ix. 80; xi. 252; xii. 364.
Norbury Park, vi. 360.
Nore, The, ii. 248.
Norfolk, ii. 249, 277; iii. 405.
Norfolk, Duke of, xii. 164.
—— (in Richard III.), viii. 184, 202.
Norman (Holcroft’s), ii. 204.
—— Court, vi. 24; ix. 27.
Normandy, iii. 97; ix. 100.
Norna of the Fitful-Head (in Scott’s The Pirate), xi. 534.
North, Lord, iii. 290, 337 n., 419, 420; iv. 237.
—— T., ii. 205.
—— Sir Thomas, v. 186.
Norths, The, iii. 389.
North Berwick-Law, ii. 314.
—— Briton (a newspaper), iii. 422.
—— West Passage, iv. 207; vi. 414.
Northampton, ii. 14, 125; x. 356.
Northcote, James, i. 442; ii. 208, 209, 217, 224; iv. 212; vi. 10, 18, 65
n., 296, 318, 407; vii. 39, 40, 42, 89–94, 211, 487; ix. 34, 55, 61, 66,
226, 407 n., 475 n.; xi. 202 n., 509, 516, 543, 590; xii. 224, 439.
Northcote’s Conversations, vi. 333.
—— Samuel, vi. 395.
Northern Winter, A (A. Philips), v. 374.
North Pole, Panorama of, vi. 407.
Northumberland, Duchess of, iii. 307.
—— the Family of, x. 171.
—— the Earl and Countess of (Vandyke’s), ix. 61.
—— in the Tower (Vandyke’s), ix. 61.
—— (in Shakespeare’s Henry IV. and VI.), i. 284, 296, 301; xi. 192.
Northwich (a town), ii. 18.
Norton, Thomas, v. 193.
Norval (in Home’s Douglas), vi. 294; viii. 180; xi. 373.
Norway, iii. 62, 104, 106, 107, 158, 216.
Norwich, ii. 182, 230, 278.
Norwood, vii. 114.
Norwynne (in Inchbald’s Nature and Art), vii. 339; xii. 65.
Nota Bene; or, The Two Doctor Funguses (a play), viii. 536.
Nothing, Poem upon (Rochester’s), v. 83.
Notre-Dame, ix. 156.
Nottingham, ii. 14, 19–23, 29, 72, 85, 106, 125; vi. 445.
Nottingham, Lord, iii. 464.
Novel (in Wycherley’s Plain Dealer), viii. 78.
Novelle di Salernitano, ii. 172.
Novelists, On The English, viii. 106.
Novelty (Shakespeare’s Sonnet), i. 360.
—— and Familiarity, On, vii. 294.
Novi (a town), ii. 178.
Novum Organum (Bacon’s), v. 328.
Nugent, Lord, ii. 94; x. 215.
Numitorius (Knowles’s Virginius), viii. 456.
Nuneaton, ii. 14.
Nurse (in Shakespeare’s Romeo and Juliet), viii. 199.
Nursey, Perry, xi. 249.
Nut-Brown Maid, The (old ballad), v. 106; xi. 533.
Nym (in Shakespeare’s Henry V.), i. 291, 351; viii. 33.
Nymph, The First and Second (in Milton’s Comus), viii. 231.
—— (Titian’s), ix. 14.
—— appearing to the River God (a picture), ix. 128.
—— making a garland of flowers (Parmentier’s), ix. 167.
—— and Satyr (Giorgione’s), ix. 226.
—— —— (Polemberg’s), ix. 20.
—— —— A (a picture), ix. 43.
Nymphadoro (Marston’s Antonio and Mellida), v. 228.
 O.

O——, Mr, xi. 387.

Oak and the Briar, The (Spenser’s), v. 98.
Oakhampton Castle (Wilson’s), xi. 199.
Oates, Titus, ii. 143.
Oath of the Horatii (David’s), ix. 134.
Oberon (in Shakespeare’s Midsummer Night’s Dream), i. 245 et seq.
Ober Wesel, xi. 363.
Obligations, On the Spirit of, vii. 78.
O’Bryan, Mr, ii. 173, 174.
Observations on Judge Eyre’s Charge to the Jury in 1794 (Godwin’s),
x. 399.
Observer, The, ix. 287; x. 220.
Occasion (Spenser’s), x. 245.
Occasional Conformity Bill, The, x. 377.
Occleve, Thomas, v. 34.
Oceana (Harrington’s), iii. 122.
Oceanus (Æschylus’s Prometheus), x. 93.
O’Coigly, James, ii. 429.
O’Connell, Daniel, xii. 214.
O’Connor, Arthur, ii. 174, 186, 190, 196, 431.
—— Roger, ii. 190.
Octavia (in Shakespeare’s Antony and Cleopatra), i. 229; viii. 192.
Octavian (in The Mountaineers), viii. 239, 241.
Ode on Chatterton (Coleridge’s), iv. 215.
—— to Departing Year (Coleridge’s), v. 377; xii. 268.
—— to Eton College (Gray’s), v. 118; vii. 74.
—— to Evening (Collins), v. 116, 374.
—— to Fear (Collins), v. 116, 374.
—— to Indifference (Mrs Greville’s), viii. 216.
—— to the Memory of Sir Lucius Cary and Sir H. Morrison (Ben
Jonson’s), v. 306.
—— to Naples, The (Shelley’s), x. 267.
—— on the Passions (Collins), v. 116, 374.
—— on the Poetical Character (Collins’s), v. 116, 126, 374.
—— on the Progress of Life (Wordsworth’s), i. 250.
—— on St Cecilia (Dryden’s), v. 81.
Odes and Inscriptions (Southey’s), v. 164.
Odeon, The (theatre), ix. 154.
Odry, Jacques Charles, ix. 153.
Odyssey (Homer’s), i. 71 n.; v. 14, 66; viii. 20; x. 12; xi. 236, 452; xii.
168.
Œdipus (Æschylus), x. 96.
—— (Lee’s), v. 357; vii. 298.
—— (Corneille’s), ix. 154, 193.
O’Fin (in Amory’s John Buncle), i. 54.
Ogygia (in Spenser), viii. 241; (Homer’s), x. 12.
Ohio, iv. 337; vi. 53.
O’Keefe (in Amory’s John Buncle), i. 54; iii. 142.
O’Keeffe, John, vi. 417; viii. 166, 319, 400, 416, 534; xi. 364, 383.
Old Actors, Some of the, xi. 366.
—— Age (Cicero’s), iv. 384.
—— —— (Holcroft’s), ii. 87.
—— —— of Artists, On the, vii. 88.
—— Bachelor, The (Congreve’s), viii. 72.
—— Bailey, The, ii. 99, 151, 199; vii. 339.
—— Clothes to Sell (a song in Holcroft’s Old Clothesman), ii. 177.
—— Clothesman, The (Holcroft’s), ii. 163, 170, 173, 195, 222, 225,
226.
—— Customs, viii. 327.
—— Double (in Shakespeare’s Henry IV.), i. 64, 283; viii. 33, 35.
—— English Baron, The (Mrs Radcliffe’s), viii. 127.
—— —— Writers and Speakers, vii. 311.
—— Fortunatus (Dekker’s), v. 234.
—— Jewry, Chapel in the, vi. 367.
—— Masters, The, x. 196.
—— Mortality (Scott’s), iv. 243 n., 247; vi. 425; xi. 459, 532, 537.
—— Mother W. (? Hogarth’s), xii. 364.
—— Nosy (in Dibdin’s Past Ten o’clock), xi. 393.
—— Project (in Reynolds’s What’s a Man of Fashion?), viii. 262.
—— Sarum, Sonnet to (Southey’s), iii. 203.
Old Sarum (town), iii. 110, 414; iv. 263.
—— Soldier (Opie’s), ii. 228.
—— Testament, The, v. 17, 183; x. 62.
—— Times (a newspaper), iii. 194.
—— Woman, xii. 321.
Oldenburgh, Duchess of, iii. 308.
Oldfield, Mrs, i. 8, 157; viii. 90, 96, 160.
Oldmixon, John, x. 368 n., 370, 371.
Oliver, Tom, vi. 40.
—— (in Shakespeare’s As You Like It), i. 341.
—— (in L. Bonaparte’s Charlemagne), xi. 232.
—— (a Government Spy), iii. 232, 234, 240, 261, 280.
Olivia (in Holcroft’s Hugh Trevor), ii. 137.
—— (in Holcroft’s The Man of Ten Thousand), ii. 160.
—— (in Wycherley’s Plain Dealer), viii. 14, 78, 86.
—— (in Shakespeare’s Twelfth Night), i. 315, 318; viii. 32, 37.
Ollapod (in Colman’s The Poor Gentleman), xi. 376.
Olympian Jupiter, The, ix. 466.
Olympic Games (Barry’s), ix. 421; x. 199.
—— Theatre, The, vi. 81; viii. 461, 462, 472.
Olympus, i. 34, 71; ix. 324, 325; x. 7.
Omai, portrait of (by Northcote), vi. 402.
One Man’s Profit is Another’s Loss (Montaigne’s), viii. 94 n.
O’Neill, Miss, i. 156; v. 355; viii. 177, 210, 211, 223, 256, 261–3, 273,
284, 288, 291, 309, 310, 347, 350, 391–4, 397–8, 465, 478, 524,
528, 537, 538; ix. 147; xi. 304, 367, 403, 407, 410.
O’Neill, Miss, as Belvidera, viii. 261, 513.
—— —— as Constance, viii. 513.
—— —— as Mrs Oakley, viii. 530.
—— —— as Elwina, viii. 256.
—— —— as Juliet, viii. 198.
—— —— as Lady Teazle, viii. 291.
—— —— as Widow Cheerly, xi. 297.
Onslow, Arthur, xii. 370.
Opera, The, xi. 426.
Opera, The Company at the, xi. 369.
—— New English, viii. 314, 320, 329.
—— House, The, ii. 90, 193; viii. 465.
Ophelia (in Shakespeare’s Hamlet), i. 105, 232, 293 n.; iii. 122; v. 49,
261; viii. 188, 209, 478 n.; ix. 145; x. 116; xi. 295, 395, 451; xii. 144.
Opie, John, i. 149; ii. 169, 172, 174–6, 178, 180, 184, 189, 196, 198,
208–9, 223–6, 228, 230, 398; vi. 10, 79 n., 296, 343, 351, 390, 411,
433, 436, 462; vii. 109, 274, 305; ix. 225, 403; xi. 218.
—— Mrs, ii. 169, 226, 231; viii. 268.
Opposition and The Courier, iii. 240.
O.P. Row, viii. 357; xi. 372; xii. 39, 297.
Ops (a heathen god), vii. 255.
Orange, House of, vii. 322; ix. 42.
—— the Prince of, iii. 284; vi. 221; x. 370, 372.
—— Court, ii. 1, 2.
Oratorios, The, viii. 296.
Orcagna, Andrea, ix. 354.
Ordonio (in Coleridge’s Remorse), vi. 314; viii. 421.
Orestes (Æschylus), x. 93.
—— (Phillips’ The Distressed Mother), viii. 334.
Orford, Lord, vi. 461.
Orgagna, the Giant (Ariosto’s), ix. 239.
Orger, Mrs Mary Ann, viii. 246, 279, 355, 358, 536; ix. 151.
Orgon (Molière’s Tartuffe), viii. 29, 246; ix. 151; x. 108; xi. 354.
Oriana (in Dimond’s Conquest of Torento), viii. 368.
Orient (a ship), ii. 214.
Originality, ix. 423.
Orinda (in Farquhar’s Inconstant), i. 154.
Orion (N. Poussin’s), vi. 169, 170.
Orkneys, The, xi. 532, 533.
Orlando (in Shakespeare’s As You Like It), i. 339; iii. 297; viii. 252.
—— (in L. Bonaparte’s Charlemagne), xi. 232, 235.
—— (in Dekker’s Honest Whore), v. 235, 237, 240.
—— Amoroso (Bayardo’s), x. 69.
—— Furioso (Ariosto’s), x. 14, 70, 71, 85.
Orleans Gallery, The, i. 78; vi. 14; ix. 9, 11, 31, 33 and n., 422.
Ormond, The Duke of, vi. 345.
Ormskirk, ii. 167.
Ornamental Gardening, Treatise on (Thomas Whately’s), i. 171.
Oroondates, The (in La Calprenède’s Cassandra), xii. 61.
Oroonoko; or, The Royal Slave (Southerne’s), xi. 301;
also referred to in i. 300; v. 359; vii. 70; viii. 537.
Orosman (Voltaire’s), x. 111; xi. 282.
Orphan, The (Otway’s), v. 355; viii. 263.
Orpheus, vii. 14.
—— (by Barry), ix. 420.
—— (by Dance), vi. 442.
—— and Eurydice (Drolling’s), ix. 137 n.
Orr, William, iii. 237.
Orsin (Butler’s Hudibras), viii. 65.
Orsini, xi. 443.
Orson (in Valentine and Orson), v. 361; vii. 215.