b'\nGass QV \\ aa-Si \n\nBook.^Q:ia \n\n\n\nGAMES OF SKILL, \n\n\n\nCONJURING \n\n\n\nDRATJGnTS. \n\nDOMINOES. \n\nCHESS. \n\nMOERICE. \n\nFOX AND GEESE. \n\nCONJURING. \n\nLEGERDEMAIN. \n\nTRICKS WITH APPARATUS. \n\nTRICKS WITH CARDS. \n\nBOAT- BUILDING. \n\n\n\nMODELLING. \n\nDEAE AND DUMB ALPHABET \nRIDDLES. \n\nACTING CHARADES. \nPUZZLES AND PARADOXES. \nUSEFUL AMUSEMENTS. \nSHOWS. \nMODEL STAGE. \nTINSELLING. \n\xc2\xa310. \xc2\xa3IC. \n\n\n\ni:\xc2\xabb \xe2\x82\xacVitmx, foxt^ @m fwnbnb anb itft^-am lUastratmns. \n\n\n\n\nLONDON: t/ \nGEORGE EOUTLEDGE AND SONS, \n\nBROADWAY, LUDGATE HILL. \nNEW YORK: 129, GRAND STREET. \n\nV 3865. \n\n\n\nl\xc2\xab4 \n\n\n\nLONDON: \n\nSA.VILL AND EDWAHDS, PEINTEES, CHANS OS STEEET, \n\nCOTENX GAEDEN. \n\n\n\nCONTENTS. \n\n\n\nPAGE \n\nDEATTGnTS 1 \n\nLaws of the Game 5 \n\nGames foi* Practice 6 \n\nConcluding Observations ... 8 \n\nDominoes 9 \n\nChess 11 \n\nThe Chessbop.rd and Chessmen . 14 \n\nVahie and Mot\'Cs of the Pieces . 15 \n\nLaws of Chess 17 \n\nTechnical Terms used in Chess . 19 \n\nOpening the Game 22 \n\nGames for Practice 23 \n\nGeneral Observations .... 25 \n\nConclusion 26 \n\nMosEiOE . 27 \n\nFox AND Geese 28 \n\nCoHrJTJEING 29 \n\nLegeedemain- and Simple De- \n\nCEPTIOlfS 31 \n\nTo lift a Bottle with a Straw . 31 \n\nThe Tobacco-pipe Jug-stand . . 32 \nTo break a Stick placed on Two \n\nGlasses 32 \n\nThe Bottle Conjuror 32 \n\nThe Mysterious Wafers . ... 32 \n\nAdvantageous Wager .... 33 \n\nThe Balanced Stick 33 \n\nThe Little Tumbler 33 \n\nThe Little Balancer 34 \n\nTo fix a Coin to the Wall ... 34 \n\nEatable Candle-ends 34 \n\nThe Animated Sixpence ... 34 \n\nThe Floating Beacon .... 35 \n\nThe Magic Apple 35 \n\nThe Sentinel Egg 35 \n\nTo melt Lead in a Piece of Paper 35 \n\nThe Dancing Pea ...... S3 \n\n\n\nPAC-n \n\nMagical Cards 35 \n\nTo support a Pail of Water by a \nStick, only half of which, or \nless, rests upon the Table . . 36 \nTo make a Shilling turn on its \nEdge on the Point of a Needle \nThe Impossible Omelet . . . \nTo turn a Goblet of Water up- \nside down, and yet keep the \n\nWater in it \n\nTo take a Shilling out of a Hand- \nkerchief \n\nA good Catch ....... \n\nThe Three Spoons \n\nBridge of Knives \'6H \n\nThe Magic Circle 38 \n\nThe Juggler\'s Joke . . . , . 38 \nThe Glass of Wine under the Hat 39 \n\nTeicks eequibing Special Ap- \n\nPAEATUS 39 \n\nThe Hen and Egg-bag .... 39 \n\nAmputation Extraordinary . . 40 \n\nThe Globe-box 40 \n\nThe Barber\'s Pole 40 \n\nThe Egg-box 41 \n\nThe Bottle Imps 41 \n\nThe Doll Trick 42 \n\nThe Magic Book 43 \n\nThe Eice Trick 43 \n\nTjricks WITH Cat: DS 44 \n\nForcing or making a Pass . . 45 \n\nUps and Downs 46 \n\nA certain Number of Cards being \nshown to a. Person, to guess \nthat which he has thought of. 46 \nTo tell the Number of Cards by \n\nthe Weight 47 \n\nThe Cards being arranged in a \nCircle, to tell that which any \n\none thought of 47 \n\nThe Four Aecomnliccs . . . . 4^ \n\n\n\nIV \n\n\n\nCONTEXTS. \n\n\n\nPAGE \n\nThe noted Card named .... 48 \n\nThe Regal Alliance 48 \n\nThe odd Ten 49 \n\nThe Queens gomg in search of \n\nDiamonds 49 \n\nThe Knaves and the Constable . 49 \n\nThe Painted Pack ..... 50 \n\nTo hold four Kings or four \n\nKnaves in your Hand, and to \n\nchange them suddenly into \n\nblank Cards, and then into \n\nfour Aces 50 \n\nThe Fifteen Thousand Livres . 51 \nSeveral Cards being presented in \nSuccession to several Persons, \nto guess which each has \n\nthought of 51 \n\nThe Card discovered by the \n\nTouch or Smell 51 \n\nThe Card in the I\\ ut 52 \n\nBoAT-BtriLDiifG 53 \n\nCutter 54 \n\nSmack 55 \n\nSchooner 55 \n\nLugger 56 \n\nModelling 57 \n\nCardboard Work 57 \n\nPlaster Casts 67 \n\nVegetable Carving 70 \n\nThe Deaf and Dtiiie Alphabet 71 \n\nThe Alphabet 71 \n\nThe Eiddlee 75 \n\nEnigmas 75 \n\n\n\nPAGE \n\nCharades i ... 77 \n\nConundrums 78 \n\nActing Chaeades 81 \n\nI. Charade in Dumb Show . . 81 \n\nII. Charade in Dialogue ... 82 \nKey to Enigmas, &c 88 \n\nPuzzles and Paeadoses ... 90 \nKey to the same ...... 95 \n\nMiscellaneous 98 \n\nTo polish Shells 98 \n\nMiniature Oak-tree 99 \n\nTo extract the Perfume of \n\nFlowers 99 \n\nVegetable Skeletons 99 \n\nCherrystone Baskets 100 \n\nTo form Figures in Relief on an \n\nEgg 101 \n\nStorm-glasses 101 \n\nTo make Bread Seals .... 101 \nTo take Impressions from Seals 103 \nVarnish for Ornamental Pur- \nposes 103 \n\nSnows 103 \n\nPunch and Judy 103 \n\nThe Drama of Punch and Judy . 106 \n\nFantoccini 113 \n\nGallanty Show 115 \n\nThe Wonderful Crocodile . . .117 \nChinese Show of Artificial Fire- \nworks 122 \n\nThe Model Stage 125 \n\nTinselling 127 \n\n\n\nGAMES OF SKILL \n\n\n\nDRAUGHTS. \n\n\n\n\nof stratagem, are lessons wS the gaml\'of D?au4iTroStl v ?\'\'\xc2\xb0i *^ \'"\'\'\'\'\' \nuniformly explains."\xe2\x80\x94 Joshua SxueIes -^\'i^augms strongly mculcates, and \n\nThis interesting game is considered to be of very remote orio-ir, \n\nPoet, mentioned it, and in 1668, Monsieur Ma Ipt . P \xe2\x80\xa2 \xe2\x80\xa2 \nrw?"*\'!,*^",^""-\' \xc2\xb0^ !"\'\'*\xe2\x96\xa0\xe2\x96\xa0\'=\'\' ^""J <=ompIeaty, is second only to \n\narise on that score, for, as the great authority upon the game. \n\n\n\nDRAUGHTS. \n\n\n\nJoshua Sturges, observes, "It guards simplicity from the lures of \ndeceit, and prevents cunning from preying on credulity; for where \nsuperior skill alone commands success, the ignorant are not mad \nenough to hazard theiH fortunes in a contest where loss is certain, \nand gain impossible. Considering the game as an amusement, it \ncannot be denied that it tends to improve those faculties of the mind \nwhich are eminently useful in every condition of life; and may there- \nfore be made the school of wisdom, but cannot, like the gambling \ntable of chance, become the nursery of vice." \n\nThe draught-board is a square, divided into sixty-four compart- \nments, alternately checquered black and white. The draught-men, \nwhich are moved on these squares, according to certain regulations, \nare twenty-four in number, divided into two sets of twelve each, one \neet being white, and the other black. \n\nFor the sake of perspicuity, \nand facility of describing the dif- \nferent moves, we give a repre- \nsentation of a board vrith the \nsquares numbered off, and be- \nginners would find it much to \ntheir interest to thus number the \ncorners of the squares on the \nboard itself, as by such a plan \nthey can learn the moves far \nmore readily than they other- \nwise could, \n\n. On beginning a game, the \nmen should be placed on the \nwhite squares, at the opposite \nends of the board, the white \noccupying the squares 1 to 12, and the black men those marked \nfrom 21 to 32 respectively. The board must be placed between \nthe players, so that each has an upper white comer on his right \nhand. When the men are all arranged in due order, the right \nof first move should be decided by lot, as should also the choice \nof men. The men, however, should be exchanged every game, \nso that each player may alternately use the white and black men; \nand the first move of each game should be taken alternately also. \nEre showing how a game is opened, it is necessary to describe the \nmode in which the men move. \n\nThe men can only progress forwards diagonally, one square at a \ntime, on the white squares ; but if any of them can gain the last row \nof squares, then such pieces are termed kings, and they may be \nmoved backwards as well as forwards, of course still keeping on the \ndiagonals. The men take in the direction in which they move, by \npassing over any opposing piece into the vacant white square behind \nhim ; for it must be understood that no other pieces than those which \nare left unsupported, that is, those which have a vacant white square \nbehind them, are liable to be captured. If, however, several men \nare left unsupported, they are likely to be all taken by one move, as, \n\n\n\n11 D Q D Dl \n\n\nliHiMiMiH \n\n\n\n\n\nDEAUGHTS. 3 \n\nfor instance, if there are three white men on the squares 10, 18, and \n26, a black man on 7 may take the whole of them at a time, by leap- \ning first into square 14, then into 23, and then into 30. The three \ncaptured men must then be removed from the board ; and the victo- \nrious piece, having attained to the last row of squares on his oppo- \nnent\'s ground, must be dubbed or crowned a "king," that is, another \npiece of the same colour, which may have been taken in the earlier \nstages of the game, must be put upon him. \n\nThus much being premised, we proceed to our instructions re- \nspecting the commencement of a game. The men being posited, and \nthe first move settled, seven moves are open to each player to begin \nwith ; thus, the front line of black men may move from 9 to 13 or \n14, from 10 to 14 or 15, from 11 to 15 or 16, and from 12 to 16 \nonly; the white men move either from 21 to 17 only, from 22 \nto 17 or 16, from 23 to 18 or 19, and 24 either to 19 or 20. Of \nthese moves, the best for the black is that from 11 to 15 ; and for the \nwhite from 22 to 18. \n\nSupposing black begins the game by moving 11 to 15, and white \nresponds to it by playing 22 to 18, it is imperatively requisite that \nat the next move the black man takes the white, by passing over him \ninto the empty square number 22, or else he must stand what is \ntechnically tenued the "huff," that is, white may either take his \nopponent\'s man from the board, without remark, as a penalty for his \nneglecting to capture, or he may insist upon his own piece being \ntaken. The "huff" is not considered as a move, the white still \nhaving the move before his adversary can take his turn. A brief ex- \nample will illustrate the powers of a " king," and render them more \nintelligible ; suppose it is a white king\'s turn to move, whose station \nis on 32, and that a black king is on square 27, a black man on 18, and \nanother black king on 17, the white king can take all three, and \nremain upon 21 ; but if the player neglected to pass over and cap- \nture all of them, and contented himself with taking only one of the \npieces, he would be obliged to stand the huff, at the option of his \nantagonist, who might insist on his taking all. If, instead of a king, \nit was only a white man on 32, then he can take no more than the \nblack king on 27 and the man on 18, and assume his place on 14, \nthe black king on 17 removing him at the next move by way of re- \nprisal ; this example defines the kingly and common powers, as the \nlatter are never allowed to take by a backward move. \n\nThe game is v^on when one player has captured or blockaded the \nmen belonging to his antagonist, in such a manner that he has \neither no piece left to play with, or no space in which to move those \nmen he has ; but when the parties are so equally skilled, that when \neach have lost many men, and, consequently, neither one nor the \nother can gain any great victory, then the game should be given up \nas drawn. In order to prevent any unnecessary delay in such cases, \nit has been settled that the person who is the strongest, should be \ncompelled to finish the game in a given number of moves. If, for \nexample, there are two black kings with one black man, or three \nblack king\'s, to two white ones, on the board, and the player of the \n\nb2 \n\n\n\n4 DEATJGHTS. \n\nwhite perceiving that his opponent, although unable to win, con- \ntinues to prolong the game with obstinacy, he has the privilege of \ninsisting that the game shall either be finished, or given up when \nforty moves shall have been made by each player : if two kings are \nmatched against one, then the number of moves must not exceed \ntwenty ; the moves being, of course, reckoned from the notice given. \nAs a complete game is usually played in a quarter of an hour, it is \nexpected that no player hesitates for more than three minutes when \nabout making a move ; if he does so, his opponent may require him \nto proceed, and if he pauses for five minutes longer, then he is con- \nsidered to have lost the game. \n\nTo have the move is sometimes of great advantage, particularly \nin critical situations, over a well- skilled adversary. The term \n\' \' having the move, " signifies your holding a superiority of position- \non the board, by which you may ultimately force your antagonist \ninto a confined situation, and secure to yourself the last move in the \ngame. To ascertain whether you or your antagonist has the move, \ntwo plans have been laid down ; one of which is to count the white \nsquares which intervene between the opposing men, and the other to \nstrike a right angle between them. \n\nSo long as each player gives man for man, the move must neces- \nsarily belong to each alternately ; the first player having it at \nthe odd numbers, 11, 9, 7, 5, 3, 1, and the second at the even, as \n12, 10, 8, 6, 4, 2 ; therefore before the move can be shifted out of \nthese rules, some error must be committed by one or other of the \n\n\n\nTo find out the move by counting the men and calculating the in- \nHrvening white squares, or those squares over which the respective \nmen must move, according to the laws of the game, ere they come \ninto contact with each other, \xe2\x80\x94 first count the men and squares, and \nif the men are even and the squares odd, or the squares even and the \nmen odd, the move is yours, and if both are even or both odd, the \nmove belongs to your antagonist ; this, the following situation will \nreadily explain, white being to play first : \xe2\x80\x94 \n\n^^^\' I I2 I 28* I ^1^^^ \n\nThe adverse pieces are here even, and the white squares odd, as fromi \nthe white king on 26 to the black king on 28, there intervene three \nwhite squares, 31, 27, and 24 ; and between 32 a white man, and \n19 a black man, there are the two white squares, 26 and 23, which \nmake in all five, consequently the move belongs to white. "White \nobserving that the game is his, moves from 32 to 27 ; the black \nking moves from 28 to 32, and the white man on 27 next proceeds to \n24, and is taken by the black man, who must be put upon 28 ; \nthe white king is next moved to 23 ; the black king having no \nalternative, goes to 27, and is captured by the white, and as the \nblack man, whose turn it is to move, cannot play, the game is, of \ncourse, finished. \n\nThe mode of ascertaining the move by striking a right angle \nbetween the men, is a shorter plan than the foregoing, and equally \n\n\n\nDEAUGHTS, \n\neflBcacious. If you wish to know whether any particular white man \nhas the move over any one of his opponents, observe carefully the posi- \ntions of both parties, and if the right angle- ends in a black square \nunder the black man, white has the move. For instance, if white is \nto play and his piece is on 30, and his antagonist\'s man is on 3, by \ndrawing a hne from each, so as to describe a right angle, you will \nperceive that the lines cut in the black square between 31 and 32, \nimmediately under 3, and therefore white has in that instance the \nmove. Should, however, the white man be on 25, the lines will cut \non 27, showing the reverse of the former experiment. This is a \ngeneral rule, and will serve for any number of pieces. \n\nThe player who opens the game derives no advantage from being \nfirst player, for the men and squares being then even, he cannot \nhave the move, nor can his opponent, although he has it, make it of \nany importance to himself; and, as we before observed, so long as \nthe players give man for man, the move must, of course, belong to \neach alternately. \n\nLAWS OP THE GAME. \n\n1. The first move of eveiy game must be taken by each player, \nalternately, whether the last was won or drawn, but the first move \nof the first game of each sitting must be decided by lot. \n\n2. The choice of men for the first game at the beginning of the \nsitting is also to be decided by lot, but they must be changed every \ngame, so that each player may have the white and black men al- \nternately. \n\n3. The men may be properly adjusted on the squares in any part \nof the game, but if, after they are so placed, whichever player, \nwhen it is his turn to move, touches a man, he must play it some- \nwhere, if practicable ; and if the man has been so far removed from \nhis square, as to be visibly over the angle separating the squares, \nand thence indicative of a move, such move must be completed. \n\n4. Pointing over the board, or employing any action likely to \ninterrupt your antagonist, or hinder his full view of the board, is not \npermitted. \n\n5. When several men are en prise, or threatened by the same man \nat the same time in opposite directions, that is, two one way and \none the other, the player whose turn it is to move may take which \nhe pleases, and as it would be impossible for him to take all the men \nboth ways, no penalty can be exacted for the omission. \n\n6. In the event of standing the "huff," it is at the opponent\'s \noption either to take the man, or insist that the adverse party take \nhis man omitted by the " huff." \n\n7. When a game has been prolonged to a tiresome degree, and \nonly a few pieces remain on the board, without, however, any \nchance of the players giving up, the stronger party may be required \nto win the game in a certain number of moves, suppose forty moves \nfor each player, or consider it as a drawn game ; the moves, of \ncourse, being counted from the notice given. If two kings are \nopposed to one king, the moves not to exceed twenty for each \n\n\n\n6 DEAFGHTS. \n\nplayer. When the odds of the drawn game are given, the game \nshould be continued to a more advanced state than in other cases, \nand when the situations become so equal, that neither party can \ngain the advantage, then he who gives the draw, must either drive \nhis opponent from his strong position, or be adjudged to have lost \nthe game. \n\n8. Not more than three minutes are allowed for considering a \nmove, and if a longer time is taken by each player, his opponent \nmay request him to proceed ; if he pauses five minutes further time, \nafter such notice, he loses the game. \n\n9. In the event of a false move being made, such as moving out of \nyour turn, or moving a common man backwards as though he were a \nking, the man must be moved to some square, according to law 3, \nbut with this addition, that it shall be moved to wherever the adver- \nsary may dictate, consistent with the rules of the game ; or if he \nso pleases, the false move may be allowed to stand, as best suits his \nplan. \n\n10. During a game, neither party can quit the room without the \nconsent of his opponent, otherwise he forfeits the game. \n\n,11. If a dispute occurs between the two players, it should be \nreferred to a third party, whose decision is to be considered final, in \nall cases in which the laws of the game do not ofier any explanation ; \nand any player who does not submit to the rules laid down, or abide \nby the decision of the said third party, is to be adjudged to have \nlost the game to his adversary. \n\n12. Bystanders must abstain from all remarks during the pro- \ngress of a game, neither may they advise or interrupt either of the \nplayers. \n\nGAMES FOR PRACTICE. \n\nHaving now given the general laws and rules of draughts, we \nproceed to lay before our readers a few games, which it would be \nwell for them to practise on a board numbered like the one in the \nillustration in the early part of this article. "We do not wish our \npupils to imagine, however, that by playing the following games \nover in a careless random style, or in a plodding, mill- horse mode \nof progression, without endeavouring to comprehend the reason \nwhy such and such moves are made, that they can ever attain any \nmastery over the game ; on the contrary, unless they strive to \nunderstand thoroughly that which they attempt to perform, they \nwill be as far from the mark as though they had never endeavoured \nto reach it at all. Draughts is a game requiring much circumspection \nand calculation, and whether it is practised from plans laid down in \na book, or learnt under the bitterness of frequent defeats, each series \nof moves must be very carefully studied and worked out. It is \nscarcely within the range of probability, that any two players ever \nmake the exact moves we have set down in the following plans, \nstill, as in the course of games, some points may happen in which \nthe moves bear some resemblance to them, and as the same may be \nobserved with respect to the terminations of games, the young \ndraught- player will find that, if he becomes a perfect master of them. \n\n\n\nDEAUGHTS. \n\n\n\nhe will be enabled to play them whenever an opportunity presents \nitself. \n\nGAME I. \n\n\n\n\n\nBLACK. \n\n\nWHITE. \n\n\n\n\nBLACK. \n\n\nWHITE. \n\n\nMove \n\n\nfr- \n\n\nto \n\n\nfr- \n\n\nto \n\n\nMove \n\n\n/^. \n\n\nto \n\n\nfr. to \n\n\n1 \n\n\n11 \n\n\n15 \n\n\n22 \n\n\n18 \n\n\n15 \n\n\n29 \n\n\n22 \n\n\n26 17 \n\n\n2 \n\n\n15 \n\n\n22 \n\n\n25 \n\n\n18 \n\n\n16 \n\n\n11 \n\n\n15 \n\n\n20 16 \n\n\n3 \n\n\n8 \n\n\n11 \n\n\n29 \n\n\n15 \n\n\n17 \n\n\n15 \n\n\n18 \n\n\n24 20 \n\n\n4 \n\n\n4 \n\n\n8 \n\n\n25 \n\n\n22 \n\n\n18 \n\n\n18 \n\n\n27 \n\n\n31 24 \n\n\n5 \n\n\n12 \n\n\n16 \n\n\n24 \n\n\n20 \n\n\n19 \n\n\n14 \n\n\n18 \n\n\n16 11 \n\n\n6 \n\n\n10 \n\n\n15 \n\n\n*27 \n\n\n24 \n\n\n20 \n\n\n7 \n\n\n16 \n\n\n20 11 \n\n\n7 \n\n\n16 \n\n\n19 \n\n\n23 \n\n\n16 \n\n\n21 \n\n\n18 \n\n\n23 \n\n\n11 8 \n\n\n8 \n\n\n15 \n\n\n19 \n\n\n24 \n\n\n15 \n\n\n22 \n\n\n23 \n\n\n27 \n\n\n8. 4 \n\n\n9 \n\n\n9 \n\n\n14 \n\n\n18 \n\n\n19 \n\n\n23 \n\n\n27 \n\n\n31 \n\n\n4 8 \n\n\n10 \n\n\n11 \n\n\n25 \n\n\n32 \n\n\n27 \n\n\n24 \n\n\n31 \n\n\n27 \n\n\n24 20 \n\n\n11 \n\n\n5 \n\n\n14 \n\n\n27 \n\n\n23 \n\n\n25 \n\n\n27 \n\n\n23 \n\n\n8 11 \n\n\n12 \n\n\n6 \n\n\n10 \n\n\n16 \n\n\n12 \n\n\n26 \n\n\n23 \n\n\n18 \n\n\n11 8 \n\n\n13 \n\n\n8 \n\n\n11 \n\n\n28 \n\n\n24 \n\n\n27 \n\n\n18 \n\n\n15 \n\n\n\n\n14 \n\n\n25 \n\n\n29 \n\n\n30 \n\n\n25 \n\n\n\n\nBlact \n\n\n. >ivins. \n\n\n\n\n\n\n\n\n\n\n* White loses \n\n\nby this move. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\nGAM \n\n\nE 11. \n\n\n\n\n\n\n\n\n\n\nWHITE. \n\n\nBLACK. \n\n\n\n\nWHITE. \n\n\nBLACK. \n\n\n1 \n\n\n22 \n\n\n18 \n\n\n11 \n\n\n15 \n\n\n13 \n\n\n23 \n\n\n16 \n\n\n10 14 \n\n\n2 \n\n\n18 \n\n\n11 \n\n\n8 \n\n\n15 \n\n\n14 \n\n\n9 \n\n\n14 \n\n\n24 19 \n\n\n3 \n\n\n21 \n\n\n17 \n\n\n4 \n\n\n8 \n\n\n15 \n\n\n15 \n\n\n24 \n\n\n28 19- \n\n\n4 \n\n\n23 \n\n\n19 \n\n\n8 \n\n\n11 \n\n\n16 \n\n\n10 \n\n\n15 \n\n\n19 10 \n\n\n5 \n\n\n17 \n\n\n13 \n\n\n9 \n\n\n14 \n\n\n17 \n\n\n6 \n\n\n15 \n\n\n17 10 \n\n\n6 \n\n\n27 \n\n\n23 \n\n\n5 \n\n\n9 \n\n\n18 \n\n\n7 \n\n\n14 \n\n\n22 17 \n\n\n7 \n\n\n25 \n\n\n22 \n\n\n14 \n\n\n17 \n\n\n19 \n\n\n2 \n\n\n7 \n\n\n17 10 \n\n\n8 \n\n\n29 \n\n\n25 \n\n\n17 \n\n\n21 \n\n\n20 \n\n\n7 \n\n\n14 \n\n\n13 9 \n\n\n9 \n\n\n22 \n\n\n17 \n\n\n11 \n\n\n16 \n\n\n21 \n\n\n14 \n\n\n17 \n\n\n16 11 \n\n\n10 \n\n\n25 \n\n\n22 \n\n\n16 \n\n\n20 \n\n\n\' 22 \n\n\n15 \n\n\n18 \n\n\n26 23 \n\n\n11 \n\n\n19 \n\n\n16 \n\n\n20 \n\n\n27 \n\n\n23 \n\n\n18 \n\n\n27 \n\n\n\n\n12 \n\n\n31 \n\n\n24 \n\n\n12 \n\n\n19 \n\n\nDrawn Game \n\n\n. \n\n\n\n\n\n\n\n\n\n\nGAMl \n\n\na III. \n\n\n\n\n\n\n\n\n\n\nWHITE. \n\n\nBLACK. \n\n\n\n\nWHITE. \n\n\nBLACK. \n\n\n1 \n\n\n22 \n\n\n18 \n\n\n11 \n\n\n15 \n\n\n13 \n\n\n31 \n\n\n27 \n\n\n1 5 \n\n\n2 \n\n\n18 \n\n\n11 \n\n\n8 \n\n\n15 \n\n\n14 \n\n\n25 \n\n\n21 \n\n\n11 15 \n\n\n3 \n\n\n21 \n\n\n17 \n\n\n4 \n\n\n8 \n\n\n15 \n\n\n27 \n\n\n24 \n\n\n7 11 \n\n\n4 \n\n\n23 \n\n\n19 \n\n\n8 \n\n\n11 \n\n\n16* \n\n\n30 \n\n\n25 \n\n\n3 7 \n\n\n5 \n\n\n17 \n\n\n13 \n\n\n9 \n\n\n14 \n\n\n17 \n\n\n19 \n\n\n16 \n\n\n12 19 \n\n\n6 \n\n\n27 \n\n\n23 \n\n\n6 \n\n\n9 \n\n\n18 \n\n\n23 \n\n\n16 \n\n\n14 18 \n\n\n7 \n\n\n13 \n\n\n6 \n\n\n2 \n\n\n9 \n\n\n19 \n\n\n21 \n\n\n14 \n\n\n10 17 \n\n\n8 \n\n\n24 \n\n\n20 \n\n\n15 \n\n\n24 \n\n\n20 \n\n\n24 \n\n\n19 \n\n\n15 24 \n\n\n9 \n\n\n28 \n\n\n19 \n\n\n14 \n\n\n17 \n\n\n21 \n\n\n22 \n\n\n8 \n\n\n17 21 \n\n\n10 \n\n\n25 \n\n\n22 \n\n\n9 \n\n\n13 \n\n\n22 \n\n\n28 \n\n\n19 \n\n\n21 30 \n\n\n11 \n\n\n29 \n\n\n25 \n\n\n5 \n\n\n9 \n\n\n23 \n\n\n16 \n\n\n12 \n\n\n30 16 \n\n\n12 \n\n\n32 \n\n\n28 \n\n\n9 \n\n\n14 \n\nWhite \n\n\n24 \nwins. \n\n\n20 \n\n\n2 \n\n\n\n\n\nDRAUGHTS . \n\n* VAEIATIOX, COMMENCING AT THE 16TH MOVE OF GAME III. \n\n\n\n\n\nWHITE. \n\n\nBLACK. \n\n\nWHITE. \n\n\nBLACK. \n\n\n16 \n\n\n19 16 \n\n\n12 19 \n\n\n.20 2] 14 \n\n\n3 17 \n\n\n17 \n\n\n23 7 \n\n\n14 18 \n\n\n21 24 19 \n\n\n15 24 \n\n\n18 \n\n\n21 14 \n\n\n18 25 \n\n\n22 28 19 \n\n\n17 21 \n\n\n19 \n\n\n30 21 \n\n\n10 17 \n\n\nDrawn Game. \n\n\n\n\n\nCONCLUDING OBSEKVATIONS. \n\nKeep your men as much in the centre of the board as possible, \nfor they then can move into the diagonals on either side, which if \nthey are in the side squares they cannot do. Be not over hasty \nin your movements, but calculate the moves, so that you may in \nsome measure judge what consequences will follow the steps you \ntake. In calculating the moves, do it mentally, as pointing from \nsquare to square is both improper and unbecoming. Be decided \nin your actions, and never touch a man without moving it. If \none player is stronger than the other, odds should be given to the \nweaker party, either by giving a man in a rubber of three games, \nor by allowing the weaker party to consider all the drawn games \nof the sitting as won by him. Avoid conversing with the intention \nof annoying your opponent. Never triumph over a vanquished \nopponent, and if you are repeatedly defeated, let it stimulate you \nto fresh exertions, so that, in your turn, you may be the conqueror. \n\n\n\n\n^^^E=^-^ \n\n\n\nDOMINOES. \n\n\n\n\nDominoes is a game of modem invention, and though far inferior to \ndraughts, and immeasurably below chess in point of intricacy, still it \nrequires much attention and practice to make a skilful player. \n\nThis game is played by two or four persons, with twenty-eight \noblong pieces of ivory, plain at the back, but on the face divided by \na black line in the middle, and indented with spots from one to a \ndouble six; which pieces are a double- blank, ace- blank, double-ace, \ndeuce-blank, deuce-ace, double- deuce, trois-blank, trois-ace, trois \ndeuce, double-trois, four-blank, four-ace, four-deuce, four-trois, \ndouble-four, five-blank, five-ace, five-deuce, five-trois, five-four, \ndouble-five, six-blank, six-ace, six-deuce, six-trois, six-four, six-five, \nand double-six. Sometimes a double set is played with, of which \ndouble-twelve is the highest. \n\nAt the commencement of the game, the dominoes are well mixed \ntogether with their faces upon the table. Each person draws one, \nand if four play, those who choose the two highest are partners, \nagainst those who take the two lowest : drawing later also serves to \ndetermine who is to lay down the first piece, which is reckoned a \ngreat advantage. Afterwards, each player takes seven pieces at \nrandom. The eldest hand having laid down one, the next must pair \nhim at either end of the piece he may choose, according to the number \nof pips, or the blank in the compartment of the piece ; but whenever \nany one cannot match the part, either of the domino last put down, \nor of that unpaired at the other end of the row, then he says go; and \n\n\n\n10 \n\n\n\nDOMINOES. \n\n\n\nthe next is at liberty to play. Thus they play alternately, either \nuntil one party has played all his pieces, and thereby won the game, \nor till the game be blocked; that is, when neither party can play by \nmatching the pieces where unpaired at either end, then that party \nwins who has the smallest number of pips on the pieces remaining in \ntheir possession. It is to the advantage of every player to dispossess \nhimself as early as possible of the heavy pieces, such as double-six, \nfive, four, &c. \n\nSometimes, when two persons play, they take each only seven \npieces, and agree to play or draw \xe2\x80\x94 i.e., when one cannot come in, or \npair the pieces upon the board at the end unmatched, he is then to \ndraw from the fourteen pieces in stock, till he finds one to suit. \n\n\n\n\nn \n\n\n\nCHESS. \n\n\n\n\nANCIENT EGYPTIANS PLATING AT ShESS, FEOM A PAINTING AX BENI HASSAN, \n\n\n\nThe Game of Chess stands pre-eminent above all sedentary amuse- \nments, from its fascinating attractions. Complex in its situations \nand in its principles, it requires the fullest exertion of the faculties to \narrange your own plan of operations, and to watch the slightest \nmovements of your opponent, to calculate the moves which it is \nprobable he will make, so that you may be ready to thwart them at \nthe instant, and to carry out your own scheme through all the tor- \ntuous windings of a stern opposition. \n\nThe history of chess is involved in great obscurity, but it seems \nthat it has been practised in Hindostan for many ages, and therefore, \non the authorities of Sir William Jones and Dr. Hyde, the invention \nof the game is most generally ascribed to the natives of India, and \nthat it was brought into Europe by means of the Persians and Arabs. \nThat chess was known to the Egyptians at the remotest periods of \nantiquity, is evidenced by paintings on the walls of some of their \ntemples, showing persons engaged in the game, and also by chessmen \nof a very primitive form having been found at Thebes ;* but whether \nthe game was invented by the Egyptians, or introduced into their \ncountry by traders from the East, is doubtful, and remains to be in- \nvestigated. \n\nAccording to the narrative of Abulfeda, an Oriental writer, chesa \nwas known in the east of Europe in the early part of the ninth \ncentury; it is therefore probable that it was speedily carried from \nthence to the northern and western parts of Europe, not only through \nthe Scandinavian and Italian adventurers, who crowded to Constan- \n\n* Our young readers may see several of these ancient chessmen in the Egyptian \nroom in the British Museum. \n\n\n\n12 CHESS. \n\ntinople, either with the intention of serving as soldiers, or of en- \nriching themselves by trading, or for the purpose of making a pil- \ngrimage to the Holy Sepulchre, but also through the intercourse \ncarried on between the court of France and the Eastern metropolis. \nThe Scandinavians were excessively fond of chess, and it is more \nthan probable they derived their knowledge of the game from Con- \nstantinople, for so early as the ninth century, Regner Lodbrog, one \nof their most celebrated chiefs, is reported to have visited the Helles- \npont, and previous to the middle of the eleventh century, Harold \nHardraad, another chief, made an expedition to the East. These \ncircumstances show that the Northmen and Greeks were not un- \nknown to each other, and certain it is that, whether the Northmen \nbrought the game of chess from the East, or received it through other \nnations, they prized it very highly, and esteemed a perfect know- \nledge of it as a requisite of a liberal education, " to play well at \na game of chess" being one of the accomplishments which the hero \nof an old metrical tale enumerates as the exercises of his youth. \n\nDuring the reign of Charlemagne chess was, without doubt, intro- \nduced into France, and a set of ivory chessmen, which was presented \nto that monarch by a sovereign of the Lower Empire, is still preserved \nin the Bibliotheque du Eoi, at Paris. So rare and admired were \nchessmen in those days, that the men in question were placed \namongst the jewels and ornaments of the king in the treasury of the \nabbey of St. Denis, and a present of a chess-board and men was con- \nsidered one of great value, and indeed the board and men were often- \ntimes intrinsically valuable, from being occasionally made of jasper, \ncrystal, and chalcedony. When Gurmer, prefect of Greenland, \nwished to ingratiate himself with Harold Hardraad, king of Norway, \nhe sent to him three of the finest gifts the island could furnish ; \nand these were a tame white bear, a chess-table and chessmen, of \nbeautiful workmanship, and a skull of a walrus, with the teeth fast- \nened into it, highly sculptured, and ornamented with gold ; and \nwhen Bardur, the bearer of them, gave them to the king, he said : \n*\' Here is a chess-table, lord, which the most noble person in \nGreenland sends to you, and desires nothing in return but your \nfriendship." \n\nIn the laws of Howell \'Dha, a Welsh prince, A.D, 943, mention is \nmade of a game played upon a table-board, with black and white \nmen ; but as these terms are vague, we cannot be certain that chess \nis the game intended, inasmuch as black and white men are also used \nin draughts. Chess must, however, have been introduced into Eng- \nland in the latter end of the tenth century, as it is mentioned of \nKing Canute that during his war with the kings of Norway and \nSweden he one day paid a visit to his brother-in-law. Earl Ulfr, who \nprepared a repast for him, but which, from being out of spirits, he \ndid not enjoy. The earl observing his moodishness, at length chal- \nlenged him to play at chess, and the king accepting the challenge, \nthey sat down ; the king, making a false move after playing a little \nwhile, one of his knights was taken by the earl, who of course \nmoved it from the board. This move the king would not allow, but \n\n\n\nCHESS. 13 \n\nreplaced the piece and commanded the earl to play differently. Ulfr, \nexcessively chagrined, overturned the chess-board, and left the room, \nand as he retired the king exclaimed, " Ulfr, thou coward, dost thou \nthus flee ?" The earl hearing this epithet, returned to the door, and \nretorted, " You would have taken a longer flight in the river Helga, \nhad I not come to your assistance when the Swedes beat you like a \ndog ; you did not then call me coward." He then again withdrew, \nand was murdered a few days subsequent by the king\'s orders. We \nfind alsoi that when Bishop CEtheric went to King Canute, upon \nsome extremely pressing business, about midnight, he found him and \nhis coui-tiers deeply engaged at play, some busy at dice, and others \nat chess. \n\nThe great-grandfather of William the Conqueror was skilful at \nchess, and the Conqueror himself is traditionally reported to have \nbeen fond of the game. The Crusades made chess more popular than \nit had hitherto been, and in the eleventh century it was well known. \nIn the reign of Henry II., according to Gervase of Tilbury, the \nCourt of Exchequer received its name from the cloth spread in the \ncourt being chequered after the fashion of a chess-board. \n\nIt is related that at a chess match, in the year 1087, between \nHenry I,, previous to his accession to the throne of England, and \nLouis le G-ros, son of Philip of France, Louis, having lost several \ngames and much money to Henry, became irritated, and threw the \nchessmen at Henry\'s face, upon which Henry knocked him down \nwith the chess-board, and would have killed him outright, but for the \ninterposition of his elder brother, Robert. \n\nChess was a favourite game in the reign of Edward IV., if we may \njudge from the circumstance that a treatise upon it was published by \nCaxtonin 1474, and which indeed is worthy of especial remembrance \nfrom its being the first book ever printed in England. \n\nChess was certainly a fashionable amusement in the houses of \npeople of rank in the time of Richard III. Queen Elizabeth was a \nchess player, and her successor, James I., styled the game a philo- \nsophic folly. Charles I. was engaged at chess when he was informed \nthat the Scots had finally determined upon selling him to the \nEnglish, but he coolly finished the game without betraying any \ndiscomposure. \n\nCharles XII. of Sweden, when surrounded in a house at Bender \nby the Turks, barricaded the building, and then comfortably sat \ndown to chess. From his habit of employing the king more than any \nother piece, this prince lost every game. \n\nOur limits foi\'bid our entering more fully into the history of chess, \nor to give more anecdotes connected with it, but as at the head of \nthis little introductory sketch of the game we have prefixed an illus- \ntration, showing two Egyptians playing at it, we will end it by a \nrepresentation of a king, queen, bishop, and knight, copied from a \nset of very ancient and singularly curious chessmen, which are now \ndeposited in the British Museum. They were discovered by a \npeasant in the year 1831, whilst digging on the seashore in the \nparish of Uig, in the Isle of Lewis, Scotland, and from the peculiar \n\n\n\n14 \n\n\n\nCHESS. \n\n\n\ncostume of the figures, and the material of which they are made, \nbeing the ivory teeth of the walrus or sea-horse, it is supposed that \nthey were sculptured in Iceland in the twelfth century. \n\n\n\n\nTHE CHESS-BOAKD AND CHESSMEN, \n\n\n\nThe CHESS- BOAED, or, as it is technically termed, the EXCHEQUER, \nis a square board divided off into sixty- four compartments or squares, \nchequered alternately black and white. The rows of squares run- \nning from one player to the other, are termed files ; those crossing \nfrom left to right, ranlcs ; and the lines from corner to corner. \n\n\n\nChessmen. \xe2\x80\x94 Each plaj\'-er is provided with sixteen pieces, or men : \nof these, eight are \'pawns, two castles, two Jcnights, two bishops, one \na queen, and one a Icing. These pieces are usually made out of bone or \nivory, one set being perfectly white, and the other stained red. The \nshapes of these men exhibit every variety of outline it is possible to \nimagine, from very ungainly efforts of the turner\'s skill to most \nelaborate specimens of Indian workmanship ; and therefore we refrain \nfrom bestowing an illustration upon them, preferring to call our \nreaders\' attention to the annexed representation of some figures from \n\n\n\n\nCHESS. \n\n\n\n15 \n\n\n\n\n\n\n\nthe exquisite chessmen modelled by the late J. Flaxman, R.A., for \n\nMessrs. Wedgwood, and sets of which may be purchased at some of \n\nthe manufactui-ers of chessmen. They are made of china, one set \n\nbeing pale blue, and the other white, and have a most striking and \n\ninteresting effect during the movements of the game. \nThe chessmen must be ranged \n\nat the ends of the board on the \n\ntwo last rows of squares. The \n\npawns must occupy the inner j|||ii.| ||i||| \xe2\x99\xa6 IBj f |||| t \n\nrow, and on the outer the pieces I""\xe2\x84\xa2\xe2\x84\xa2 \xe2\x80\xa2 \xe2\x96\xa0*"\xe2\x96\xa0 \'"\'\xe2\x96\xa0\'I\xe2\x84\xa2 \'"^*-" \n\nmust be disposed thus : the right \n\nhand comer square must be filled \n\n\xe2\x80\xa2with a white castle, the next \n\nwith a knight, the next with a \n\nbishop, the next to that with the \n\nking, then the queen, and after \n\nher the other bishop, knight, \n\nand castle. The black men are \n\nranged in the same order, so \n\nthat the kings face each other, \n\nqueen opposes queen, and \n\nbishops, knights, and rooks oppose their differently coloured brethren. \nThe bishop, knight, and castle are styled after the party near which \nthey stand, as thus \xe2\x80\x94 the bishop, knight, and castle, next the king, \n\nare called the king\'s bishop, king\'s knight, and king\'s castle ; so also \nthose on the queen\'s side are called after her. The pawns are sup- \nposed to belong to the pieces before which they stand ; for instance, \nthe pawn in front of the king is termed the king\'s pawn, the next to \nit the king\'s bishop\'s pawn, adjoining that the king\'s knight\'s pawn, \nand the king\'s castle\'s pawn, and so likewise of the pawns before \nthe queen and her followers. \n\nThe squares on which the pieces are placed at the beginning of a \ngame are called after the names of the pieces which so occupy them ; \nthus the squares on which the kings stand are called the Icings^ \nsquares, and those whereon the queens stand the queens\' squares, &c. \nThe second row of squares, on which the pawns stand, are considered \nthe second squares of the pieces, and spoken of as the king\'s second \nsquare, queen\'s second square, &c. The third row on the board is \nthe third row of the pieces, and the fourth, fifth, sixth, seventh, and \neighth rows of squares, are the corresponding squares of the pieces ; \nthe four last rows, of course, being those of the adverse party. \n\nIt is necessary always to distinguish the pieces according to their \nrespective colours, as red king\'s pawn, bishop, &c. ; white king\'s \nbishop, pawn, &c. The squares on which they stood at the com- \nmencement of a game, retain their names, although the pieces are at \n<]ifferent parts of the board. \n\nVALUE AND MOVES OP TEE PIECES. \n\nThe relative value of the pieces can only be estimated in a general \nway, as in some cases a pawn is of more worth than a queen, and at \n\n\n\n16 CHESS. \n\nthe latter end of a game the rooks rise in power whilst the queens \nslightly decrease. \n\nThe KING being the chief personage, and free from all chance of \ncapture, is beyond all price. He moves only one square either way \nat a time, either backwards, forwai\'ds, or sideways, but in the \ncourse of a game he may make a movement called \'* castling," which \nwe shall hereafter describe ; though limited at the commencement of \na game, his power increases towards the latter end. The opposing \nkings can never get nearer to each other tlian the distance of a \nknight\'s move. \n\nThe QUEEN is the most powerful and valuable of all pieces, being \nworth twelve pawns, or three minor pieces, at the beginning of a \ngame, but as towards the end, the power of the other pieces rises, her \nimportance is then somewhat dimmed. The queen may move in any \ndirection, backwards, forwards, diagonally, and sideways, and over \nas many squares as chance to be uninterrupted. \n\nThe ROOK or castle is next in value to the queen. It is equal to \nfive pawns, or a bishop and two pawns, and is the only piece which \nkeeps its full value as it approaches the side of the board. The \nrook and queen are the only pieces which can singly give check- \nmate. The moves of the rook are straight forwards, backwards, \nor across, but never in the diagonals, and it may move over any \nnumber of squares to take a piece, provided nothing interrupts it. \n\nThe BISHOP is worth about three pawns and a half, but the king\'s \nbishop is of more value than the queen\'s, inasmuch as he can check \nthe opposing king on his own square, or after he has castled. To- \nwards the end of a game, two bishops are more powerful than \ntwo knights, as they can checkmate, which the knights cannot, \nthough one bishop is not so strong as one knight ; during the \nprogress of a game, however, the knights are more useful. The \nbishop moves only diagonally, and therefore never leaves the \ncolour he is first placed upon, as a glance at the board will show. \nEach player has a bishop on a white diagonal, and one on a black. \n\nThe KNIGHT is of equal value with the bishop. His erratic \nmoves are very peculiar, as he moves one square diagonally, and \nthen one forwards, to a square of a different colour to that from \nwhich he started. The knight is the only piece which can play \nover any piece or pawn, and the nearer he is to the centre of the \nboard, the more useful and powerful he becomes. A white knight \nput on the white king\'s fourth square, commands eight squares, as \nfollows : \xe2\x80\x94 Q. 2nd square ; Q. Bp. 3rd square ; Q. B. 4th square ; \nQ. 6th square ; K. B. 6th square ; K. Kt. 5th square ; K. Kt. 3rd \nsquare ; and K. B. 2nd square. As may be imagined, the knight \ncan move in every direction, either backwards, or forwards, or side- \nways. \n\nThe PAWN is the lowest of all in value, as it can only attack two \npoints at a time, and but one if on the files at the edge of the board. \nIts move is straight forward, one square at a time, and thence it \n\n\n\nCHESS. 17 \n\nnever deviates from the file on which it is first planted, unless it \ncaptures a piece, in which case it moves diagonally, similar to the \nbishops, but limited to the adjoining front row of squares. At the \nfirst move, the pawn may be played two squares. When a pawn \ni-eaches the eighth row of squares on the board, it attains the power \nof queen, and may be exchanged for any piece the player pleases. \nThe centre pawns are more valuable than the side ones, but they \nseldom reach the queenly power, on account of their exposure to \nattacks. The pawn cannot move backward, and is the only piece so \nlimited in its power. \n\nLAWS OF CHESS. \n\n1. The chess-board must be so placed, that each player has a white \ncorner square on his right hand. If wrongly placed, and four moves \non each side have not been played, either party may insist upon re- \ncommencing the game. \n\n2. If any of the pieces be played upon wrong squares, or any of \nthem omitted to be placed, the error may be amended, provided four \nmoves on each side have not been played. \n\n3. If you undertake to give odds, and neglect to remove the piece \nor pawn you purpose giving from the board, you may take it oif ere \nfour moves are played. However, if the fault is not rectified in time, \nyou must play the game out, and if you give checkmate, the game \ncan be accounted only as drawn. \n\n4. If no odds are given, lots must be drawn for first move ; after \nthe first game the moves are taken alternately. Drawn games not \nbeing reckoned as games, the player who began the drawn game, \ntherefore, begins the next. If you give odds, you may take which \ncoloured men you like, but in playing even, lots should be drawn for \nchoice of men. \n\n5. The player giving the odds of a piece, may give it from what side \nhe pleases, though if a pawn is given, it is the king\'s bishop\'s pawn, \nand he has a right to take the first move. \n\n6. If a player touches a man, when it is his turn to move, he \nmust play it, unless at the instant he says ^ \' J\' adoube," a, French \nphrase, signifying, I arrange or replace ; but should a piece by \nchance be overturned or displaced, the party to whom it belongs may \nreplace it. \n\n7. If a player touches one of his antagonist\'s men without sajring \n" J\'adouhe," he must take that piece, if possible, or play his king, \nat the option of his opponent. But if the piece cannot be taken, \nnor the king moved without his going into check, then no penalty \ncan be exacted. \n\n8. So long as a player holds the man which he has touched, he \nmay play him where he pleases ; but the instant he quits his hold, he \ncompletes the move, and cannot recal it. \n\n9. If a player moves a piece belonging to his opponent, he may bo \n\n\n\n18 CHESS. \n\ncompelled to take it, if it can be taken, to replace it and move his \nking, or else to leave it where he played it. \n\n10. If a player captures one of his opponent\'s pieces with one. of \nhis own that cannot take it, without committing a false move, his \nopponent may insist either upon his taking such piece with one \nwhich can legally take it, or to play the piece he touched. \n\n11. If a player takes one of his own pieces with another, his op- \nponent may insist upon his moving either of them. \n\n12. If a player makes a false move, such as giving the queen the \nmove of a knight, &c., his antagonist may compel him either to \nlet the piece remain where he played it, to put it in its right move, \nor to replace it where it originally stood, and then to play the king \ninstead. \n\n13. If a player moves twice in succession, the opposing party may \nif he chooses, insist upon the second move remaining. \n\n14. A pawn advancing two squares, may be captured by one of the \nopposite pawns " en passant ." \n\n15. The king may not be castled, if he has been moved, or if he \nis in check, or if, when castling, either of the squares he must go \nupon be in check, or if the rook with which he endeavours to castle, \nhas been moved. If, however, a player castles in any of these \ncases, it is at his antagonist\'s option to allow the move to remain, \nor the pieces to be replaced, or insist upon his playing his king or \nrook. A piece cannot be taken when castling. A player giving the \nodds of the rook may castle on that side, as if the rook were on the \nboard. \n\n16. If a player touches a piece or pawn, which he cannot move \nwithout leaving his king in check, his opponent may request him to \nmove the king ; if the king, however, cannot be moved, the mistake \noccasions no penalty. \n\n17. If a player gives check, and fails to warn his adversary of it \nby saying "check," his opponent is not obliged to notice it, but may \ngo on without paying attention to the check. If, after one or more \nmoves, the king should be stiU in check, and the error is then dis- \ncovered, the whole of the subsequent moves must be put back, and \nthe king moved out of check, or a piece interposed. \n\n18. If a player finds that his king is in check, and that it has been \nso during two or more moves, without his knowing how it ori- \nginated, he must recal his last move, and liberate his king. But \nif it is found out how the check occurred, then all the moves made \nafter the check happened, should be recalled, and the check at- \ntended to. \n\n19. If a player says \'^ check T loithout giving chech in reality, and \nif it is his opponent, through that saying, has moved his king or any \nother piece, he may loithdraio his last move, provided he finds that \nMs king is not in check previous to his antagonist\'s moving. \n\n\n\nCHESS. \n\n\n\n19 \n\n\n\n20. If a pawn reaches its eighth square, or the opposite end of \nthe board, it may be replaced by a a queen, rook, or any other piece \nthe player chooses ; this law holds good if the player has not lost a \npiece, so that he may have two queens, three rooks, &c., on the board \nat once. \n\n21. If a player towards the finish of a game possesses a superiority \nof numbers, he must give checkmate in fifty moves, or the game \nis reckoned drawn ; as, for instance, if he has a king, a bishop, \nand a knight, opposed to a king only, he should checkmate in \n, fifty moves on each side at most, to commence from the time his \nantagonist gives him notice, otherwise he must sufi\'er it to be a \ndrawn game. If a player agrees to check with a, particular piece or \n\xe2\x80\x9epaivn, or on a particular square, or engages to maJce his adversary \n[chechmate or stalemate him, he is not restricted to any number of \nmoves. \n\n22. Stalemate is a drawn game. \n\n23. No penalty can be inflicted upon an adversary for making false \nmoves, unless you take notice of such mistakes before you move or \ntouch a piece. \n\n24. Disputes upon situations respecting which there is no law, \nsliould be referred to a third party, whose decision must be esteemed \nconclusive and without appeal. \n\nTECHNICAL TERMS USED IN CHESS. \n\nCastling is a movement of the king and either of the rooks, \nwhich can be made only once in a game by each party, under cer- \ntain limitations. This move is thus performed : \xe2\x80\x94 In castling with \nthe king\'s rook, place the king upon the king\'s knight\'s square, and \nthe king\'s rook on the king\'s bishop\'s square ; and when castling \nwith the queen\'s rook, play the king to the queen\'s bishop\'s square, \nand the queen\'s rook to the queen\'s square. In either case the king \npasses over two squares, and the rook is brought over and posited on \nthe adjoining square. \n\nCheck. \xe2\x80\x94 "When the king is attacked he is in check, that is, when \nhe is in such a position, that, were he any other piece, he would be \ntaken. But as a king at chess can never be taken, he is said to be \nin checJc. There are three sorts of checks, a simple check, a double \ncheck, and a check by discovery. The first is when the king is at- \ntacked by the piece that is moved. The second is when two pieces \ngive check at once; and the third takes place when, from the \nmoving a piece away, a check is open from another piece ; for in- \nstance, put your king on his own square, and your opponent\'s queen \non her king\'s second square ; lot there be no other piece on the \nsquares on that file, and place your opponent\'s queen\'s bishop on his \nking\'s third square ; you will then readily perceive that this bishop \nhinders his queen from checking you, but when he moves his \nbishop to another square, he discovers checJc from the queen. A \n\nC 2 \n\n\n\nCHESS. \n\n\n\ncheck can be done away with only by moving the king, or inter- \nposing a piece between, or else by taking the piece which gives the \ncheck. \n\nPerpetual check is a continual alternation of checks, in which \nthe king avoids one only to fall into another. Suppose the men are \nthus posited \xe2\x80\x94 \n\nBLACK. WHITE. \n\nK. at K. Kt. sq. K. at K. E. sq. \n\nP. at K. Kt\'s. 2nd sq. Q. at K. sq. \n\nQ. at her R. 7th sq. \nQ. E. at his 6th sq. \n\nThe white having the move, can draw the game, checking at the op- \nposing king\'s square, and again at the adverse king\'s castle\'s fourth \nsquare, and back again at adverse\'s king\'s square, and so on ad \ninf \n\n\n\nCheckmate. \xe2\x80\x94 The king is said to be checkmated when he can \nneither move out of check, capture the piece which checks, or inter- \npose any piece to protect himself. The player checkmated, of course, \nloses the game. \n\nThe annexed diagram* shows \na position of the pieces in which, \nat th\xc2\xab Ltrti move, the king will \nbe checkmated, and this move \nmust be the queen to her fifth \nsquare. The king cannot take \nher, as the pawn would then \ncapture him; nor can the bishop \ntake the queen, as the white \nking\'s rook might take the king ; \nnor could the rook take the \nqueen, as the white queen\'s rook \nwould carry off the king, so that \nall the squares being guarded, he \nis, of course, checkmated. \n\nStalemate. \xe2\x80\x94 A king is stalemated when all the men of the set to \nwhich he belongs are either off the board, or so opposed that they \ncannot move, and he himself in such a situation that, though not \nactually in check, he cannot move without going into check. Stale- \nmate is a drawn game. \n\nFool\'s mate. \xe2\x80\x94 This checkmate happens to beginners, and is the \nshortest which can possibly occur, being given in two moves, thus : \xe2\x80\x94 \n\n\n\n\n\n\n\n\n\nBHIH \xe2\x96\xa0\xe2\x96\xa0 \n\n\n\n\n\xe2\x96\xa0 \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n1 \n\n\n\n\n\n\n\n\n\n\n\n\n\n\na \n\n\n\n\n\n\n\nBLACK. \n\n\n\nWHITE. \n\n\n\n1 K. B. P. one square. 1 K. P. two squares. \n\n2 K. Kt. P. two squares. 2 Q. to K. E. fifth square, checkmating. \n\n\n\nFrom Lewis. \n\n\n\nCHESS. 21 \n\nScholar\'s mate also occurs to beginners, and is thus played : \xe2\x80\x94 \n\nWHITE. BLACK. \n\n1 K. p. two squares. K, P. two squares. \n\n2 K. B. to Q. B. fourth square. K. B. to Q. B. fourth square. \n\n3 Q. to K. E,. fifth square. Q. P. one square. \n\n4 Q. takes K. B. P. and checkmates. \n\nDoubled pawn is a pawn which has passed from its original file \nto another, through capturing an opposing piece, and which, conse- \nquently, stands on the same file as another of its own colour. \n\nPassed pawn. \xe2\x80\x94 A pawn is said to be passed when there is no \nopposing power to hinder its progress to the queenly dignity. \n\nTo QUEEN A PAWN, QUEEN THE PAWN, OB THE PAWN GOES TO \n\nQUEEN. These terms are applied to a pawn which has reached the \nlast row of squares, and for which yoii may demand a queen. \n\nMinor piece is applied to the bishops and knights. \n\nJ\'adoube is a French phrase, denoting " I replace," or " I \nadjust." \n\nEn passant. \xe2\x80\x94 Taking " en passant" is when at the pawn\'s first \nstarting it is played two squares at once, and passes over a square \nthreatened by a pawn of your adversary\'s, who has the privilege of \ntaking it, as if it had only moved one square ; thus : \xe2\x80\x94 If you have a \npawn on your king\'s second square, and your opponent has a black \npawn on his queen\'s fifth square, and another pawn on his king\'s \nbishop\'s fifth square, and you play your pawn one square, he can \ntake it with either of his pawns, and if you move your opponent two \nsquares, your opponent may take it as if it had moved only one \nsquare, inasmuch as it passes over a square, the white king\'s third, \nwhich is commanded by one of his pawns. \n\nTo gain THE EXCHANGE. \xe2\x80\x94 If a player gains a rook for a minor \npiece, he is considered to have gained the exchange. \n\nDrawn game happens when neither player can give checkmate, \nand which may occur in several ways, thus \xe2\x80\x94 When there are not \nmen enough on the board ; when both players continue making the \nsame moves ; when there are enough men on the board, but the players \nknow not how to checkmate in fifty moves ; when perpetual check is \nmaintained on the antagonist king; when each party has a small \nand equal number of powerful pieces ; and when either king is \nstalemated. \n\nEn prise. \xe2\x80\x94 A piece or pawn which can be taken by another is \ntermed " en prise" of that piece, unless it is moved. \n\nGambit is an opening, in which the bishop\'s pawn is given up for \nan attacking position. As we give examples of several gambits in \nthe next section, that upon " Opening the game," we refer our \nreaders to them for further elucidation. \n\n\n\n22 CHESS. \n\nOPENING THE GAME. \n\nThere are several methods of beginning a game at chess, the most \nusual of which are as follows :* \n\n1. The king\'s bishop\'s opening. \xe2\x80\x94 In this game each player \ncommences by moving his Icing\'s pawn two sqtcares ; the first player \nnext moves his Icing\'s bishop to queen\'s bishop\'s fourth square, and \nhis opponent makes the same move. \n\n2. The king\'s knight\'s opening. \xe2\x80\x94 Each player in this opening \nmoves his king\'s pawn two squares, and the first player next moves \nhis king\'s knight to king\'s bishop\'s third square. \n\n3. Queen\'s bishop\'s pawn\'s opening. \xe2\x80\x94 In this, each player \nmoves his king\'s pawn two squares, and the first player shifts his \nqueen\'s bishop\'s pawn one square. \n\n4. King\'s gambit. \xe2\x80\x94 After each player has moved his Tcing\'\'s pawn \ntwo squares, the fii\'st player moves his king\'s bishop\'s pawn two \nsquares. \n\n5. Queen\'s gambit. \xe2\x80\x94 Each player moves his queen\'s pawn two \nsquares, and the first player then moves his queen\'s bishop\'s pawn \ntwo squares. \n\n6. The muzio gambit is a very brilliant opening, and is made by \nsacrificing a knight, thus : \xe2\x80\x94 \n\nBLACK. white. \n\n1 K. P. two squares. 1 K. P. two squares. \n\n2 K. B. P. two squares. 2 P. takes P. \n\n3 K. Kt. to K. Bp. third square. 3 K. Kt. P. two squares. \n\n4 K. B. to Q. B. fourth square. 4 K. Kt. P. one square. \n\n5 Castles. 5 K. Kt. P. takes Kt. \n\n7. The bishop\'s gambit is a difficult but interesting game, and \ndiffers from the foregoing gambits on the thii\'d move : \n\nwhite. black. \n\n1 K. P. two squares. 1 The same. \n\n2 K. B. P. two squares. 2 P. takes P. \n\n3 K. B. to Q. B. fourth square. 3 Q. checks. \n\n8. The salvio gambit is a variation from the king\'s gambit, and \nthus played. \n\nwhite. black. \n\n1 K. P. two squares. 1 K. P. two squares. \n\n2 K. B. P. two squares. 2 P. takes P. \n\n3 K. Kt. to B. third square, 3 K. Kt. P. two squares. \n\n4 K. B. to Q. B. fourth square. 4 K. Kt. P. one square. \n\n5 K. Kt. to K. fifth square. 5 Q. checks. \n\n6 K. to B. square. 6 K. Kt. to K. B. third sq. \n\n* Lewis. \n\n\n\nCHESS. \n\n\n\n23 \n\n\n\nTli\xe2\x82\xacre are many other openings and gambits in use at the com- \nmencements of games, but the foregoing are the most generally fol- \nlowed, and will be found sufficient for the first attempts ; we, there- \nfore, proceed to the \n\n\n\nGAMES FOR PKACTICE. \n\n\n\nGame I. From Lewis. \n\n\n\nWhite \n\n1 K. P. two squares. \n\n2 K. B. P. two squares. \n\n3 K. Kt. to K. B. Srd^square. \n\n4 K. B. to Q. B. 4th square. \n\n5 K. Kt. takes K, Kt. P. \n\n6 Q. checks. \n\n7 Q. to K. B. 7th sq. checking. \n\n8 Q. to her 5th sq. checking. \n\n\n\n9 Q. to Ko 5th square checkmating. \n\n\n\nBlack. \n\n1 K. P. two squares. \n\n2 P. takes P. \n\n3 K. Kt. P. two squares. \n\n4 K. B. P. one square. \n\n5 P. takes K. \n\n6 K. to his 2nd square. \n\n7 K. to \'Q. 3rd square. \n\n8 K. to his 2nd square. \n\n\n\nGame IL From Greco. \n\n\n\nWHITE. \n\n1 K. P. two squares. \n\n2 K. Kt. to B. third. \n\n3 K. B. to Q. B. fourth. \n\n4 Q. B. P. one square. \n\n5 Q. P. two squares. \n\n6 P. takes P. \n\n7 Q. Kt. to B. third. \n\n8 Castles. \n\n9 P. takes Kt. \n\n10 Q. to Q. Kt. third. \n\n11 K. B. takes checking. \n\n12 Q. B. attacks Q.- \n\n13 K. Kt. to K. fifth. \n\n14 K.B. to KKt. sixth. \n\n15 Q. to K.B. 3rd checking. \n\n16 K. B. takes B. \n\n17 K. B. to K. sixth dis. chedk:. \n\n18 B. takes B. \n\n19 Q. takes P. checks and mates \n\n\n\nBLACK. \n\n1 K. p. two squares. \n\n2 Q. Kt. to B. third. \n\n3 K. B. to Q. B. fourth. \n\n4 K. Kt. to B. third. \n\n5 P. takes P. \n\n6 K. B. checks. \n\n7 Kt. takes K. P. \n\n8 Kt. takes Kt. \n\n9 B. takes P. \n\n10 B. takes R. \n\n11 K. to B. square. \n\n12 Q. Kt. to K. second. \n\n13 K. B. takes pawn. \n\n14 Q. P. two squares. \n\n15 Q. B. covers. \n\n16 B. takes Kt. \n\n17 K. B. to B. third. \n\n18 P. takes B. \nnext move. \n\n\n\nGame III. From Cazenove. \n\n\n\nWHITE. \n\n1 K. P. two squares. \n\n2 K. B. to Q, B. fourth. \n\n3 Q. to K. second. \n\n4 Q. B. P. one square. \n\n5 K. B. P. two squares. \n\n6 K. B. P. advances. \n\n\n\nBLACK. \n\n1 K. p. two squares. \n\n2 Q. B. P. one sqxiare. \n\n3 Q. to Q,. B. second. \n\n4 K. Kt. to B. third. \n\n5 Q. P. one square. \n\n6 Q. P. advances. \n\n\n\n24 \n\n\n\nCHESS. \n\n\n\n7 K. P. takes P. \n\n8 B. checks. \n\n9 B. takes B. \n\n10 Q. P. two squares. \nUK. Kt. to E. third. \n\n12 Castles. \n\n13 K. Kt. to B. fourth. \n\n14 Q. to K. B. second. \n\n15 Q. to K. second. \n\n16 Kt. takes Q. P. \n\n17 K. to comer. \n\n18 Q. takes K. P. \n\n19 Q. to K.B. third. \n\n20 Q. B. to K. Kt. fifth. \n\n21 B. to Q. second. \n\n22 Q. Kt. to JR. third. \n\n23 Q. Kt. to Q. B. fourth. \n\n24 Q. Kt. to R. fifth. \n\n25 Q. B. P. one square. \n\n26 K. Kt. to Q. Kt.sixth check. \n\n27 Q. takes Q. Kt. P. checkmate \n\n\n\n7 Q. B. P. takes P. \n\n8 Q. B. covers. \n\n9 Q. Kt. takes B. \n\n10 K. P. advances. \n\n11 Castles. \n\n12 K. B. to Q. third. \n\n13 K. P. P. one square. \n\n14 Q. Kt. to K. Kt. fifth. \n\n15 K. P. P. one squai\'e. \n\n16 B. takes R. P. checking. \n\n17 Q. to Q. third. \n\n18 K. P. to K. square. \n\n19 K. Kt. P. one square. \n\n20 K. B. P. one square. \n\n21 K. Kt. P. one square. \n\n22 Q. P. P, one square. \n\n23 Q. to Q. B. third. \n\n24 Q. to Q. Kt. fourth. \n\n25 Q. to Q. B. fifth. \n\n26 Kt. takes Kt. \n\n\n\nGame IV. Peom Lewis. \n\n\n\nWHITE. \n\n1 K. P. two squares. \n\n2 K. B. to Q. B. fourth. \n\n3 Q. B. P. one square. \n\n4 B. takes P. \n\n5 Q. to Q. Kt. third. \n\n6 B. takes Q. K. P \n\n7 Q takes B. \n\n8 Q takes E. \n\n9 Q. to Q. Kt. seventh. \n\n10 Kt. covers check. \n\n11 K. E. to B. square. \n\n12 Q. P. one square. \n\n13 K. Kt. to Kt. third. \n\n14 Kt. to K. fourth. \n\n15 Q. to Q. Kt. third. \n\n16 K. moves. \n\n17 P. takes K. \n\n18 K. moves. \n\n\n\nBLACK. \n\n1 The same, \n\n2 The same. \n\n3 Q. P. two squares. \n\n4 K. Kt. to B. third. \n\n5 Castles. \n\n6 Q. B. takes B. \n\n7 Q. to Q. sixth. \n\n8 Q. B. P. one square. \n\n9 Q. takes K. P. checkino- \n10 Q. takes K. Kt. P. \nUK. Kt. to Kt. fifth. \n\n12 Kt. takes E. P. \n\n13 Kt. takes E. \n\n14 Q. to K. Kt. eighth. \n\n15 Kt. to K. Kt. 6th disco, eh. \n\n16 Kt. takes Kt. checking. \n\n17 E. checks. \n\n18 Q. checkmates. \n\n\n\nr.Jl^ TT^^"^ problems of checkmates we give for the young chess- \nf^Z^TX^t:^ ^\'\'\'\'\'\'\' \'\' \'\'\'\'^\'\' withholdingtheLplaiations \n\n\n\nCHESS. \n\n\n\n25 \n\n\n\n,.\xe2\x96\xa0 \xe2\x96\xa0 III mi \n\n\n\xe2\x96\xa0fWWl \n\n\nllliiliBiM \n\n\nIIHIjjj^^ \n\n\n\n\nIBil \xc2\xab. Ill nil \n\n\n\nGENEEAL OBSEKVATIONS. \n\n\n\nAs we have now treated upon the various laws and rules of chess \nto the utmost extent of our limits, we proceed to offer a few hints \nupon the caiTying on a game, for the still further edification of our \nreaders. \n\nEvery move in chess requiring the utmost circumspection, it is \nproper to form a slight plan of action ere commencing, and to take \ncare that each piece has its object, and that each move made is a \nstep towards its accomplishment. Protect every piece as much as pos- \nsible, so that if your opponent manages to gain one, it shall be to his \nown loss. The least important pieces should be first brought into \naction, for by so doing room is afforded for the chiefs to advance \nwhen opportunities occur. If the dignified pieces are brought into \nrequisition at the commencement they are liable to be attacked by \nthe opposite pawns, and of being either swept off the board, or com- \npelled to retire to disadvantageous situations. Avoid crowding your \nown men together, so as to prevent your pieces from acting so freely \nas they should do, but check your adversary\'s play as soon as you \ncan, by opposing his pieces, when he plays them forwards, with \nyour pawns, so as to crowd his play and make him lose moves. \nBefore making a move, carefully observe the positions of the men, \nso as to see, if possible, three or four moves beforehand, and \nnarrowly examine whether any of your pieces are threatened by \nyour antagonist\'s moves. Have your men always so arranged that \nyou may in an instant correct any defective move, either to remedy \nit if unlucky, or support it if it should chance to prove serviceable. \n\nNever let your queen stand in such a manner before your king \nthat your opponent, by advancing a rook or a bishop, might put \nyour king in check, as you might lose her without any chance of \nredemption. If your king is in stalemate, and the game is against \nyou, so that you have only your queen in play, your best plan will \nbe to keep checking your antagonist\'s king, avoiding doing so when \nhe can employ any of his pieces to make himself stale, as you ulti- \n\n\n\n26 CHESS. \n\nmately compel Lim to take your queen, and conquer by being stale- \nmate. Always guard, if possible, a piece with one of less value than \nitself, and take especial care to protect a pawn with a pawn, and not \nwith a superior piece. \n\nNever move a man or make an attack unless you can second your \nattempt by bringing up another piece. Never give check unless you \ncan gain some point, as by checking needlessly you may lose a move, \nif your antagonist is able to take your piece, or else be compelled to \nretire ; and perhaps by such a movement your adversary\'s tanks may \nbe opened, so that all his force may be brought against you. If one \nof your opponent\'s pieces is unguarded, examine it closely, to see \nwhether it is left so purposely or from accident, for you may lose \nyour game by taking such a stray piece \xe2\x80\x94 nay, you may be check- \nmated even through taking a queen. A far-advanced pawn should \nbe well seconded, as it may be useful in a checkmate, and ultimately \nmake a queen. \n\nWhen each party, towards the end of the game, has only three or \nfour pawns on the opposite sides of the board, to decide the game \nit will be necessary to bring the kings into action to gain the move ; \nthus, if you oppose your king to your antagonist\'s, and there is but \none move between them, you gain the move, and win the game. \nAvoid crowding your pieces round your opponent\'s king, so as to \nhinder him from making a move, as you may lose the game by \nmaking him stalemate. If you find it impossible to guard a point \nsufficiently, distract your opponent\'s attention by attacking him in \na weak point. Never let an opposing knight, especially if well sup- \nported, check your king and queen, or your rook and king, or both \nyour rooks, or your queen and rook, at the same instant, for in the \nformer cases, as the king must necessarily be moved out of check, \nthe queen or the rook must be lost ; and in the two latter cases a \nrook must be sacrificed for an inferior piece. If, during a game, you \nfind, upon mature reflection, that you may break your adversary\'s \ndefence by risking the loss of a few of your own pieces, hazard them \ncheerfully, and proceed steadily on, sacrificing everything to the end \nto be attained. But before trying such movements, you must take \nespecial notice of the positions of your adversary\'s men, and form a \ndecided plan of movement, from which, when once you have formed \nit, you must not deviate to take any pieces which may be thrown in \nyour way to mislead you. \n\nCONCLUSION. \n\nAlthough we have endeavoured to render this little treatise as \nexplicit and complete as possible, yet we are sensible that some few \nmatters have been too slightly touched upon to afford that explana- \ntion which they require ; we feel, therefore, that we cannot do better \nthan direct the attention of such of our readers as may wish to be \nthorough proficients in the noble game of chess, to study two or \nthree most interesting works by Mr. Lewis, called " Chess for Be- \nginners," and " First and Second Series of Lessons on Chess." "A. \n\n\n\nMOESICE. \n\n\n\n27 \n\n\n\nnew Treatise on the Game of Chess," and " Chess Made Easy," by \nMr. George Walker, are very excellent ; and a little manual called \n*\' A New Guide to Chess," contains much information, at a very \nmoderate price. \n\n\n\nMORRICE. \n\n\n\nMoEEiCE ought certainly to find a place among games of skill, \nalthough it ranks far below chess or draughts. The morrice board \nshown in the annexed engraving \nm^y be constructed either of \nwood or pasteboard. The men \nmay be ordinary draughtmen, \nand in playing the game nine of \neach colour are required. The \nplayers place their men on the \nboard one at >a time, and when \nthey have played them all they \nmove them along the lines on the \nboard one space at a time. The \nillustration shows a game com- \nmenced, black having played \nfirst, the figures indicate the \norder in which the men were put \ndown by the two players. In placing the men on the board, and in \nmoving them about when they have all been put down, each player \nendeavours to get three of his colour in a straight line, as he is then \nentitled to remove one of his opponent\'s men from the board. In \nthe game we have illustrated, black, by his fifth move, forms the first \nrow of three, and he may take off a white man before his opponent \nplays. He would, as a matter of course, take off either the third or \nfourth white man to prevent his opponent forming a complete row. \nThe game continues until one of the players has forfeited all his men \nbut two, when he loses the game, as it is impossible for him to gain \na row, while his adversary having three or more men may do so \n\n\n\n\n28 \n\n\n\nFOX AND GEESE. \n\n\n\n\nFifteen ordinary draughtmen compose the flock of geese. The \nfox may either be two (fi-aughtmen placed one upon another, or any \nsmall object which may be at hand. \nThe game is played on a board marked, \nas shown in the annexed engraving. \nThe fox is placed in the middle of the \nboard, and the geese on the points on \none side of it, as shown in the illus- \ntration. The game is to confine the \nfox to some spot on the board, so that \nthere shall be either the edge of the \nboard or else two rows of men round \nhim. When the fox cannot escape the \ngame is done, and the player of the \ngeese wins, but when one of the geese \nis left on a point next to that occupied by the fox, and is not sup- \nported by another goose behind, or by the edge of the board, the fox \ncan take it, and by jumping over its head to the next space, he may, \nperhaps, escape the persecutions of some of the others, as all the \ngeese are compelled to move forwards towards the end of the board \nthat was unoccupied at the commencement of the game. The fox is \nallowed to move either backwards or forwards. Neither fox nor \ngoose must be moved more than one space at a time. If the fox \nneglects to take when he has a chance he is huffed, and one of the \ncaptured geese is restored to the back of the board. The fox should \navoid getting into the lower square of the board if possible, as he \nwill find it dijB&cult to extricate himself from a position which can be \nso easily blockaded. \n\nPox and geese may be played on an ordinary draughtboard, but \nthe flock of geese must be reduced in number to four. The fox has \nall the privileges of a king in draughts ; that is to say, he may move \neither forwards or backwards. His position at the opening of the \ngame is on one of the four white squares next to his player. The \nfour geese can only move forward like ordinary draughtsmen, and \nthey are placed on the four white squares on their player\'s side of \nthe board. The game is similar to that played on the cross- shaped \nboard. The player of the geese endeavours to block the fox up in \na corner ; and the player of the fox tries to push his piece through \nthe line of geese, and so place him beyond the reach of further per- \nsecutions. The fox can jump over the head of any goose that is not \nsupported by another, o-r by the edge of the board. \n\n\n\n29 \n\n\n\n\nAs the multifarious performances of the \n\n" Nimble jugglers, that deceive the eye," \n\nhave in all ages been especial favourites of the people, we cannot do \nbetter than prelude our conjuring tricks with a brief notice of the \nearly history of the deceptive art. \n\nThe origin of legerdemain is lost in its great antiquity, for it would \nbe an utterly hopeless task to endeavour to find out at what precise \nperiod men began to deceive their fellow men by sleights of hand, \nand other specious trickery. Amongst the eaiiy Egyptians, some \ntricks were practised similar to what are displayed in the present \nday, such as casting up knives and balls alternately, and the cheat- \ning trick known by the name of the ** thimble rig," Sleight of hand \ntricks, fire eating, balancing poles upon the forehead, learned pigs, \ntaking up red hot iron, with tumbling, and many other exploits of \nthe same kind, are of classical antiquity ; and it would seem, from \nthe accounts still remaining, that the ancient jugglers were no mean \nproficients in the art they professed. \n\nDuring the Anglo-Saxon period of English history, Gleemen or \nHarpers practised legerdemain and other deceptions, and their merry- \ntricks made them especial favourites, not only with the poorer \nclasses, but in the haHs of the great, and in the royal courts. \nThey not only singly displayed their tricks, but often associated \nthemselves in companies, so as to add to the interest and complexity \nof their feats and shows, by the aid of skilful confederacy. They \nalso taught animals to perform various whimsical evolutions, and to \ntumble. \n\nSoon after the Conquest, the Gleemen lost their Saxon appellation, \nand were called Ministraulx, or Minstrels, and their art was divided \ninto several branches, one of which included all such men as prac- \ntised sleights of hand, tumbling, balancing, grotesque dancing, and \nteaching horses, bears, dogs, and monkeys to dance, and who were \ncalled Joculators, Jongleurs, or Jugglers. In the fourteenth cen \xe2\x80\xa2 \n\n\n\n30 CONJUSING. \n\ntury, the Jugglers appear to have been separated from the musical \npoets or true minstrels ; and they were at that time frequently \ntermed tregetours, or tragetours ; an appellation supposed to have \nbeen bestowed upon them from their making use of a trebuchet or \ntrap-door, when showing their tricks upon a scaffold or stage. In \naddition to the various feats we have mentioned as being performed \nby these men, there are others described by old authors which \nshow that they employed machinery of various kinds to produce \nmagical appearances, or effects of enchantment ; and if we may rely \nupon the accounts of their skill, they must certainly have been most \nadmirable deceivers. Indeed, they were often ranked with \' \' witches, \nsorcerers, and magicians," and the tricks they performed were ima- \ngined to be mainly produced by the agency of Satan ; and if we \nreflect upon the startling appearances which can be produced by \nmeans of such an instrument as the magic lantern, aided by a skilful \nconfederate and well- arranged place in which the scenes are dis- \nplayed, we shall cease to wonder that multitudes of the people who \nwere ignorant, not of natural philosophy only, but of the simplest \nrudiments of learning, should have considered that some other than \nmere human skill must be engaged in producing such astonishing \neffects. \n\nIn the fourteenth century, the jugglers appear to have been in \ntheir greatest popularity, but, by degrees, they lost the protection \nof the wealthy, and fell in the estimation of the people ; and, in \nthe time of Queen Elizabeth, were in so great disrepute as to be \nclassed by the moral writers of the time amongst * \' ruffians, blas- \nphemers, thieves, and vagabonds ;" nay, they were even included \nin a vagrant act, passed in the thirty-ninth year of her reign, and \nsubjected to the same punishments as rogues and sturdy beggars. \n\nIn the seventeenth century, juggling was, though sadly shorn \nof its splendour, still exhibited with effect at country and town \nfairs and merrymakings, and that compound of cheat and juggler, \nthe mountebank, or quack doctor, blended sleights of hand with \nhis professional avocations. At the present time, the jugglers, in- \nstead of feasting and revelling in the houses of the nobility, travel \nfrom town to town to pick up a precarious subsistence, by displaying \ntheir feats in public-houses, or before miscellaneous crowds in open \nstreets \xe2\x80\x94 \n\n" To what base uses may we come at last !" \n\nSuch is a brief sketch of the history of the early professors of the \n\nART MAGIC. \n\n\n\n31 \n\n\n\nLEGEEDEMAIN AND SIMPLE DECEPTIONS. \n\n\n\n\nTHE SEH-TINEI EGO. (PAGE 35.) \n\n" Doubtless the pleasure is as great \nOf being cheated, as to cheat ; \nAs lookers on feel most delight. \nThat least perceive a juggler\'s sleight. \nAnd still the less they understand. \nThe more they admire his sleight of hand." \xe2\x80\x94 JEudihras. \n\nTheke is probably no amusement which excites more astonishment \nand interest in a youthful circle, than a series of adroitly-performed \nand humorous tricks of legerdemain or sleight of hand, and certainly \nnone more harmless. The tricks contained in this division do not \nrequire any special apparatus, and are so simple that they may be \nsuccessfully performed by any youth who will take the trouble to \npractise them. We would recommend the reader never to exhibit \nthe simplest feat before others until he has acquired the necessary \nexpertness. With these sleight of hand tricks we give a number of \njokes and catches, with which the conjuror may occasionally cause a \nhearty laugh to be raised at the expense of one of his audience. \n\nTO LIFT A BOTTLE WITH A STRAW. \n\nTake a stout, unbroken straw, bend the thickest end of it \nacute angle, and put it into a bottle, so that its bent \npart may rest against the side of the bottle as in the \nannexed figure ; then take hold of the other end of \nit, and if you have managed the trick properly, you \nwill be able to lift up the bottle without breaking the \nstraw, and the nearer the angular part of the latter \ncomes to that which passes out of the neck of the \nformer, the experiment will be so much the more \neasy of accomplishment. \n\n\n\ninto an \n\n\n\n\n32 CONJUEING. \n\n\n\nTHE TOBACCO PIPE JUG STAND. \n\n\n\n\nA contrivance with tobacco pipes, similar to that adopted for the \nbridge of knives, will, if properly put \ntogether, form a tolerable stand for \n-^^yj^ a jug of ale. Let the stem of \n\n-^ L12^ \xe2\x80\xa2\'^^- ^ \'\'\xc2\xae^^ upon the bowl of No, 1, \nthe stem of which must be placed \nclose to the bowl of No, 3, and the stem of the latter in like manner \nrested upon the bowl of No. 2. \n\nTO BKEAK A STICK PLACED ON TWO GLASSES. \n\nThe stick used for this trick must not be very stout, and both of \nits extremities should be tapered off to a point, and they should be \n\n_. as uniform as possible in length, in order that \n\nV|^ \\r^l its centre may be easily known. The ends of \n\n%\' W the stick must be rested on the edges of the \n\n^&-. ,.,-^ glasses, which of course should be perfectly \n\neven in height, that the stick may lie in a hori- \nzontal position without any undue inclination either to one side or \nthe other, and if a smart quick blow is then struck upon its centre, \nproportioned (as near as can be guessed), to its size, and the distance \nthe glasses are from each other, it will be broken in two without its \nsupporters being injured. \n\nTHE BOTTLE CONJUKOE. \n\nYou must preface this trick by declaring to the company that it \nwas formerly supposed to be impossible to set the Thames on fire, \nand that it was demonstrated some years ago at the Hay market \nTheatre, that for a person to crawl into a quart bottle was an utter \nimpossibility, but since then the progress made in all kinds of know- \nledge has proved it is possible to set the Thames on fire, and that any \none may crawl in to a pint bottle. This statement will of course be \ndoubted, and to prove your assertion, get a pint bottle and place it in \nthe middle of the room ; then slip outside the door, and in a minute \nor two return, creeping upon all-fours, saying : " Ladies and gentle- \nmen, this is crawling in to the pint bottle !" \n\nTHE MTSTEKIOUS WAFEKS. \n\nIn the presence of your company, place on each side of a table- \nknife three wafers ; take the knife by the handle, and turn it over \nseveral times to show that the wafers are all on. Request one of the \nparty to take a wafer from one side of the blade, turn the knife over \ntwo or three times, and there will seem to be cnly two wafers on each \nside ; take off another wafer, turn the knife as before, and it will \nappear as if only one wafer was on each side ; take the third wafer off, \nand again turn the knife dexterously twice or thrice, and it will ap- \npear as if all the wafers had disappeared from each side. Next turn \nthe knife once or twice more, and three wafers will appear on each \nside, as at the first. In performing this trick, use wafers all of one \n\n\n\nCONJUKING. \n\n\n\n33 \n\n\n\nsize and colour, and always have one side of the knife uppermost, \nso that the wafers may be taken one by one from that side ; \nthree wafers will thus be left untouched on the other side, and \nafter you have made it appear that there are no wafers on either \nside, you may to all appearance show three on each. When turn- \ning the knife you must, as you lift it up, turn it completely round \nwith your finger and thumb, so as always to bring the samre side \nuppermost. \n\nADVANTAGEOUS WAGEK. \n\nRequest a lady to lend you a watch. Examine it and give a \nguess as to its value ; then oflfer to lay the owner a wager, consi- \nderably below the real value of the watch, that she will not answer \nto three questions which you will put to her consecutively, "My \nwatch." Show her the watch, and say, "What is this which I hold \nin my hand ?". she, of course, will not fail to reply, "My watch." \nNext present to her notice some other object, repeating the same \nquestion. If she names the object you present she loses the wager, \nbut if she is on her guard, and remembering her stake, she says, \n\'*My watch," she must, of course, win ; and you, therefore, to divert \nher attention, should observe to her, "You are certain to win the \nstake, but supposing I lose, what will you give me ?" and if, con- \nfident of success, she replies, for the third time, "My watch," then \ntake it, and leave her the wager agi*eed on. \n\n\n\nTHE BALANCED STICK. \n\nGet a piece of wood six inches in length, and \nabout half an inch in thickness, and near one \nend of it thrust in the blades of two pen- \nknives, in such a manner that one of them \ninclines to one side, and the second to the \nother, as dehneated in the illustration. If the \nother end of the piece of wood is then placed \non the tip of the forefinger, it will keep itself \nperfectly upright without falling, and even if \nit is inclined to one side, it will instantly re- \ncover its perpendicular position, being, in \nreality, kept in equipoise by the knives. \n\n\n\n\nTHE LITTLE TUMBLER. \n\nMake a figure of a man out of any very light \nsubstance, the pith of the elder tree for instance, \nwhich is soft, and can be easily cut into any form. \nThen provide an hemispherical base, of some \nheavy material, such as the half of a large leaden \nbullet, and take away all inequalities which may \nbe on the convex part. Fasten the figure to the \nplane surface of the bullet, and in whatever \nposition it is placed, when left to itself, it will immediately rise \nupright. \n\n\n\n\n\n34 CONJURING. \n\nTHE LITTLE BALANCER. \n\nA little figure may be made on the principles of the foregoing \ntrick, so as to balance itself very amusingly. Get a piece of wood \nabout two inches in length, cut one end of it \ninto the form of a man\'s head and shoulders, \nand let the other end taper off gradually to a \nfine point, as shown in the annexed figure. \nNext furnish the little man with wafters, \nshaped like oars, instead of arms, which wafters \nmay be somewhat more than double the length \nof his body ; insert them in his shoulders, and \nhe is complete. When you place him on the \ntip of your finger, if you have taken care to \nmake the point exactly in a line with the \ncentre of his body, and have put the wafters accurately in their \nplaces, he will preserve his balance, even if blown about, provided he \nis not blown with so much force as to drive him off his perch. This \nlittle man will cause more surprise than the previous trick, in conse- \nquence of the fine point on which he oscillates. \n\nTO FIX A COIN TO THE WALL. \n\nPrivately notch the rim of a half-crown, so that a sharp point of \nsilver may stick up ; take the coin in your hand, and having uttered \nsome cabalistic word, press it against the door or wainscot in such a \nmanner that the projecting point of silver may enter the wood, and \nthus sustain the piece. When you remove the coin take care to nip \noff the raised point, having done which you may safely challenge any \nperson present to perform the feat. \n\nEATABLE CANDLE ENDS. \n\nPare some large apples, and cut three or four pieces out of \nthem, as neatly as possible, into the shape of candle ends ; next cut \nseveral slips out of the insides of sweet almonds, and make them \nnicely round and even, to imitate the wicks of spermaceti candles ; \ninsert these wicks into your apple-candles, light them for a mo- \nment, to blacken their tips and to render the illusion more perfect, \nblow them out again, and the candles are complete. When showing \nthe trick you must light your candles (the wicks of which will readily \ntake fire), put them into your mouth, masticate and swallow them \none after the other, with all the seeming relish you can possibly \nput on. \n\nTHE ANIMATED SIXPENCE. \n\nIf you pierce a very small hole in the rim of a sixpence, and \n^.ass a long black horse hair through it, you may make it jump \nabout mysteriously, and even out of a jug. It is necessary, how- \never, to perform this trick only at night time ; and to favour the \ndeception as much as possible, a candle should be between the spec- \ntator and yourself. \n\n\n\nCONJURING. 35 \n\nTHE FLOATING BEACON. \n\nAffix a candle-end to a piece of lead, and place it very gently on \nsome water in a basin ; steady it carefully^ so that it may be fairly \nbalanced ; then light it, and if it is not disturbed it will burn to the \nend without sinking. \n\nTHE MAGIC APPLE. \n\nPass a needle and thread under the rind of a soft apple, which is \neasily done by putting the needle in again at the same hole it came \nout of, and so passing it on until you have gone right round the \napple. Then take both ends of the thread in your hands and care- \nfully pull them, so as to draw the middle portion of the thread \nthrough the apple, which will then be divided into two parts. By- \nrepeating the process you may divide the fruit into as many parts as \nyou please, without breaking the rind. The apple may be given to \nsome person to peel, and as soon as the rind is removed it will fall \nto pieces. \n\nTHE SENTINEL EGG. \n\nLay a looking-glass down on a perfectly even table ; take a fresh \negg, and shake it well for some little while, so as to mix up and \nincorporate the yolk and the white thoroughly, and with care and \nsteadiness you may then balance it on its point, and make it stand \nupright on the glass, which it is impossible to achieve when in its \nnatural state. \n\nTO MELT LEAD IN A PIECE OP PAPER. \n\nWrap a piece of paper very neatly round a bullet, and be caraful \nthat there are no wrinkles in it, but that it is everywhere in contact \nwith the bullet ; hold it over the flame of a candle, and the metal \nwill be melted without the paper being burnt ; but when once fused \nthe lead will in a short time pierce a hole in the paper and drop \nthrough it. \n\nTHE DANCING PEA. \n\nTake a piece of a tobacco pipe of about three inches in length, one \nend of which, at least, is broken off even, and with a knife or file, \nmake the hole somewhat larger, so as in fact to form a little hollow \ncup. Next get a very round pea, put it in the hollow at the end of \nthe bit of pipe, place the other end of the latter in your mouth, hold \nit there quite in a perpendicular position, by inclining your head \nback, and then blow through it very softly ; the pea will be lifted \nfrom its cup, and rise and fall according to the degree of force with \nwhich the breath is impelled through the pipe. \n\nMAGICAL CARDS. \n\nTo perform this experiment, you must observe that there are \nmany letters which may be transposed into others, without the al- \nteration being very apparent ; for instance, a may be turned into d, \nthe c into e, a, d, g, o, or q, the i into &, d, or I, the I into t, the o \nmto a, d, g, or g-, the v into y, &c. &c. Take a number of cards, \nsuppose twenty, on one of them write with sympathetic ink made of \n\nd2 \n\n\n\n36 \n\n\n\nCONJUEING. \n\n\n\nthe juice of lemons, or a solution of sal-ammoniac, the word Zavj, but \ndo not join the letters, and on another card, with the same ink, the \nwords old-iuoman ; by holding them before the fire for a short time, \nthe writing will become visible. Next alter (with the same ink) tlie \na in the word law into d, place an o before the I, and add onian after \nthe tv, and the word will thus be turned into old-iooman. Allow \nthese alterations to remain invisible, that is, do not hold the card \nbefore the fire, and then write on the other cards whatever you think \nproper. Present the cards to two persons, and contrive to force one \nto take the word law, and the other the words old-woman, and tell \nthe former that the word law shall vanish, and that words like those \nwritten on the other card be substituted for it ; to show them that \nyou will not change the cards, request each one to write his name \non the back of the card which he drew ; you then place the cards \ntogether, and hold them before the fire, as if for the purpose of drying \nthe names just written, and the action of the fire will bring out the \ndormant powers of the sympathetic ink, and the word law will be \nchanged into old-iooman, as you foretold. \n\nTO SUPPOKT A PAIL OF WATEE BY A STICK, ONLY HALF OF WHICH, \nOR LESS, BESTS UPON THE TABLE. \n\nLet A B be the top of the table, and C D the stick which is to \nsupport the bucket ; place the handle of the bucket on this stick, in \nsuch a manner that it may rest on it, \nH in an inclined position, as H I, and \n\nlet the middle of the bucket be a \nlittle within the edge of the table ; \nto keep this apparatus properly in its \nsituation, place another stick, E F \nG, with the end G resting against \nthe side of the bucket, at the bottom. \nIts middle F, resting on the oppo- \nsite top edge of the bucket, and its \nother extremity E, against the first \nstick C D, in which a notch must be cut to retain it. The bucket \nwill be thus kept in its situation, without inclining to either side ; \nand if not already full of water, may be filled with \n\n\n\n\nTO MAKE A SHILLING TURN ON ITS EDGE ON THE POINT OF A \nNEEDLE. \n\nTake a wine bottle, and insert in the neck of \nit a cork, in which you next place a needle in a \nperpendicular position. Cut a nick in the bottom \nof another cork, and fix a shilling in it, and into \nthe same cork stick two common table- forks op- \nposite to each other, with the handle inclining \ndownwards, as in the annexed engraving. If \nthe rim of the shilling is then placed upon the \npoint of the needle, it may be turned round \nwithout any risk of falling off, as the centre of \ngravity is below the centre of suspension. \n\n\n\n\n\ncoNjuRiNa. 37 \n\nTHE IMPOSSIBLE OMELET. \n\nProduce some butter, eggs, and other ingredients for making an \nomelet, together with a frying-pan, in a room where there is a fire, \nand challenge any person to cook an omelet with them. As the eggs \nhave been previously boiled very hard, the cleverest cook will be \nunable to accomplish this culinary feat. \n\nTO TURN A GOBLET OP WATER UPSIDE DOWN, AND YET KEEP \nTHE WATER IN IT. \n\nThis is an exceedingly good trick when performed adroitly. Fill a \ngoblet with water, lay a piece of paper on the top of it, and place the \npalm of j\'-our left hand fiat on the \npaper, and press it closely down ; then \ntake hold of the foot of the goblet with \nthe right hand, and invert the position \nof the glass, still pressing the paper \nclose with the left hand. Hold it in \nthis manner for a minute or two, and \nthen withdraw the left hand, when the \npaper will remain attached to the glass, \nas shown in the illustration ; for the \npressure of air underneath, acting \n\nagainst the paper with a superior weight to that of the water, is suf- \nficient to retain it in its position, and consequently sustain the water \nin the goblet. \n\nTO TAKE A SHILLING OUT OP A HANDKEECHIEP. \n\nFor this trick you must procure a curtain ring of exactly the size \nof a shilling. At first, you put the shilling into the handkerchief; \nbut when you take it out to show that there is no deception, you \nslip the ring in its stead, and while the person is eagerly holding the \nhandkerchief, and the company\'s eyes are fixed upon the form of the \nshilling you seize the opportunity of putting it away secretly. When \nthe handkerchief is returned to you again, cautiously withdraw the \ncurtain ring and show the shilling. \n\nA GOOD CATCH. \n\nThe following is a good catch ; lay a wager with a person that to \nthree observations you will put to him, he will not reply \'\' a bottle of \nwine." You then begin with some common place remark, such as, \n" We have had a fine, or wet, day to-day," as it maybe; he will \nanswer, of course, " a bottle of wine," You then make another re- \nmark of the same kind, as, "I hope we shall have as fine, or finer \nto-morrow," to which he will reply, as before, *\'a bottle of wine." \nYou must then catch him very sharply, and say, * \' Ah ! there, sir ! \nyou\'ve lost your wager ;" and the probability is, if he is not aware of \nthe trick, he will say, "Why, how can you make that out," or \nsomething similai-, forgetting that, though a strange one, it is the \nthird observation you have made. \n\n\n\n88 COKJUEING. \n\nTHE THKEE SPOONS. \n\nThis is a most excellent trick, but it requires a confederate\'s aid. \nPlace three silver spoons crosswise on the table, and request any \nperson to touch one and assure him that you will find out the one he \ntouches by a single inspection, although you will leave the room \nwhile he does so, and even if he touches it so gently as not to disar- \nrange the order in which they are once put, in the slightest degree. \nYou retire, and when he gives you notice to enter, you v/alk up to \nthe table and inspect the spoons, as if trying to ascertain whether \nthere are any finger marks upon them, and then decide. Your con- \nfederate, of course, makes some sign, previously agreed upon, to give \nyou notice which is the identical spoon ; the actions may be touching \na button of his jacket for the top spoon, touching his chin for the \nsecond, and putting his finger to his lips may signify the lowest, but \nthe precise actions are immaterial, so that the spoon they indicate is \nunderstood. \n\nbeid(Je of knives. \n\nPlace three glasses about the length of one of the knives you in- \ntend to use, distant from each other, so as to form a triangular \nfigure ; and then arrange three \nknives upon them, in the manner \nshown in the annexed illustration : \nthat is, let the blade of No. 1 pass \nover that of No. 2, and the blade \nof the latter cross over that of \nNo. 3, which in like manner must \nrest upon No. 1, they will thus sup- \nport each other, and the bridge will \nbe complete. \n\nTHE MAGIC CIRCLE. \n\nAssure the company that it is in your power, if any person will \nplace himself in the middle of the room, to make a circle round him, \nout of which, although his lirabs shall be quite at liberty, it will be \nimpossible for him to jump without partially undressing himself, let \nhim use as much exertion as he may. This statement will, without \ndoubt, cause some little surprise, and one of the party will, in all \nprobability, put your asseverations to the test. Request him to take \nhis stand in the middle of the rooms then blindfold him, button his \ncoat, and next with a piece of chalk draw a circle round his waist. \nOn withdrawing the bandage from his eyes, and showing him the \ncircle you have described, he must at once perceive that he cannot \niump out of it without taking off his coat. \n\nTHE JUGGLEE\'S JOKE. \n\nTake a little ball in each hand, and stretch your hands as far apart \nas you possibly can, one from the other ; then tell the company that \nyou will make both the balls come in whichever hand they please \n\n\n\n\nCONJUEING. 39 \n\n\xe2\x96\xa0without bringing the hands into contact with each other. If any of \nthe lookers on challenge your ability of achieving this feat, all you \nhave to do is to lay one of the balls down upon a table, turn your- \nself round, and take it up with your other hand. Both the balls \nwill thus be in one of your hands, without the latter aj^proaching \neach other, agreeably to your promise. \n\nTHE GLASS OF WINE UNDER THE HAT. \n\nPlace a glass of wine upon the table, put a hat over it, and offer \nto lay a wager with any of the company that you wUl empty the \nglass without lifting the hat. When your proposition is accepted, \ndesire the company not to touch the hat ; and then get under the \ntable and commence making a sucking noise, smacking your lips at \nintervals, as though you were swallowing the wine with infinite satis- \nfaction to yourself. After a minute or two come from under the \ntable, and address the person who took your wager with, \' \' Now, \nsir." His cru-iosity being of course excited, he will lift up the hat \nin ordsr to see whether you have really performed what you pro- \nmised, and the instant he does so, take up the glass, and after having \nswalloTved its contents, say, " You have lost, sir, for you see I have \ndrunk the wine without raising the hat." \n\n\n\nTEICKS REQUIEIIsrG SPECIAL APPAEATUS. \n\nNeaelt all those marvellous tricks performed by Houdin, Eobin, \nAnderson, and other modern professors of the magic art, require the \nmost elaborate apparatus. Boxes with false bottoms, double covers, \nand spring locks, are invaluable aids to the conjuror, as the feats he \ncan perform with them far surpass those which depend upon mere \nsleight of hand. All the apparatus required to furnish a modern \nwizard\'s temple, may be procured at the London toy- shops. The \ntricks we are now about to describe can be performed with such \napparatus as can be manufactured by the reader, or purchased for a \ntrifling sum. \n\nTHE HEN AND EGG BAG. \n\nMake a large double bag of printed calico, and near the mouth of \nthe bag, on the side next to you, form a kind of long purse between \nthe double stuff; this purse must be just large enough to hold a row \nof eggs, and must have an opening at one end of it large enough to \nlet a single egg drop through it into the bag. Have another bag so \nlike this, that one may not be known from the other, and having put \na living hen into the second bag, hang it on a hook behind the table \nat which you stand while performing your tricks. Now take your \negg- bag, and putting both your hands in it, dexterously turn it in- \nside out, saying, " Ladies and gentlemen, you see there is nothing \nin the bag." Now, turn it again, and allow one of the eggs to slip \nout of the purse * show this egg to the company, and once more turn \n\n\n\n40 \n\n\n\nCONJUEING \n\n\n\nthe bag inside out. When all the eggs contained in the purse have \nbeen taken from the bag, cleverly change the empty bag for the one \nin which the hen is imprisoned. The sudden production of the \nliving bird never fails to excite the greatest astonishment. This is \nan excellent trick when adroitly performed. \n\n\n\nAMPUTATION EXTEAOEDINART. \n\nTo perform this feat you must be provided with two knives, one \nof which must have a small semicircular piece cut out of the blade. \nHaving shown the company the real knife, you quickly change it for \nthe one with the gap in it, which you place across your nose in such \na manner that your principal feature may appear to be half cut olf. \nWhen you remove the knife be careful to cover the gap with your \nfingers, and lose no time in changing it for the knife with the entire \nblade. This feat may be made more horrifying by squeezing a ;3mall \nsponge soaked in red wine over the imaginary wound. \n\nTHE GLOBE BOX. \n\nThis trick is a very ex- \ncellent one. It is per- \nformed with a boK made \nof eight pieces, and a ball \nof ivory or wood. The \nball serves to deceive the \nspectators, and tlie trick \nshould be prefaced by \nthrowing it down upon \nthe table, for the company \nto examine, and see that \nit is perfectly solid. Then \nput the ball in the box, and close it up, with all the pieces one within \nthe other ; take off the upper shell with your forefinger and thumb, \nand there will appear a ball in the box, but of a difierent colour to \nthat which was put in. The globe-like form thus displayed looks \nlike a real ball, but in reality it is no more than a very thin shell of \nwood, neatly turned to that shape and painted, and the other changes \nare produced in the same way, as may be perceived by reference to \nthe illustration. No. 1 is the outer upper shell of the box, taken off \nof the outer under shell No. 2, the top of which represents an inner \nglobe ; 3 is an inner globe ; 4, its cover ; 5, another inner globe ; and \n6, its cover ; 7 is a third globe ; and 8, its cover. These globe boxes \nmay be made with as many changes, and as varied in colours, as the \nperformer pleases. \n\nTHE BABBEE\'S pole. \n\nCut a number of sheets of coloured paper into strips about an inch \nwide, and then paste the ends of the different strips together ; when \ndry, roll up the long paper band, just as you would a piece of tape, \nand secure the loose extremity with paste. Conceal this roll of paper \nin your left hand, and having informed the comnany that you are \n\n\n\n\nCONJUEING-. \n\n\n\n41 \n\n\n\nabout to set up in business as a barber, clap your left hand to your \nmouth, and commence pulling out the paper coil with your right, \nuntil it takes the fonn of a tapering pole. A loop of string or a \ntassel should be fastened to the middle of the coil, so that you may \nhave something to take hold of. By employing a long strip formed \nof two different coloured papers, the resemblance between the roll \nwhen pulled out and a barber\'s pole is rendered more striking. \n\n\n\n\nTHE EGG-BOX. \n\nThe egg- box is made in the \nshape of two beehives, put toge- \nther, as shown at A. B, an inner \ncase, or box, is covered with half \nthe shell of a real egg; another \nshell, C, is of the egg-shape, but \nrather larger than the other, and \nE is the cover, or upper part of \nbox, D. Put E upon C, and \nboth upon B, and then all three \nupon D ; when done, the box is \nready for showing the trick. Then \ncall for an egg, and request the \nspectators to look at it, and see that it is a real one. Next take off \nthe upper parts, E, B, and C, with your forefinger and thumb, place \nthe egg in the box, and say, " Ladies and gentlemen, you all see \nthat it is fairly in the box ;" uncover it and say, " You shall see me \nas fairly take it out;" suiting the action to the word, putting the \negg into your pocket in their sight. Next, open your box again, \nsaying, "You perceive that there is nothing in it;" place your \nhand about the middle of the box, and take C off, without B, and \nsay, \' \' There is the egg again ;" it will appear to the spectators to \nbe the identical one which you put in your pocket ; and then, \nputting C on, and taking it, together with the inner shell B, off, \nexclaim, " It has vanished again !" which will really appear to be \nthe case. \n\nTHE BOTTLE IMPS. \n\nProcure &om a glass-blower\'s three or four little hollow figures of \nglass, about an inch and a half in height, representing imps, or else \npantomimic figures, such as harlequin and columbine, and let there \nbe a small hole in each of their feet. Immerse them in a glass jar, \nabout fifteen inches in height, filled with clear water, and then tie a \nbladder, or, what is better, a piece of sheet indiarubber, over the \nmouth of the bottle. Each figure, with the air contained in it, must \nbe just light enough to float in water. When you wish your figures \nto sink, press your hand closely on the bladder, and thus force a \nlittle water into each ; when you wish them to rise, remove your \nhand, and the elasticity of the air contained in the imps will force \nthe water out again. You may thus keep your bottle imps dancing \nabout the middle of the jar as long as you please, to the astonishment \n\n\n\n42 CONJUEING. \n\nof those who are ignorant of the simple pneumatic law upon which \ntheir movements depend. \n\nTHE DOLL TKICK. \n\nThis is a most amusing and puzzling trick when well managed. \nThe conjuror draws from his pocket a comical little wooden doll, \nwhich he introduces to the company by some such speech as the fol- \nlowing : \xe2\x80\x94 \n\n"Ladies and gentlemen, \xe2\x80\x94 This wonderful little fellow is my \ninvisible courier. I send him on all my important errands, and I \nhave so much faith in his discretion that I do not hesitate to confide \nto him my most precious secrets. He is a most faithful and disin- \nterested servant, and although he has been in my employ ever since \nhe was carved, he has never once asked me for any wages. I am \njust about to dispatch my little friend to my esteemed patron, the \nCham of Tartary, therefore if any of you have any messages to send \nto his Magnificence, I will take care that they shall be delivered. \nNow, Master Peter, prepare for your journey. Hey, Presto ! \nBegone !" \n\nThe conjuror looks at the doll as though astounded by its diso- \nbedience. \n\n" Why don\'t you go, sir ? What do you mean by looking so \nwooden when you know very well that his Magnificence is anxiously \nexpecting you V \' \n\nThe conjuror now places the doll to his ear, in order to learn the \ncause of its stubbornness, then putting it down on the table, he says, \nin a milder tone \xe2\x80\x94 \n\n*\' Poor Peter! I am to blame. How could I think of sending \nyou to the Great Cham\'s court without your new silk gown ?" \n\nThe performer now produces a little embroidered cloak which he \nputs over the doU, so as to conceal every part of it but the head. \n\n\'* There, are you satisfied now. Master Peter ?" \n\nThe conjuror having his hand under the cloak, twists the doll about \nso that it seems to shake its head. \n\n* \' Oh ! I understand now. You want some money to pay your \ntravelling expenses V \n\nThe doll\'s head now nods affirmatively, and the performer conveys \nhis hand to his pocket and back again to the doll, saying \xe2\x80\x94 \n\n\' \' If you see nothing, ladies and gentlemen, you must not be sur- \nprised, as my courier uses invisible money." \n\nThe conjuror holding the doll in his right hand, now places the \nforefinger of his left on its head, and repeats the mystic words, \n" Hey, Presto ! Begone !" Immediately after he turns up the cloak \nand shows the company that there is no doll inside it, and to make \nthis fact still more striking, he rolls up the cloak into a ball and \nthrows it on the table. Having performed some other feats, the con- \njuror picks up the little cloak and says \xe2\x80\x94 \n\n" See how I have rumpled Master Peter\'s new gown, the poor \nfellow will be heart-broken to find it in this state when he comes \nback." \n\n\n\nCONJUEING. 43- \n\nWhile the performer is spreading out the cloak Master Peter sud- \ndenly pops his head through it to the great astonishment of the \nbeholders. \n\nA very few words will suffice to explain how this excellent trick is \nmanaged. In the lining of the cloak a little pocket is made just \nlarge enough to hold the doll\'s head, which is formed of a separate \npiece of wood, and is attached to the body by a wire pin. When \nthe performer pretends to get the doll some money, he dexterously \nbrings away the body from beneath the cloak ; he afterwards moves \nthe doll\'s head about by means of the pin, and when he dispatches \nthe courier on the journey, he pushes it into the pocket of the cloak \nwith the forefinger of his left hand. \n\nTHE MAGIC BOOK. \n\nProcure a book of plain paper of whatever size and thickness you \nplease. Leave the first leaf blank ; on the second paint a flower ; \non the third, a head ; on the fourth, a playing card ; on the fifth, a \nbird ; and on the sixth, a ship. Now, recommence the series of sub- \njects by leaving the seventh leaf blank, and then following on with a \nflower, a head, a card, a bird, and a ship ; proceed in this way until \nyou have filled up your book. Now divide the edge of each leaf into \nsix equal parts, and cut out a number of slips of parchment or paper \nof the length of one of the divisions, and half an inch broad. Paste one \nof these slips on the top division of the first blank page, another on \nthe second division of the leaf having a flower painted on it, another \non the third division of the leaf bearing a head, and so on until you \nhave pasted a slip on every leaf. Each slip should project a quai\'ter \nof an inch beyond the edge of the leaf on which it is pasted. To ex- \nhibit the magic book, hold it by the back with the right hand, and \nplace the thumb and finger of your left upon the first slip ; run the \nbook through and it will appear to be empty ; then place your \nthumb upon the second slip, run the book through again and it will \nseem to be fiUed with flowers ; in this way you go through all the \nchanges, and while doing so you take care to use certain cabalistie \nwords, and to blow \\ipon the magic volume in order to add to the \neffect of the exhibition. Instead of pasting parchment stays upon \nthe edges of the leaves, you may, if you like, cut the edge of each. \nleaf so as to leave a projecting piece of paper. The reader will scarcely \nrequire to be told, that a magic book may be constructed with a much \ngreater number of changes than six, and that we only chose that \nnumber for the sake of simplicity. \n\nTHE EICE TKICK. \n\nThis is a most surprising deception, yet so easy of performance \nthat any one may venture to exhibit it after one or two trials in pri- \nvate. The apparatus required are, a little circular measure of wood \nor pasteboard, about two inches in height and a inch and a half In \ndiameter, a conical cup of tin painted black inside, a linen bag full \nof rice, and a little wooden striker to be used in measuring the grain. \n\n\n\n44 \n\n\n\nCONJUEII^rG. \n\n\n\nPrivately pour a measure of rice into the tin cup, and cover the rice \nover with a well-fitting disc of blackened pasteboard, so that the cup \nmay be safely inverted on the table. Let us now explain to the \nreader the peculiar construction of the little measure, as in this the \nwhole secret of the trick lies. The bottom of the measure is slightly \nraised, and upon the under side of it some grains of rice are glued, \nso that when inverted the deceptive little vessel appears to be full. \nIn performing the trick you must pull the measure out of the rice \nbag and exhibit to the company, taking care to prevent anybody \nseeing the under side ; you now return the measure to the bag, in- \nvert it, and bring it out again with some loose rice heaped upon the \ngrains that are glued to the bottom. Placing the measure on the \ntable, you strike off the loose grains and make some remark about \nliking fair measure ; you then cover it with a hat, and at the same \ntime contrive to turn it right side upwards. Now raise your tin \ncup, and having drawn the spectator\'s attention to the fact that \nthere is nothing under it, clap it down on the table with sufficient \nforce to loosen the pasteboard disc. Uncover your measure to show \nthat it is empty, then gently raise the tin cup and the rice will run \nout of it and conceal the fallen cover. \n\n\n\nTEICKS WITH CARDS. \n\n\n\n\nTELLING THE ITUaiBEE OF CAEDS BY THEIE WEIGHT. (PAGE 47.) \n\n\n\nAlthough a proficiency in games with cards is in our opinion a \nmost pernicious accomplishment for youth, and one which cannot \nbe too severely reprobated, we do not consider sleight-of-hand \nTKICKS with a pack of cards as at all objectionable, but rather as a \nsource of much harmless amusement ; under this impression, we do \n\n\n\nCONJtrEING. 45 \n\nnot hesitate to insert the following series of excellent deceptions and \nsleights-of-hand. \n\nWhen and by whom cards were invented is involved in obscurity. \nSome authors imagine that they are of Asiatic origin, some that \nthey are of French, and first made as an amusement for Charles the \nSixth, who was a lunatic. One author contends that the Germans \ncan lay claim to the invention, and another puts forward some con- \njectures, assigning the merit of the earliest use of them to the \nEnglish. The most feasible opinion, however, is that they were in- \nvented in Spain, for so early as the year 1378, John the First, king \nof Castile, forbade card-playing in his dominions, in an edict which \nis anterior to any similar legislative measure in other parts of Europe. \nThe figures upon the cards themselves add to the strength of the \nsupposition ; for the suits answering to those of spades and clubs \nhave not the same inverted heart and trefoil shape which ours of the \npresent day display, but espadas, or swords, and hastos, or cudgels, \nor clubs ; so that in fact, we retain their names though we have al- \ntered the figures At the present time, too, cards are a favourite \ndiversion of the Spaniards, and the monopoly of selling them is vested \nin the hands of the sovereign. \n\nAt the first introduction of cards they were all drawn and co- \nloured by hand, and were consequently very valuable ; but in course \nof time, as the demand increased, a more expeditious mode of manu- \nfacturing them was resorted to, and the outlines of the different \nfigures were cut upon separate blocks of wood, and then rudely \nstamped upon the cards, the colours being afterwards applied by \nhand. After the invention of engraving on copper, the devices, \nwhich were varied according to fancy, were executed by skilful \nartists upon copper plates, and being tolerably well finished, needed \nno touching up with colour. The price of the packs of cards was by \nthis method reduced so much, that almost every class of persons pos- \nsessed them, and as a natural consequence, they led to much vice \nand immorality. \n\nIn the reign of Henry the Seventh, card playing was a very \nfashionable court amusement; and was so universal amongst all \nranks, encouraging gambling, that a statute was enacted, prohibiting \napprentices the use of cards, except during the Christmas holidays, \nand then only in their master\'s houses, and likewise forbidding any \nhouseholder to permit card playing in his house, under a penalty of \nsix shillings and eightpence for every offence. The cards used in the \nfifteenth and sixteenth centuries, differed materially in their figures \nfrom those now in vogue, as instead of clubs, spades, diamonds, and \nhearts, they had rabbits, pinks, roses, and the flowers called colum- \nbines, upon them ; as also, bells, hearts, leaves and acorns, and \ndeer, &c. Enough, however, of this antiquarian dissertation upon \ncards, let us now turn to the tricks that can be played with them. \n\nFOECING OE MAKING A PASS. \n\nForcing is a plan by which you compel a person to take such a \ncard as vou think fit, while he imagines he is taking one hap-hazard, \n\n\n\n46 CONJUEING. \n\nor according to his own choice. It is almost next to impossible to \ndescribe accurately the method of performing this trick, but it is as \nfollows : \xe2\x80\x94 Ascertain secretly or whilst you are amusing yourself with \nthe cards, what the one is which you intend to force, place it in the \npack, but keep your eye, or the little finger of your left hand, in \nwhich you hold the pack, upon it. Next desire a person to select a \ncard from the pack, for which purpose you must open it quickly \nfrom left to right, spreading the cards backwards and forwards so as \nto perplex his choice, and when you see him about to take one, open \nthe pack until you come to that one which you intend him to have, \nand, just at the moment his fingers are touching the pack, let its \ncomer project invitingly a little forwards in front of the others ; this \nwill seem so fair that in nine cases out of ten he will take the one so \nofiered, unless he is himself aware of the secret of forcing. Having \nby this method forced your card, you may request him to examine it, \nand then give him the pack to shuffle, which he may do as often as \nhe likes, for you are of course always aware what card he has taken. \nA perfect knowledge of forcing is indispensably necessary before you \nattempt the more difficult tricks with cards. \n\nUPS AND DOWNS. \n\nThis is one of the simplest methods of ascertaining what card a \nperson selects. While you are playing with the cards, drop out \nthe diamonds from the ace to the ten, and endeavour, without being \nobserved, to get all the other cards with their heads in the same \ndirection ; then desire one of the company to select a card, do not \nforce one, but let him take whichever he pleases ; whilst he is look- \ning at it, turn the pack carefully in your hand, so that the position of \nthe pack may be reversed, and then tell him to place the card he has \nchosen in the middle of the pack ; shuffle and cut the cards, and \nyou may instantly find out the chosen one by its head being in a \ndifierent direction from the rest of the pack. \n\nA CEETAIN NUMBER OF CARDS BEING SHOWN TO A PERSON, TO \nGUESS THAT WHICH HE HAS THOUGHT OF. \n\nTo perform this trick the number of cards must be divisible by 3, \nand it is more convenient that the number should be odd. Desire a \nperson to think of a card ; place the cards on the table with their \nfaces downwards, and taking them up in order, an-ange them in \nthree heaps, with their faces upwards, and in such a manner that \nthe first card of the pack shall be first in the first heap, the second \nthe first in the second heap, and the third the first of the third : the \nfourth the second of the first, and so on. When the heaps are com- \npleted, ask the person in which heap the card he thought of is, and \nwhen he tells you, place that heap in the middle ; then, turning up \nthe packet, form three heaps as before, and again inquire in which \nheap the card thought of is ; form the three heaps afresh, place the \nheap containing the card thought of again in the centre, and ask \nwhich of them contains the card. When this is known, place it as \nbefore, between the other two, and again form three heaps, asking \n\n\n\nCOHJUEING. \n\n\n\n47 \n\n\n\nthe same question. Then take up the heaps for the last time, put \nthat containing the card thought of in the middle, and place the \npacket on the table with the faces downwards, turn up the cards till \nyou count half the number of those contained in the packet, twelve, \nfor example, if there be twenty -four, in which case the twelfth card \nwill be the one the person thought of. If the number of the cards \nbe at the same time odd, and divisible by three, such as fifteen, \ntwenty-one, twenty-seven, &c., the trick will be much easier, for the \ncard thought of will always be that in the middle of the heap in \nwhich it is found the third time, so that it may be easily distinguished \nwithout counting the cards ; in reality, nothing is necessary but to \nremember, while you are arranging the heaps for the third time, the \ncard which is the middle one of each. Suppose, for example, that \nthe middle card of the first heap is the ace of spades ; that the second \nis the king of hearts, and that the third is the knave of hearts ; if \nyou are told that the heap containing the required card is the third, \nthat card must be the knave of hearts. You may, therefore, have \nthe cards shuffled without troubling them any more, and then, \nlooking them over for form sake, may name the knave of hearts \nwhen it occurs. \n\nTO TELL THE NUMBEK OF CAEDS BY THE WEIGHT. \n\nTake a pack of cards, say forty, and privately insert amongst them \ntwo cards rather larger than the others ; let the first be the fifteenth, \nand the other the twenty- sixth, from the top. Seem to shuffle the \ncards, and cut them at the first long card; poise those you have \ntaken off in your hand, and say "There must be fifteen cards here;" \nthen cut them at the second long card, and say, " There are but \neleven here ;" and poising the remainder, exclaim, **And here are \nfourteen cards." On counting them, the spectators will find your \ncalculations correct. \n\n\n\nTEN CAEDS BEING AEEANGED IN A CIECLE, TO TELL TEAT \nWHICH ANY ONE THOUGHT OF. \n\n\n\ns \n\n\n\nE \n\n\n\n4 4 \n\n\n\nThe first ten cards of any suit \nshould be disposed in a circular \nform, as in thp annexed figure ; \nthe ace is counted as one, and \nis represented in the annexed \ndiagram as such. Request a \nperson to think of a number or \ncard, and to touch also any \nother number or card ; desire \nhim to add to the number of the \ncard he touched the number of \nthe cards laid out \xe2\x80\x94 that is, ten, \nand then bid him count that sum \nbackwards, beginning at the card \n\nhe touched, and reckoning that card at the number he thought of ; \nby counting thus he will end it at the card or number he first \n\n\n\n\n48 CONJTTEING. \n\nthought of, and thereby enable you to ascertain what that was. For \nexample, suppose he thought of the number three, and touched the \nsixth card, if ten be added to six, it will of course make sixteen ; and \nif he counts that number from the sixth card, the one touched, in a \nretrograde order, reckoning three on the sixth, four on the fifth, five \non the fourth, six on the third cards, and so on, it will be found to \nterminate on the third card, which will therefore show you the \nnumber the person thought of. When the person is counting the \nnumbers he should not, of course, call them out aloud. \n\nTHE rOUE ACCOMPLICES. \n\nEequest a person to draw four cards from the pack, and then to \nthink of one of them. When he returns you the four, contrive to \nplace two of them on the top, and two at the bottom of the pack. \nPut four cards of any sort under those at the bottom, and then take \neight or ten cards from the bottom, spread them on the table, and \nask the person if the one he selected is amongst them ; if he says it \nis not, you may be certain it is one of the upper ones. Dexterously \n\xe2\x96\xa0slip the top ones to the bottom, draw out the lowest of them, and \nask him if that is not his card ; if he again says no, you may take up \nthat card, and request him to take his card from the bottom of the \npack. If the person says his card is amongst those you drew from \nthe bottom of the pack, you must quickly take up the four cards \nwhich you put under them, and place them on the top ; let the other \ntwo be the bottom cards of the pack, and then draw them in the \nway before mentioned. \n\nTHE NOTED CAED NAMED. \n\nTake several cai\'ds, say ten or twelve ; remember how many there \nare, and hold them Up with their backs towards you; open four or \nfive of the uppermost, and while you hold them out, request some \nperson to note a card, and tell you whether it is the first, second, or \nthird, from the top ; when he has informed you, shut up the cards in \nyour hand, place the remainder of the pack upon them, and tap their \nends and sides upon the table, so as to make it seem impossible to \nfind the card in question. It may, however, be easily found, thus : \nsubtract the number of cards you had in your hand from fifty-two, \nwhich is the number of the pack, and to the remainder add the \nnumber of the noted card, and you will instantly have the number of \nthe noted card from the top. \n\nTHE EEGAL ALLIANCE. \n\nTake the four kings, and put . between the third and fourth any \ntwo of the common cards, which of course you carefully conceal. \nShow the four kings, and then place the six cards \xe2\x80\x94 i.e., the kiugs \nand the two common cards at the bottom of the pack ; next take one \nof the kings and lay it on the top, and place one of the common \nca,rds about the middle of the pack; take the other common card, \nand do the same with that, and show that there is a king at the \n\n\n\nCONJUEING. 49 \n\nbottom of the pack. Request a person to cut the pack ; and as three \nof the kings were left at the bottom, the whole four will be found \ntogether in the middle of the pack. \n\nTHE ODD TEN. \n\nTake a pack of cards ; let any person draw one and put it back \nagain into the pack, but contrive so that you can find it at pleasure, \nwhich by a little practice you will be able to do with the greatest \nfacility. Shuffle the pack, and request another of the party to draw \na card, but be sure that you force upon him the card which was \ndrawn before ; go on in this way until ten persons have drawn the \nsame card; then shuffle the cards, and show the one you forced, \nwhich, from its having been so managed, must of course be the one \nwhich every person drew. \n\nTHE QUEENS GOING IN SEARCH OP DIAMONDS. \n\nWhen performing this trick you must proceed in this manner: \nTell the company that here are four queens in search of some \ndiamonds (laying down the four queens in a row, and putting four \ncommon cards, of the suit of diamonds, separately upon the queens) ; \nto aid them in the search they, of course, require a spade (laying \ndown four common cards, of the suit of spades, upon the queens). \nTheir husbands send with them, as an escort, a guard of honour \n(laying down the four aces), notwithstanding which they are waylaid \nby knaves (laying down the four knaves), who had formed a con- \nspiracy to kill, and afterwards rob them, for which purpose they had \neach provided themselves with a club (putting down four common \ncards of the suit of clubs). The kings, hearing of this plot, resolve \nto follow and protect their queens (laying down the four kings), and, \nlike chivalrous princes taking good heart, proceed after them (laying \ndown four common cards of the suit of hearts) . You now gather the \nfour heaps into one, beginning at the left hand, and allow several \npersons to cut them ; and when a common card of the suit of hearts \ncomes to the bottom of the pack, lay all out again in four heaps, and \nthe cards will follow in the same order as when you laid them \ndown at first. \n\nTHE KNAVES AND THE CONSTABLE. \n\nSelect the four knaves from a pack of cards, and one of the kings \nto perform the office of constable. Secretly place one of the knaves \nat the bottom of the pack, and lay the other three with the constable \ndown upon the table. Proceed with a tale to the effect that three \nknaves once went to rob a house ; one got in at the parlour window \n(putting a knave at the bottom of the pack, taking care not to lift \nthe pack so high that the one already at the bottom can be seen), \none effected his entrance at the first-floor window (putting another \nknave in the middle of the pack), and the other by getting on the \nparapet from a neighbouring house, contrived to scramble in at the \ngarret-window (placing the third knave at the top of the pack) ; the \n\nE \n\n\n\n50 \n\n\n\nCONJUEING. \n\n\n\nconstable vowed he would capture them, and closely followed the \nlast "knave (putting the king likewise upon the top of the pack). \nYou then request as many of the company to cut the cards as please, \nand tell them that you have no doubt the constable has succeeded in \nhis object, which will be quite evident when you spread out the pack \nin your hands, as the king and three knaves will, if the trick is \nneatly performed, be found together. A very little practice only is \nrequired to enable you to convey a knave or any other card secretly \nto the bottom of the pack. \n\n\n\n\nTHE PAINTED PACK, \n\nOn the backs of half a pack of \ncards paint a variety of different \nsubjects, such as flowers, birds, gro- \ntesque figures and heads ; and on \nthe faces of the other half of the \npack paint similar subjects, and you \nwill thus have a complete pack of \nmiscellaneous designs. Show the \nfaces of those cards which have their \nbacks painted, and by employing a \nlittle adroitness in shuffling you may \nmake it appear as if you transformed \nthem into a series of grotesque \nfigures, and so create much laughter. Another method of making a \npainted pack is to take a dozen or more plain cards, and draw a Hne \nfrom the right hand upper corner to the left hand lower corner of \nthe face of each of them\xe2\x80\x94 by which line they will be equally divided\xe2\x80\x94 \nand delineate in the right-hand division of each card some comical \nfigure, and leave the left-hand division blank. By clever management \nin shuffling you may, to all appearance, transform what seem plain \ncards into a painted pack. \n\nTO HOLD POUR KINGS OK FOUK KNAVES IN TOUR HAND, AND TO \nCHANGE THEM SUDDENLY INTO BLANK CARDS, AND THEN INTO \nPOUR ACES. \n\nIt is necessary to have cards made on purpose for this trick, half \ncards, as they may be properly termed \xe2\x80\x94 that is, one half kings or \nknaves, and the other half aces. When you lay the aces one over \nthe other, of course nothing but the kings or knaves can be seen, \nand on turning the kings or knaves downwards the four aces will \nmake their appearance. You must have two perfect cards, one a \nking or knave, to put over one of the aces, or else it will be seen, \nand the other an ace, to lay over the kings or knaves. When you \nwish to make them all appear blank, lay the cards a little lower, and \nby hiding the aces they will appear white on both sides ; you may \nthen ask which they wish to have, and may show kings, aces, or \nknaves, as they are called for. \n\n\n\nconjueing; \n\n\n\n51 \n\n\n\n\nTHE FIFTEEN THOUSAND LIVEES. \n\nFor this trick you must prepare two cards like the \naccompanying engraving, and have a common ace and \nfive of diamonds. The five of diamonds and the two \nprepared cards you must hold as shown in the next \nengraving, and say, " A certain Frenchman left fifteen \nthousand livres, which are represented by these three \ncards, to bis three sons; the two youngest agreed to \nleave their five thousand, each of them, \nin the hands of the elder, that he might \nimprove it." While you are telUng this \nstoiy, you lay the five on the table, and \nput the ace in its place, and at the same \ntime artfully change the position of the \nother two cards, so that the three cards \nappear as in this engraving. Then, re- \nsuming the tale, you relate that " The \neldest brother, instead of improving the \nmoney, lost it all by gaming, except \nthree thousand livres, as you here see \n(laying the ace on the table, and taking \nup the five). Sorry for having lost the \nmoney, he went to the East Indies with these three thousand, arid \nbrought back fifteen thousand." You then show the cards in the \nsame position as at first. To render this deception agreeable, it \nmust be performed with dexterity, and should not be repeated, but \nthe cards immediately put in the packet; and you should have five \ncommon cards ready to show, if any one desire to see them. \n\n\n\n\nSEVERAL CARDS BEING PRESENTED IN SUCCESSION TO SEVERAL \nPERSONS, TO GUESS WHICH EACH HAS THOUGHT OF. \n\nShow as many cards to each person as there are persons to select \xe2\x80\x94 \nthat is to say, three, if there are three persons. When the first has \nthought of a card, lay aside the three from which he has made \nhis choice. Present the same number to the second person to think \nof one, and lay aside those three cards also. Having done the same \nwith the third person, lay out the three first cards with their faces \nuppermost, and above them the next three cards, and above these \nalso the last three, so that all the cards may be disposed in three \nheaps, each consisting of three. Then ask each person in which \nheap the card is which he thought of ; that being known, it will be \neasy to tell these cards, for that of the first person will be the first in \nthe first heap : that of the second, the second of the next heap ; and \nthat of the third person will be the third of the last heap. \n\n\n\nTHE CARD DISCOVERED BY THE TOUCH OR SMELL. \n\nOffer the long card, or any other that you thoroughly well know, \nand as the person who has drawn it holds it in his hand pretend to \n\ne2 \n\n\n\n52 \n\n\n\nCONJUEING. \n\n\n\nfeel the pips or figures on the under side with your forefinger, or \nsmell it, and then sagaciously declare what card it is. \n\nIf it is the long card you may give the pack to the person who \ndrew it, and allow him either to replace it or not. Then take the \npack, and feel whether it is there or not; shuffle the cards in a care- \nless manner, and, without looking at it, decide accordingly. \n\nTHE CARD IN THE NUT. \n\nBore a hole in a nut with a small gimlet, and with a needle break \nand extract the kernel. Draw the spots of a card on a piece of thin \npaper, then roll this miniature card into as small a compass as \npossible, and put it into the nut. Stop the hole up with wax, \nwhich rub over with a little dust, so that it may not be noticed. Let \nsome one draw a card, and take care that it be the same as that \nmarked on the paper ; when he has returned the card to the pack, \ndesire him to crack the nut, in which he will find his card. \n\n\n\n\n63 \n\n\n\n\nThis truly English amusement cannot be too highly extolled, as it \nis calculated to incite boys to emulate each other in acquiring pro- \nficiency in an art which exercises their ingenuity and taste, while it \ninculcates habits of patient industry. A good sailing ship is rather a \ntroublesome thing to construct, but when a lad sees it " walk the \nwaters like a thing of life," he experiences feelings which fully repay \nhim for all his labour. Every boy ought to learn to swim, if only to \nprevent anxious parents including boat-sailing with dangerous pas- \ntimes that ought not to be encouraged. We are always pleased to \nsee boys sailing their miniature vessels, and we cannot think that an \noccasional ducking ought to interfere with an occupation so befitting \nto the youth of a great maritime nation. As long as French boys \namuse themselves by playing at soldiers, we trust English boys will \ncontinue to build and sail their model ships. \n\nIf you wish to possess a good ship you must make it yourself, as \nthe smartly- painted vessels of the toy-shops are usually made to sell \nand not to sail. To form the hull you will require a few carpenters\' \ntools, such as a couple of chisels, a gouge, and a saw, in addition to \nthat invaluable instrument, a good pocket-knife. Having procured \na suitable piece of good white deal with a straight grain, mark a line \ndown the middle, on the upper and lower sides, and at both ends ; \nthen mark out with pencil the shape of the intended vessel, which \n\n\n\n\n\n\n\n\n\n^ "~i\' I. \n\n\n^ \n\n\nTl \n\n\n/\'"" \n\n\n\n\n\n\n\n\n\n\n1 \n\n\nE "\'n^ \n\n\n\n\n\n\n\n\n\n\n1 \n\n\ni^ \n\n\n\xe2\x80\xa2--.,,^__ \n\n\n\n\n\n\n\n\n--i \n\n\n^^ \n\n\n\n\nS:=^__ \n\n\n\nshould be broad in proportion to length, and deep in proportion to the \nwidth. Most boys shape their vessels before scooping them out, but \nit is far better to reverse the process and hollow out the wood before \ncommencing the outside. The deck is to be made of a thin piece of \n\n\n\n54. \n\n\n\nBOAT-BUILDING. \n\n\n\ndeal, and must be fitted very accurately, so that no water may enter \nthe hold. A flush deck, without a raised edge or gunwale, is to be \npreferred, as such a deck does not hold the water. \n\nThe mast should be made of strong light wood, should be tapering, \nand rather long. The less rigging there is the better ; two shrouds \nand a few stays will be enough. The best models for miniature \nships are those vessels that are rigged " fore and aft," such as \ncutters and schooners ; square-rigged ships are unmanageable xmless \nmade very large. \n\nOur first illustration shows a model cutter with her sails set. The \nprincipal sail is termed the mainsail; the one above it, the gaff \ntopsail; and the triangular sail attached to the bowsprit, the foresail \nor lib. \n\n\n\n\nThe blocks used in rigging a model ship are to be made of boxwood \nor alder. The latter is a softer wood than the former, and can be \nmore readily fashioned into shape with a penknife. The holes for \nthe cords should be bored through the pieces of wood before they \nare shaped into blocks, as it is not easy to drill the blocks without \nsplitting them. The rudder should be attached to the keel by bent \npins. The little staples on the keel in which the bent pins work \nare to be fonned of brass wire. The stem of the rudder passes \nthrough a hole in the stem of the vessel, and is provided with a \ntiller. Before launching the ship, the tiller must be fixed so as to \nkeep the rudder at the required angle. Many boys fear to launch \ntheir ships in large ponds ; but if a ship is properly rigged and \nanswers to her rudder, there need be no doubt as to her safe arrival \nin port. \n\n\n\nBOAT-BUILDING^ \n\n\n\n55 \n\n\n\nThe smack is not so graceful as the cutter, but is a caipital sailer. \nThe large sail is called a spritsail, from the spar or sprit which \ncrosses it diagonally from the mast to the upper a-ftmost corner. \n\n\n\n\nA schooner is a vessel with two masts, and fore-and-aft sails lite \nthose of a cutter. The schooner-rig is not suited to very small boats. \n\n\n\n\nBCHOONEE. \n\n\n\n66 \n\n\n\nBOAT-BUILDING, \n\n\n\nThe lugg is shown in the annexed engraving. The lug-sail \nwhich distinguishes this rig is a square sail fastened to a yard that \n\n\n\n\nhangs obliquely to the mast at one- third of its length. A lug-sail \nmay be fitted to a single-masted boat. The lugger is an excellent \nboat for sailing, but it lacks the trim appearance of the cutter. \n\nCutters or schooners intended for fast sailing should have but one \nforesail, as a large balloon jib rigged with a boom holds more wind \nthan an ordinary jib and staysail. The ships should be well ballasted \nto prevent the wind capsizing them, and their topmasts should be \nmade moveable, as in rough weather it will be found necessary to \n"strike" them. Each boat may have two sets of sails \xe2\x80\x94 one set \nlarge for light winds, and the other considerably smaller, to be set \nup when the wind is high. The sails should be made of very light \nstuff, thin calico is best, and should have a line run round them, \nwith loops for hooking them on to the spars. Beware of putting too \nmany blocks and useless ropes about your boats, as the lighter the \nupper part of a vessel is the better she will sail. In conclusion, \nspare no pains in finishing your work neatly, so that your boats may \nbear witness to your skill and patience. \n\n\n\n\nTHE EAW MATEEIAL. \n\n\n\n57 \n\n\n\n\nThere are few in-door pursuits more interesting and instructive \nthan those which may be classed under the head of modelling, and \nwe flatter ourselves that the following directions for forming pleasing \nobjects in card- board, plaster, and other materials, will aSbrd many \nof our readers much gratification : \xe2\x80\x94 \n\nCAED- BOARD WORK. \n\nThe implements requisite are not very \nnumerous or expensive; they consist of a \nbrass parallel rule ; a flat rule or scale, \neither of brass or ivory, divided not only \ninto inches, but subdivided into quarter, and \nhalf-quarter inches ; a T square, fig. 1, in \nthe accompanying illustration ; a carpenter\'s \nsquare, fig. 2 ; a pair of compasses with a \nquadrant, to keep them firm at any opening, \nfig. 3 ; compasses, having a moveable leg, \nwith pencil, steel-pen, and knife, to fit in, as \noccasion may require ; knives of different \ndimensions with fixed blades \xe2\x80\x94 for as clasp \n\nknives are apt to slip and shut, and thence dangerous, knives of the \nshape represented in fig. 4, are decidedly preferable ; punches of \nvarious sizes; brass pins, for securing the Bristol-board when not \nstrained on the drawing board; a pair of scissors; a pair of small \npincers; one or two chisels ; some vnre clamps ; and a drawing-board \nof well-seasoned wood. \n\nCutting the Bristol-boaed. \xe2\x80\x94 The Bristol-board should be \nsecured to the drawing-board, either by pasting it down round the \nedges, or by fixing it down by a brass pin at each comer. After the \n\n\n\n\n58 MODELLING. \n\ndesign is carefully made out, the rule or square must be pressed very \nfirmly and evenly upon it, and the knife carried steadily close to the \nside of the rule, sloping it a little on one side, so as not to cut \nperpendicularly down, otherwise the cut will be ragged. In cutting \ncircles practice alone will make proficiency, as it is a difficult opera- \ntion; it is better not to cut quite through the Bristol- board with the \npoint of the knife, but to finish with the edge of the blade, and even \nthen it will generally be found necessary to trim or correct the circle, \neither with the knife or scissors. When cutting by the side of a rule \nparticular care must be taken not to let the knife slip on to the rule, \nand spoil the evenness of its line. \n\nGlue, Cements, etc. \xe2\x80\x94 Common G-lue is frequently employed for \nfastening the edges of card-board together, but it requires to be used \nvery carefully, otherwise the yellow tint of the glue looks very \ndisagreeable and unworkmanlike. Mouth glue is also sometimes \nused ; it is no more than common glue with a little scent in it, to \ntake away its disagreeable odour. EiCE glue forms an excellent \ncement. It is made from rice-flour mixed intimately with cold \nwater, and afterwards gently simmered over a fire. It is a durable \ncement, and if made of a tolerable consistency, small models, bassi \nreiievi, and busts may be formed of it, which when dry will take a \nveiy high polish. GuM WATEK, if not too thin, is very serviceable \nfor fastening embossed and gold borders, and other ornaments. \nIsinglass dissolved in spirit of wine, with the addition of a small \nquantity of water, makes a good cement, and it is, we believe, the \nbasis of a cement sold at most chemists, called diamond cement, \nwhich, as already prepared and fit for use, it is perhaps better to \nbuy than be at the trouble of manufacturing. Liquid glue sur- \npasses all other cement for card-board work. It is made by dissolving \nshellac in methylated spirits of wine, which is very cheap, and may \nbe procured at almost any oil-shop. The liquid glue should be kept \nin a well-corked bottle ; the handle of a small brush may be passed \nthrough the cork, so that the brush may just dip into the glue. \n\nOknaments, etc. \xe2\x80\x94 Very beautiful patterns of embossed borders, \nadapted for decorating many little articles, may be purchased at \nmost fancy stationers ; they are made in very delicately tinted \npapers, such as pale yellow, light pink, lavender, and other colours, \nand add much to the beauty of whatever they are fixed upon. Gold \nand silver embossed borders, of various breadths and patterns, may \nlikewise be obtained ; as also many kinds of gold ornaments, of \ndifferent sizes. When neither gold borders or ornaments can be \nused, the young artificers may call their imaginative powers into \nrequisition in designing ornaments, and gilding them with the gold \nprepared for using with a paint-brush, mixed up in shells and saucers, \nand which can be purchased at the fancy stationer\'s. In addition \nto the fancy borders, numberless items in handles for baskets, \nacanthus leaves for baskets, flowers, &c,, are made in embossed \nwork, and affiird an immense variety of designs for the ingenious \nto try their skill upon in adapting and forming them into elegant \nornaments. \n\n\n\nMODELLING. \n\n\n\n\nCakd-boaed Baskets. \xe2\x80\x94 \nWe shall commence our in- \nstructions with some direc- \ntions respecting the manu- \nfacture of baskets in card- \nboard, as they are easy of \nexecution, and form a good \nprelude to the more difficult \nsubjects ; they also afford \nmuch scope for the exercise \nof the fancy, as to the orna- \nments upon them. In the \nannexed illustration, fig. 1, \nis a representation of a regu- \nlar hexagonal, or six-sided, \nbasket; and in fig. 2 the plan \nof it is shown. Draw a circle \nof the dimensions you wish \nthe bottom of your basket to \nbe, as at a, a, a, a, a, fig. %, \nand divide it off itito six \nparts ; next make another \ncircle at the intended height \n\nof the sides, as 6, 6, &, h, b, b, and draw lines through the corners of \nthe opposite sides of the hexagon, as shown by the dotted lines, and \nthe perpendicular form of the sides will be then obtained. To give \nthe necessary slant to the sides a certain measurement must be \ntaken, as C, c, c, E, on each side of the dotted lines ; and the same \nmeasurement, to a hair\'s breadth, must be observed, with all the \nsides, otherwise,, when put together, the inclination of the sides, as \nat B, C, D, E, will not correspond so truly as they should do ; these \nlines being adjusted, straight lines must be made on the outer circle, \nas C, E, to make the straight tops of the sides of the basket exactly \nparallel with the inner hexagon. The outer form of the basket being \nthus delineated on the card-board, if the young artist wishes to \nmake any ornaments upon the sides, he must draw and cut them out \ncarefully ere he separates the sides from the surrounding board. The \nornament shown in our figure is well adaped for this shaped basket, \nand has a pretty effect when cut through, and a delicately tinted \npaper put behind it. When detaching the side-piecgs from the sheet \nof card-board and inner hexagon, the operator must be cautious to \ncut with great steadiness and accuracy ; and when joining the sides \ntogether, he should use the wire clamps to hold them in their proper \nplaces till the cement is quite dry. \n\nA Basket with bent sides, \xe2\x80\x94 The plan of this basket is similar \nto that of the former, but as its sides are curved inwards, a different \nmethod of shaping them is necessary. After the inner and outer \nhexagons have been drawn, and the squares of the sides adjusted, \nto give them the proper degree of curve, put the point of the \ncompasses in A, and afterwards in B, and draw with the pencil point \n\n\n\nJ MODELLING. \n\nof the compasses two arcs which intersect each other in C ; this \nd\' ^lace the compass point at C, and then describe the arc A B, \n\n\n\n\n\xe2\x80\xa2 / \n\n\n\n\nwhich will give the necessary curve to one side, and then from the \npoints D and E draw two arcs crossing each other at F. From this \nlast point the arc D E, may be described, and care must be taken \nthat F is precisely the same distance from D and E that C is from A \nand B, otherwise the curve of the sides will not be true. To produce \nthe curved line, G-, for the top of the side, the compass point should \nbe put in B, and the arc, E H, described ; and afterwards from E, \nthe arc B H ; from this intersecting point the curve G may then \nreadily be drawn. When one side is cut out, it may be used as a \npattern for the remainder. The decorations on the sides we leave to \nthe contrivers, as our illustration shows but a very plain species of \nornament. For the handle, an embossed one may be used, or if a \nfantastic shape is preferred, the designer must exert his taste ; it \nshould be lined with a flattened wire, to give it greater strength ; \nand the same paper as the interior of the basket is papered with \npasted over its under part, to hide the wire. \n\nA BELL-FLOWER SHAPED BASKET is an exceedingly elegant afiair. \nThe line A B, must be drawn upon the card- board, the point of the \n\n\n\n\n..__. S.. \n\n\n\n\ncompasses placed upon the line at B, and the arc a described with \nthe pencil point of the compasses ; the compasses should be kept at \nthe same opening, its point placed at C, and the other arc 6 de- \n\n\n\nMODELLING-. \n\n\n\n61 \n\n\n\nscribed ; and the distance their centres c and d are apart from each \nother determines the breadth, and consequent size, of the leaves. \nBy opening the compasses somewhat wider than from c to d, from \nthose points you may obtain the extreme point e of the leaf ; at / is \nshown where the leaf should be cut off at the bottom. At D, the \nperfect shape of a leaf is given, and when one is cut out, it may be \nemployed as a pattern for the other seven, so that the eight leaves \nmay exactly correspond in size. The sides of the little pedestal \nupon which this basket is to stand must correspond exactly in \nbreadth with the lower part of the leaves ; and the curved base to \nthe whole should be made upon the principle of the basket with bent \nsides. \n\nCommon Objects. \xe2\x80\x94 Chairs, tables, sofas, and other articles of fur- \nnitux-e can be readily modelled in cardboard. These models may be \nstuck among the ornaments of a Christmas-tree, or should the young \nartist be blessed with little sisters, they may be placed in a doll\'s \nhouse, where they will outshine the miniature furniture of the toy \nThe annexed engi-aving shows how an arm-chair may be cut \n\n\n\n\nout of a single piece of card. The black portions of the diagram re- \npresent the parts that are to be glued. The arms having been \nsecured in their proper position, the legs are to be doubled round \n\xe2\x80\xa2and fastened to the under side of the seat. The legs and back of the \nchair may be ornamented with arabesques, and gilded or painted ; and, \nto make the model complete, a little cushion of velvet or satin should \nbe glued on the seat. By omitting the two arms, an ordinary chair of \nthe same pattern can easily be fashioned. By increasing the width of \nthe seat and back, and diminishing the height of the latter, the arm- \nchair may be made to serve as a model for a sofa. A wash- stand is rather \n\n\n\n62 \n\n\n\nMODELLING. \n\n\n\nmore troublesome to construct, but this may also be made in one \npiece by cutting the card into the form shown in the diagram. These \n\n\n\n\n\ntwo examples will serve to explain the principle upon which almost \nany piece of furniture may be modelled. \nA toy wheel- barrow may be constructed \nwith very little trouble. The upper and \nlower parts of the wheel- barrow are to \nbe formed in separate pieces, and then \nglued together; the annexed diagram \nshow how they may be cut out. The \ncircle of card forming the wheel may \nhave a peg of wood passed through its \ncentre to serve as an axle. \n\nThe tee-totum is one of the numerous \ntoys that may be formed of card-board. \nA hexagon is to be constructed within \nthe smaller of two concentric circles, and \npencil lines are to be drawn from each \npoint of the figure to the next point but \none, cutting through both circles ; the \npoints of intersection in the outer circle \nare then to be joined by straight lines. \nOur diagram exhibits the complete \nfigure with the triangular pieces that are \nleft for gluing. The lower side of the \ntee-totum is to be formed of a separate \nhexagon of card-board, the spindle may \nbe made of wood or ivory. \n\n\n\n\nMODELLING. \n\n\n\n63 \n\n\n\n\nA.ECHITECTUKAL MODELS are, without question, the most elegant \nand intricate subjects for card-board work, as they require much in- \ngenuity, care, and perseverance ; but \nwhen finished they amply repay any \nlabour which may be bestowed upon \nthem. \n\nFor this branch of card modelHng, it \nis necessary to have Bristol-boards of \nvarious thicknesses, some of them little \nthicker than paper, but they must all be \nof one colour, as the effect of a little \nbuilding will be greatly marred if the \nmatei\'ials of which it is composed show \nvarious tints in its several compart- \nments. \n\nIt being impossible, in small card- \nboard models, to define all the divisions \nof cornices, bases, entablatures, arcades, \n&c,, a general idea only can be produced. \n\ning which occur in all buildings, are formed of narrow strips of \ncard, varying in thickness and wddth, glued to each other, so as to \nproduce the required effect, and then, added to the sides of the \nbuilding, and we would advise the youthful constructor to shape \nthese strips as they may be required, angular, or rounded, before he \nseparates them from the larger piece in his hand. \n\nWe must premise that the walls of the models must be made of \nvery stout Bristol- board, and all niches, doors, and windows, drawn \nand cut out, and the ornamental details on the walls, and in the \nwindows, put on ; together with the talc for the glass, and the \nmouldings, or other decorations round the upper parts of the win- \ndows and building, previous to erecting. Wherever pillars or but \ntresses are to be placed, it is \ncarefully, but delicately, with \n\n\n\nbattlements, pediments, \nThe long lines of mould- \n\n\n\ntions of such perpendicular \nand horizontal mouldings, \nand other minutiae, as can- \nnot conveniently be applied \nbefore the walls are joined \ntogether. \n\nThe Gothic cottage shown \nin the engravings is a very \npretty architectural subject, \nand not very difficult to \nmodel. In this view the \nprincipal front and entrance \nare shown. It will be seen \nthat the roof projects consi- \nderably beyond the walls, \nand that a series of small \narches are pendant from the \n\n\n\nadvisable to mark the places out \na pencil ; as should also the situa- \n\n\n\n\n64 \n\n\n\nMOIELLING. \n\n\n\nthese must be carefully cut out and adjusted. The slates we \nwould advise to be imitated by pieces of cardboard, lapped one over \nthe other, in the manner of real slates, and the same style adopted \non a smaller scale on the top of the principal or bay window. All \nthe mouldings round the tops of the windows, technically termed \ndrip stones, must be made of thin card-board, otherwise the shadow \nwill be too strong. The base of the building requires three layers of \ncard-board so arranged as to form a double moulding, besides the broad \nband at the lower part. The pinnacles to the gables or points of the \nroof and porch must be square, and terminate in a pyramidal form, \nhaving at the top of each a little flower-shaped ornament termed a \nfinial. For windows, nothing surpasses a thin plate of talc as an \nimitatioB of the glass, and we would recommend, instead of using a \npiece of net for the purpose of denoting the framework to the panes \nof glass, as is generally adopted, that pieces of cotton should be placed \ndiamond- wise, as producing a better effect, and less like the parti- \ntions of a honeycomb. \nThe door must be deeply \nrecessed, so as to allow \ntwo steps to be put to \nit, and one step may \nbe outside. The an- \nnexed second view shows \nthe back part of the \nhouse and the kitchen \nentrance, which it will \nbe seen is shaded by a \ncovering, supported by \npillars, and ornamented \nwith a pinnacle at its \ncorner. The chimneys \nare hexagonal, and are \njoined together by a \nnarrow slip of card ; they are ornamented with lines of moulding, \nwhich require to be imitated by differing thicknesses of card. \n\n\n\n\nT^ \n\n\n\nGigs, Carriages, etc. \xe2\x80\x94 As \namongst the various things boys \nlove to make out of card-board \nthere are none more esteemed than \nGigs and Carriages, we dedicate \na limited space to a notice of the \nmode of constructing them. The \nannexed cut shows a side view of \na Stanhope, and the following engraving contains a plan of the \nvarious details. Fig. 1 represents the plan of the gig ; A, is the \nbottom ; B, B, are the two sides ; C, the dash-board ; D, the back ; \nand E, the piece which bends over to form the angle at the back \nand the seat ; the dotted lines show where the card is to be cut only \nhalf way through, so as to allow the sides, and back, and dash-board \n\n\n\n\nMODELLING. \n\n\n\n65 \n\n\n\n\nto be bent up and put in their \nproper form, without the trouble \nof making them of separate \npieces of card. Fig. 2 is the \nseat-raii. Fig. 3 shows the \nshafts and frame upon which \nthe gig rests ; F, F, are the \nshafts; G is the bar between \nthe shafts ; H, the middle piece ; \nI, I, l; I, little pieces of iron on \nwhich the gig rests, and which \nare more clearly defined in \nfig. 6 ; L, L, are the gig- steps ; \nK, K, show where the stops \nare placed, on the under part of \nthe shafts. Fig. 4 represents \nthe springs upon which the \nshafts rest, and which will be \nbetter understood by referring \nto figs. 5 and 6, in conjunction \nwith it the letters of reference \nserving equally for the three \nfigures. M, M, are the springs, \nwhich are of the same dimen- \nsions as the frame of the shafts, \nthe fore- parts of them turning up us at N, N, to receive the shafts \nF ; at P, the back spring is attached to the spring M, M, and the \nhinder part of the shaft frame, F, F, rests upon it ; O is the axle- \ntree, and R represents a square bit of wood, to be imitated, of \ncourse, by a bit of card, through the aperture of which the axle, 0, \npasses. The wheels must be cut out of extra-stout cardboard, and \nthe stocks or centres of them either made of narrow pieces of card, \nrolled up closely, or else of bits of a twig of a lilac tree. In some of \nthe little gigs we have examined, the shafts and springs were made of \nwhalebone, and exceedingly smart they looked. With careful cut- \nting and scraping for the purpose of rendering it smooth, whalebone \nis admirably adapted for the shafts and springs, but an impatient \nworkman would not like to bestow that great care and delicacy in \ncutting which it requires. Its liability, however, in such small \npieces, to fracture perhaps in a direction contrary to that in which \nit may be required, and thereby causing more work to repair the \ndamage, is a serious drawback upon it. Cardboard will serve \nexcellently well for the same purpose if whalebone is too trying for \nthe patience of the gig- maker. \n\nA Cakkiage requires much ingenuity and patience to make it an \nelegant turn-out. The accompanying engraving gives a faithful \nrepresentation of one, drawn to scale, so that our readers may rely \nupon its proportions being correct. The body of the carriage must, \nof course, be made of cardboard, not, however, on the principle of \n\n\n\n66 \n\n\n\nMODELLING. \n\n\n\ntte gig, as the sides should not be attached to the lower part and \nback, and merely turned up, but be separate pieces, cemented to- \n\n\n\n\nJ= \n\n\n\n\ngether when fully cut out ; the top also must be independent of the \nback. The wheels, like those of the gig, should be of very thick \ncard. The perch, A, may be of wood or whalebone, as best pleases the \nmodeller, as must likewise the various minutiae of splinter-bar, spring- \nbed, axletree-bed, &c,, which we shall more clearly define in a plan. \nThe iron part of the C springs should be imitated by two or three \nthicknesses of card, tapering off to a thin end, as at B ; and the \nleather straps, c, c, proceeding from the springs, and supporting the \ncarriage, by narrow strips of vellum. The windows, which should \nbe made to slide up and down, may be pieces of talc, fitted into \nframes of thin card. The lamps require to \nbe cut out of very thin card-board, on \naccount of their diminutive size, and talc \nwill serve as the glass to them also. \nWere we to give representations of all \nthe details of a carriage, and instructions \nrespecting the making of them, we should \nwander far bej^\'ond our limits, and most \nprobably fail in our purpose of affording \ninstruction, by becoming tedious, as so \nmany parts can be learnt by practice \nonly; and, indeed, the outwai-d forms of \nsome of the parts will show how the \nplans should be arranged ; we shall, \ntherefore, only give a brief description of \nthe following engraving, which displays \na plan of the details of the carriage. \nA is the perch. The parts connected \nwith the front wheels are termed the \nfore carriage, and consist of the wheel, \nB ; the nunters, C, C ; the sway-bar, D ; \nthe futchel, E, E ; and the spiinter-bar, \nF, F ; upon which are four rolabouts. \n\n\n\nMODELLING 67 \n\na, a, a, a ; the two outsiae ones are termed footsteps. G, G, show \nthe places where the C springs are to be planted. The parts between \nthe hind wheels are the spring-bed, H ; and the axletree-bed, I. \nL, L, L, L, are the axles of the wheels, and M, M, the places for \nthe hind C springs. Some of these parts we would advise to be made \nof deal, and others of cardboai\'d, according to the thickness of them \nin real equipages, so as to preserve the proportion as nearly as \npossible. \n\nThe materials for lining the gig and carriage must be left to the \ntaste and means of the constructor ; fine cloth, is usually employed \nfor gigs, and velvet or plush for carriages. The hammer-cloth for \nthe latter may be made of velvet. A little bit of mouse\'s skin we \nhave seen used as the mat to a gig, and it had a very pretty effect. \nThe brass caps to the stocks of the wheels may be imitated with gold \npaper, and thin strips of gold palper will also serve to represent the \nbrass-work in the other parts of the vehicle. \n\nWhen the little coach- builder has completed the cutting-out and \njoining and fitting the parts of his equipages, we would counsel him \nto paint them very nicely, being careful to make the stripes down \nthe spokes of the wheels, along the springs, and in other parts, even \nand clear, and free from all irregularities of touch; and when the \npainting is finished, to put the final stroke to his handiworks, by \nbrightening them up with mastich varnish. This operation requires \nmuch caution, otherwise, as the varnish settles in a very short time, \nsome parts, especially cornei\'s and little crannies, will receive more \nvarnish than they ought, and thence the neatness of the model will \nbe destroyed. \n\nOur limits warn us that we must not pursue this subject further ; \nwe will, therefore, in conclusion, advise our readers to take the \nutmost care that in their models the perpendicular and horizontal \nlines agree, as a tumbling- down house would not form a particularly \nfine specimen of their cunning in building ; to tfe as cleanly when \nusing the glue or cement as they can, for the imprint of a dirty \nthumb or finger on a neat little cottage would be very unpleasant to \nlook at; and never to lay aside anything which they may happen to \nbegin, because they cannot perfect it at once, and therefore fancy it \nis too hard for them to accomplish, for if they do they may rest \nassured they will never make anything worth looking at. " Never \ndespair," must be their motto ; for they must not expect that a \nrecreation which requires much practice and much care can be \nlearnt in as short a time as a piece of bread and butter might be \neaten. \n\nPLASTEE CASTS. \n\nThe reader must have admired the beautiful plaster casts of \nancient and modern gems that are so often to be met with in the \nhands of the Italian boys who frequent the streets. The art of \nworking in plaster may be acquired with little trouble, and if the \nreader will follow our instructions he may, after a few failures, pro- \nduce copies of coins and medallions quite equal in point of execution \n\nt2 \n\n\n\n68 MODELLING. \n\nto those sold at the best figure-shops. The common plaster of Paris \nused by builders to form stucco should only be employed for mould- \ning large objects. Small works of art must be formed of superfine \nplaster, which is not expensive, and can be purchased from the \nItalians. \n\nSulphur Moulds, \xe2\x80\x94 The sharpest and best moulds of medals or \nsmall bassi relievi are formed of sulphur. To make a sulphur mould, \nthe coin, or other body of which the mould is to be made, must be \nslightly oiled on the surface with a piece of cotton wool ; it is then \nto be surrounded with a rim, composed of a ribbon of stiff paper or \npasteboard, the end of which may conveniently be secured by a \nsmall cleft stick. A little roll brimstone must now be put in an \nearthen pipkin, or any other suitable vessel, and melted by a very \nslow and gentle heat ; when quite liquid it is to be poured steadily \nupon the coin. In a few minutes the liquid sulphur will congeal \ninto a semi-transparent mass, which when perfectly cold may be \ndetached from the coin ; the mould thus formed will be found to be \na perfect counterpart of the original. Should the sulphur, while on \nthe fire, become inflamed, it must be extinguished by covering the \nvessel with a piece of wood or a small plate ; should it become thick \nand dark- coloured it must be removed from the fire, and placed \naside until it reassumes the solid form, when it may be carefully re- \nmelted. Sulphur ought never to be poured on a silver coin, as it \ncombines with the metal and forms a black powder, known to the \nchemist as sulphide of silver. The blackening of a silver spoon by \nan egg is due to the sulphur which the egg contains. \n\nWax Moulds. \xe2\x80\x94 The wax used for forming moulds is the common \nwhite wax, or the ends of wax candles. It should be melted in a \npipkin or small jug, and kept on the hob until required. The medal \nmust be very slightly oiled, and fitted with a rim of paper. The \nmedal should be warmed before the hot wax is poured on to it, and \nthe wax should not be removed for some hours, as it is a long time \ncooling. Very sharp moulds may be obtained with wax, but they \nare not equal to those of sulphur. \n\nPlaster Moulds. \xe2\x80\x94 ^These moulds should be saturated with wax or \ntallow by standing them in a saucer containing these substances in a \nmelted state. We shall describe how the plaster is to be worked \nwhen we speak of taking casts. \n\nElastic Moulds. \xe2\x80\x94 There are some medallions which could not be \nremoved from ordinary moulds on account of their high relief ; these \nmay be readily moulded by a composition which will stretch while \nbeing removed, and afterwards return to its original form. To \npi\'epare this elastic composition, three parts of treacle are to be \nincorporated with twelve parts of glue that has been carefully melted. \n\nMaking the Casts. \xe2\x80\x94 The moulds are to be prepared by slightly \noiling their surfaces with olive oil. Some water is now to be put into \na basin, and then a little plaster of Paris added. When the plaster \nhas been SDrinkLedln, all the water which floats above it must be \n\n\n\nMODELLING. 69 \n\npoured off, and the plaster, which will now be found as thick as \nhoney, stirred about with a silver spoon, or anything not made of \niron. About a tea-spoonful of the plaster is now placed in each \nmould, and brushed into all the depressions with a small stiff- haired \nbrush. This operation prevents the formation of air bubbles, and is \nbest performed by holding the brush upright, and gently beating the \nplaster with the points of the hairs. Befoi-e the plaster begins to \nset or harden, each paper ribbon surrounding a mould is to be filled \nup to the requisite height, and immediately after the bottom of the \nmould is to be gently tapped upon the table four or five times. The \ncasts are now completed, and will in a few minutes become suffi- \nciently hard for removal, when they will only require to be trimmed \nwith a knife round their edges and then gradually dried. The time \nrequired by plaster of Paris to set varies according to circumstances. \nWhen very fresh, it may take about five minutes to set ; when a \nlittle older, it will sometimes set so rapidly that it is extremely diffi- \ncult to use it quick enough ; and when still older, it will sometimes \nlose its power of setting altogether, and become rotten and wholly \nunfit for use. When once plaster has begun to set it should not be \ndisturbed. Plaster can never be mixed up a second time, and there- \nfore the basin, spoon, and brush ought always to be carefully washed \nbetween each casting. \n\nColouring the Casts. \xe2\x80\x94 Plaster medallions are sometimes co- \nloured to represent cameos, but we much prefer them untouched. \nIn painting them, the figures and prominences are left white, and \nthe flat ground is coloured either with emerald green, smalt blue, \nor lampblack, made glossy by the addition of gum water, and laid \non with a camel\'s hair pencil. \n\nPolishing the Casts. \xe2\x80\x94 A strong solution of white curd soap in \nwater is poured into a saucer, and the face of the medallion is im- \nmersed in it three or four times, being allowed to dry for a minute or \ntwo between each immersion. The medallion is now put aside until \nthe next day, when its surface is to be gently rubbed with a small \npiece of wadding, or loose cotton, till it assumes the glossy appear- \nance of polished marble. We do not recommend the juvenile artist \nto polish all his casts in this manner, as the dead white of the un- \ntouched plaster is extremely beautiful. \n\nBronzing. \xe2\x80\x94 Bronzing is tnat process by which plaster casts are \nmade to resemble copper or brass. By means of a soft brush the \ncast is to be covered with a thin film of gold size. When the size \nis nearly dry, bronze poioden, which may be procured at any of the \ncolour shops, must be dabbed over the surface of the cast with a piece \nof cotton wool. The loose powder may be rubbed off with a soft dry \nbrush as soon as the size is perfectly hard. If antique bronze is to \nbe imitated, the whole of the cast must be painted dull green, and \nthe metallic powder only be applied to the most prominent parts. \n\nWe have confined our remarks to the simplest branch of the art \nof working in plaster, namely, the production of copies of small \n\n\n\n70 \n\n\n\nMODELLING. \n\n\n\nbassi rellevi, as it woiild be impossible, without overstepping our \nlimits, to describe how vases, busts, and statues are cast. \n\nVEGETABLE CAEVING. \n\nA very few words will exhaust this subject. If the reader ever \namused himself by constructing a tut nip- lantern, he must have ob- \nserved how readily the vegetable yielded to his knife. Turnips, \ncarrots, and apples are capital things for the youthful sculptor to \nexercise his skill upon, and with patience he may succeed in turning \nout some very elegant objects. We have seen a bouquet of imitation \nflowers, formed of carrots, beets, and turnips, that presented a most \nnatural appearance. A chrysanthemum may be carved out of a \ncarrot, a camelia out of a small white turnip, and a damask rose out \nof a beet. Other natural objects may be imitated in carved fruit and \nvegetables by an ingenious lad, and if he has a taste for the grotesque, \nhe may try his plastic skill on caricatures of his friends. \n\n\n\n\nM TOtTNG ABCHITEGT. \n\n\n\n71 \n\n\n\nTHE DEAF AND DUMB ALPHABET. \n\n\n\n\nPETEB POIfCE, THE FIHST TEACHER OE THE DEAE A]?D DUMB, \nIKSTETTCTIKa A BOX. \n\nAmongst the many useful inventions which have been planned for \nthe solace of individuals deprived of some portion of their senses, the \nart by which deaf and dumb persons are taught to express their own \nthoughts, and to comprehend those of others, is one of the most \nnoble. The earliest attempt at a method of teaching the deaf and \ndumb was made in Spain, towards the end of the sixteenth century, \nby a Benedictine monk, named Peter Ponce ; and without doubt, be \nmust have formed his idea from observing the natural propensity of \nthe dumb to supply the want of the organs of speech by making \nsigns. After the essay of Peter Ponce, many successful trials were \nmade, and in 1692, John Conrad Amman, a Swiss physician, re- \nduced the plans to a fixed method, or art, and published the scheme \nof it at Amstelod. The first asylum for the deaf and dumb in \nLondon was founded in the year 1792. \n\n\n\nTHE ALPHABET. \n\n\n\n\nqHy/) -^ is expressed by touching the top of the thumb \nfijT \xc2\xb0^ ^^\xc2\xae ^^^^ ^^"^<^\' ^^^ *^\xc2\xae forefinger of the right. \n\n\n\nB. Join the forefinger and thumb of each hand, \n^and place the backs of the forefinger nails together. \n\n\n\nTHE DEAF AND DUMB ALPHABET. \n\n\n\nC. Bend the fingers and thumb of the left hand, so \nI to foim three parts of a circle. \n\n\n\n\n\n\n\n\nD. Bend the fingei-s and thumb of the right hand \ninto a semicircle, and then join them to the forefinger \nof the left, which keep in a straight line. \n\n\n\nE. Touch the top of the forefinger of the left hand \nwith the forefinger of the right. \n\n\n\nF. Place the forefinger of the right hand across \nthe backs of the first and second fingers of the left. \n\n\n\nG. Clench both hands, and put one fist upon the \nother. \n\n\n\n\' H. Pass the palm of the right hand across that \nof the left, sweeping it along to the tips of the fingers. \n\n\n\n\n\n\n\nas if brushing something off. \n\n\n\nI. Touch the top of the second finger of the left \nhand with the forefinger of the right. \n\n\n\nJ. Clench the hands together, as directed for the \nletter G. \n\n\n\nK. Form a semicircle with the thumb and \nforefinger of the right hand, and join it to the \nforefinger of the left, which must be kept straight \nout, both forefingers must meet at the second \njoints. \n\nL. Place the forefinger of the right hand \nacross the centre of the palm of the left, so that \nthe top of the finger may be exactly in the middle \nof the palm. \n\n\n\nTHE DEAF AND DUMB ALPHABET. \n\n\n\n73 \n\n\n\n\nM. Place three fingers of the right hand flat \nupon the palm of the left. \n\n\n\n>^;^^^\\V N. Place two fingers of the right hand flat upon \n<^^^^^S the palm of the left. \n\n\n\n\nO. Touch the top of the third finger of the left \nhaiid with the forefinger of the right. \n\n\n\n\n\nP. Place the tops of the forefinger and thumb of \nthe left hand in a semicircular form against the first \nand second joints of the forefinger of the right, which \nshould be kept straight. \n\n\n\nQ. Form a circle with the forefinger and thumb of \nthe left hand, and then curve the forefinger of the right \ninto the shape of a hook, and place it exactly where the \nother fingers join. \n\n\n\n\nE. Bend the forefinger of the right hand and rest it \n\\y<iN on the palm of the left. \n\n\n\n\nS. Bend the little finger of each hand and lock them \n/|^)u together. \n\n\n\nT. Fix the tip of the forefinger of the right hand \nagainst the middle of the lower edge of the left. \n\n\n\n74 \n\n\n\nTHE DEAF AND DUMB ALPHABET. \n\n\n\n\nTJ. Touch the top of the little finger of the \nleft hand with the forefinger of the right. \n\n\n\nV^ "^* ^^^^^ *^\xc2\xae fi^s* ^^\'l second fingers of the right \nhand apart, upon the palm of the left. \n\n\n\n\nW. Lock the fingers of one hand between \nthose of the other. \n\n\n\nX. Cross the forefingers at the second \n\n\n\njoints. \n\n\n\n\nY. Extend the thumb and forefinger of the left \n/A r.\\J/ hand, and at the lower part of the fork so made, place \n\n^.P/ \'Sn the forefinger of the ricrht hand. \n\n\n\nZ. Elevate one hand towards the face, and rest the \nelbow upon the palm of the other. \n\n\n\nThe end of every sentence is indicated by snapping the second \nfinger and thumb of the right hand. This is requisite to avoid the \nconfusion which might result from running the sentences into each \nother. \n\nTHE NUMBEKS \n\nAre denoted by holding up one finger to signify 1, two fingers for 2, \nthe open hand for 5, both hands for 10, and so on. \n\n\n\n75 \n\n\n\n\nThe ancients believed that the monster Sphynx was the inventor \nof riddles. The one she proposed for solution was this: \xe2\x80\x94 "What \nanimal is that which goes upon four legs in the morning, upon two \nat noon, and upon three at night ?" Many persons strove to ex- \nplain it, but failed, and were torn to pieces by her ; at length, \nOEdipus, the son of Laius, king of Thebes, solved it, by saying that \nthe animal was a man, who in the infancy or morning of his life \ncreeps upon his hands and feet, and so goes on all fours ; in the noon \nof his life walks on two feet ; and in the waning evening and night \nof old age, requires a stick, and so totters upon three legs. The \nSphynx, enraged at the discoveiy of her riddle, threw herself from \na rock and died. \n\nSuch is the fabled history of the first riddle ; the true is not \nknown, as riddles are of remote antiquity ; but we find from Plu- \ntarch, that in his days, the Greek girls often amused themselves \nwith proposing them for their companions to unravel. For a party \nof merry roysterers clustered round a cheerful flickering fire, no \namusement is better calculated than a batch of enigmas and riddles, \nas they possess enough point to rivet the attention of all as to their \nprobable meaning, and sufficient humour to provoke many a hearty \nlaugh. \n\nIn addition to the ordinary fireside riddles, we give two specimens \nof acting charades, to show how these amusing dramatic puzzles may \nbe performed either in dumb show or extemporaneous dialogue. \n\n\n\n\'Twas whispered in heaven, \'twas muttered in hell. \nAnd echo caught faintly the sound as it fell ; \nOn the confines of earth \'twas permitted to rest, \nAnd tho depths of the ocean its presence confess\'d. \n\n\n\n76 THE EIDDLEE. \n\n\'Twill be found in the sphere, when \'tis riven asunder; \n\'Tis seen in the lightning and heard in the thunder ; \n\'Twas allotted to man from his earliest breath, \nIt assists at his birth and attends him in death ; \nPresides o\'er his happiness, honour, and health ; \nIs the prop of his house, and the end of his wealth. \nIn the heap of the miser \'tis hoarded with care, \nBut is sure to be lost in his prodigal heir. \nIt begins every hope \xe2\x80\x94 every birth it must bound ; \nIt prays with the hermit, with monarchs is crowned. \nWithout it the soldier and seaman may roam. \nBut woe to the wretch that expels it from home. \nIn the whispers of conscience \'tis sure to be found, \nNor e\'en in the whirlwind of passion is drown\'d ; \n\'Twill soften the heart, though deaf to the ear, \xe2\x80\x94 \n\'Twill make it acutely and constantly hear ; \nBut in short let it rest; like a beautiful flower \n(Oh, breathe on it softly), it dies in an hour. \n\n2. A word of one syllable, easy and short. \n\nWhich reads backwards and forwards the same ; \nIt expresses the sentiments wann from the heart, \nAnd to beauty lays principal claim. \n\n3. A word there is five syllables contains. \nTake one away, no syllable remains. \n\n4. Places of trust I oft obtain. \n\nAnd protect the house from vermin ; \nI act as shepherd on the plain, \n\nAnd at fairs I\'m shown for learning : \nIn northern climes a horse I\'m seen, \nAnd a roasting-jack I, too, have been ; \nStrange as it seems, it\'s no less true. \nThat I eat on four legs, and beg on two. \n\n5. Soon as I\'m made I\'m sought with care ; \nFor one whole year consulted ; \n\nThat time elapsed, I\'m thrown aside, \nNeglected and insulted. \n\n6. The beginning of eternity. \n\nThe end of time and space; \nThe beginning of every end. \nAnd end of every place. \n\n7. A man once launched a vessel large. \nAnd live stock, too, he took in charge ; \nHe did not barter, huj, nor sell ; \nWhichever wind blew, pleased as well ; \nHe sailed at random, was to no port bound. \nHis only wish was soon to run aground. \n\n\n\nTHE EIDDLEE. 77 \n\n8. I\'m slain to be saved, with much ado and pain, \nScattered, dispersed, and gathered up again, \nWithered, though young ; sweet, yet p\xc2\xbb"aerfumed. \nAnd carefully laid up to be consumed. \n\n9. What pleases in the air, and what a horse aoes not like, gives \nthe name of a flower. \n\n10. Half a carman, and a whole country, will form the name of a \nbeautiful flower. \n\n11. What is the longest and yet the shortest thing in the world, \n\xe2\x80\x94 the swiftest, and yet the slowest, \xe2\x80\x94 the most divisible and the most \nextended, \xe2\x80\x94 the \' least valued and most regretted, \xe2\x80\x94 without which \nnothing can be done, \xe2\x80\x94 which devours everything, however small, and \nyet gives hfe and spirits to every object, however great? \n\n12. What is that we receive without being thankful for, \xe2\x80\x94 which \nwe enjoy without knowing how we received it, \xe2\x80\x94 which we give away \nto others, without knowing where it is to be found, \xe2\x80\x94 and which we \nlose without being conscious of our loss ? \n\n13. There is a thing was three weeks old. \n\nWhen Adam was no more ; \nThis thing it was but four weeks old. \nWhen Adam was fourscore. \n\n14. I\'m found in loss, but not in gain, \n\nIf you search there \'twill be in vain ; \nI\'m found in hour, but not in day ; \nWhat I am, perhaps, you now can say. \n\nCHARADES. \n\n1. Ever eating, never cloying, \nAll devouring, all destroying. \nNever finding full repast \nTill I eat the world at last, \n\n2. My first is four-sixths of a step that is long. \n\nMy second\'s a person of state ; \nMy whole is a thing that is known to be wrong. \nAnd is a strong symptom of hate. \n\n3. Without my first you cannot stand. \nMy second, beauteous fair command ; \nTogether I attend your will. \n\nAnd am your humble servant still. \n\n4. My first gave us early support. \n\nMy next is a virtuous lass ; \nTo the fields, if at eve you resort. \nMy whole you will probably pass. \n\n\n\n78 THE BIDDLEE. \n\n5. In every hedge my second is, \n\nAs well as every tree ; \nAnd when poor schoolboys act amiss, \n\nIt often is their fee. \nMy first, likewise, is always wicked, \n\nYet ne\'er committed sin ; \nMy total for my first is fitted, \n\nComposed of brass or tin, \n\n6. My first\'s a prop, my second\'s a prop, and my whole\'s a prop. \n\n7. What a running stream does, and the first syllable of error, \ngives a production of nature. \n\n8. My first, if you do, you won\'t hit ; \nMy next, if you do, you will have it ; \nMy whole, if you do, you won\'t guess it. \n\n9. My whole is under my second, and surrounds my first. \n\n10. My first I hope you are, ray second I see you are, and my \nwhole I am sure you are, \n\n11. My first is the cause of my second, and my whole is made \nsacred by God. \n\nCONUNDRUMS. \n\n1. Why is an undutiful son like one born deaf? \n\n2. Why ai-e the pages of a book like the days of man ? \n\n3. Why is a king like a book ? \n\n4. Why is a leaf of a tree like the human body ? \n\n5. What is that which is lengthened by being cut at both ends \n\n6. Why is a loltypop like a horse ? \n\n7. When is an alderman like a ghost ? \n\n8. What animal was in existence before the creation ? \n\n9. What is that which the dead and living do at the same time \n\n10. Where did the witch of Endor live ? \n\n11. How many sides are there to a tree ? \n\n12. What\'s that which every living man hath seen. \nBut never more will see again, I ween ? \n\n13. Why was Noah in the ark like a disappointed rat-catcher? \n\n14. Why are three couples going to church like a child\'s penny \ntrumpet ? \n\n15. Why is your nose like St. Paul\'s ? \n\n16. When do your teeth usui-p the functions of the tongue ? \n\n17. What street in London puts you in mind of a tooth, which \nhas pained you for a long time ? \n\n18. Why does an aching tooth impose silence on the suflFerer ? \n\n19. To what town in Poland should you go to have it extracted? \n\n20. Which of your teeth are like a dressmaker\'s fingers and \nthumb, when she is cutting out a dress ? \n\n\n\nTHE EIDDLEE. 79 \n\n21. Why is a pack of cards, of only fifty- one in the pack, sent \nhome, like a pack of cards of fifty-two ? \n\n22. Which is the oldest tree in England ? \n\n23. Why is a man in debt like a misty morning ? \n\n24. Why are feet like olden tales ? \n\n25. Where was Adam going, when he was in his thirty- ninth \nyear ? \n\n26. AVhy is an image on a pedestal, like a Hackney coach, when \ndisengaged ? \n\n27. Why are fish in a thriving state like fish made to imitate \nthem ? \n\n28. Tom went out, his dog with him ; he went not l\xc2\xbbefoi-e, be- \nhind, nor on one side of him, then where did he go ? \n\n29. What question is that to which you must answer yes ? \nSO. Why does a miller wear a white hat ? \n\n81. In what respect does a bad governess differ from a good one ? \n\n32. Why are lovers\' sighs like long stockings ? \n\n33. Why is a nail fast in the wall like an old man ? \n\n34. Why is a man standing on a fishmonger\'s shop, like a busy \nmeddling fellow ? \n\n35. What is the most difficult thing in the world ? \n\n36. WTiy are some great men like glow-worms ? \n\n37. When is a door not a door ? \n\n38. Why is an orange like a church steeple ? \n\n39. What word is that, to which if you add a syllable, it will \nmake it shorter ? \n\n40. Why is life like a publican\'s door-post ? \n\n41. What letters of the alphabet are likely to come too late for \ndinner, supposing the whole to be invited ? \n\n42. Why are two men fighting a duel like a garden railing ? \n\n43. Why is swearing like an old coat ? \n\n44. What is that which a coach cannot move without, and yet is \nnot of the least use to it? \n\n45. Why are fixed stars like pens, ink, and paper? \n\n46. Why is a jest like a fowl ? \n\n47. Why is the sun like a man of fashion ? \n\n48. What do we all do when we first get into bed ? \n\n49. When is a nose not a nose ? \n\n50. What thing is that that is lower with a head than without \none? \n\n51. Why is a cobbler like a king ? \n\n52. Why is a cherry like a book ? \n\n53. Who was the first that bore arms ? \n\n64. What river is that which runs between two seas ? \n\n55. When is the river Thames good for the eyes ? \n\n56. What place should a glutton be sent to ? \n\n57. Why is a watchman like a mill-horse ? \n\n58. What wig cannot a barber make ? \n\n59. Why is an inn like a burial ground ? \n\n60. When is a sailor not a sailor ? \n\n\n\n80 THE EIDDLEE, \n\n61. Of what trade is the sun ? \n\n62. Where should a starving man be sent to f \n\n63. Who was the first whistler ? \n\n64. What tune did he whistle? \n\n65. Why are real friends like ghosts ? \n6Q. Why is Satan like a poker ? \n\n67. When is a man not a man ? \n\n68. What bird is a pedlar like ? \n\n69. When is a sailor like a corpse ? \n\n70. Make V. less by adding to it ? \n\n71. Why is a widow like a gardener ? \n\n72. Why is a hired landau not a landau ? \n\n73. Why is a tight boot like an oak tree 1 \n\n74. What two letters of the alphabet make a philosopher ? \n\n75. Why are your nose and chin always at variance. \n\n76. When you go to bed, why are your slippers like an unsuc- \ncessful man ? \n\n77. What is that which is sometimes with a head, sometimes \nwithout a head, sometimes with a tail, sometimes without a tail, and \nsometimes without either head or tail ? \n\n78. Why is the largest city in Ireland likely to be the largest \nplace in the world ? \n\n79. Why is a bad epigram like a poor pencil ? \n\n80. Why is one who lives by cheating sharper than the \nsharpest ? \n\n81. How do you swallow a door ? \n\n82. Why is a fruit pie like old port ? \n\n83. What is sharper than a razor ? \n\n84. Why is a thump like a hat ? \n\n85. Why ought a fisherman to be very wealthy ? \n\n86. If a fender and fire-irons cost three pounds, what will a ton \nof coals come to ? \n\n87. Why is a summer\'s day like a passionate man ? \n\n88. Who was the father of Zebedee\'s children ? \n\n89. Why is the Monument like a proud man ? \n\n90. Why is a key like a hospital ? \n\n91. Why is a drawn tooth like a thing forgot ? \n\n92. Why is a good man like a bright jewel ? \n\n93. Why is an apothecary like a woodcock ? \n\n94. Why is it better to have friends than to want them ? \n\n95. What is that which is often brought to table, often cut, but \nnever eaten ? \n\n96. Why is a gaoler like a musician ? \n\n97. What is that which lives in winter, dies in summer, and grows \nwith its root upwards ? \n\n98. In what place did the cock crow when all the world could \nhear him ? \n\n99. Why is the soul like a thing of no consequence ? \n\n100. If you throw a man out of a window, what does he fall \nagainst ? \n\n\n\n81 \n\n\n\nACTING CHARADES. \n\n\n\nI. Charade ix Dumb Show. - \n\nPIRST SYLLABLE. \n\nScene. \xe2\x80\x94 A Dining-room. \n\nEnter Mr, Jones. He appears to be expecting some one, looks at \nhis watch, goes to window and looks out. A knock is heard at \nthe street-door, immediately after John Thomas ushers in Messrs. \nSmith, Brown, and Green. Mr. Jones appears very glad to see \nthem, holds a short conversation with them, and then invites them to \nbe seated at table. He rings the bell. John Thomas enters, and \nafter receiving his orders from Mr. Jones, goes out, and re-enters \nwith two bottles of wine. They all drink, and after a short time \nappear one by one to feel rather unwell. Mr. Jones at last begins to \nshare their uncomfortable sensations. He questions them with his \nlooks. They express that they feel very ill, and point to the wine. \nMr. Jones takes up his glass, examines and smells it, then rings the \nbell. John Thomas enters, Mr. Jones points to the wine. John \nThomas shakes his head. Mr. Jones gets very angry. John Thomas \nat last expresses that he shook it well before bringing it in, at which \naU the gentlemen rush at him, infuriated, and turn him out of the \nlom. \n\nSECOND SYLLABLE. \n\nScene \xe2\x80\x94 A Parlour. \n\nEnter Johnson. He expresses that he is in great distress, and \nappears frightened at every noise. There is a loud knock at the \ndoor ; he starts and goes, trembling, to open it. Enter Hardman (a \ntax-gatherer). He has a noce-book in one hand and a pen in the \nother. Johnson makes him understand that he has no money. \nHardman insists upon being paid. Johnson turns his pockets inside \nout, they are quite empty. Hai\'dman threatens, and points to the \nfurniture. Johnson endeavours to pacify him. Hardman rushes \nout, and returns with Spivins and Smithers, who immediately com- \nmence taking an inventory of Johnson\'s goods. Johnson is in the \ngreatest distress, when there is another knock at the door. Johnson \nopens it and Charley Eastman enters, shakes hands with Johnson, \nappears delighted to see him, looks round and sees Hardman and the \nothers ; looks inquiringly at Johnson, who explains the state of the \ncase to him. Charley immediately takes out his purse and pays \nHardman the money. Hardman, Spivins, and Smithers withdi-aw ; \nJohnson and Charlev embrace. \n\n\n\n82 ACTING CHAEADES. \n\nTHE WHOLE WORD. \n\nScene \xe2\x80\x94 The Studio of a FhotograpJdc Artist. \n\nEnter Mr. Horatio Wilkins and William (his assistant), they com- \nmence arranging the apparatus and the room ; when they have I \nfinished, William goes out and returns with Mr. Eobinson and his \ntwo sons, Tommy and Johnny, Mr. Wilkins receives them with \nvery low bows, and arranges them in an artistic attitude ; he then \nproceeds to photograph them, but when he covers his head with a black \ncloth to look through the camera, Johnny gets up and goes to see \nwhat he is doing. Mr. Wilkins has then to rearrange them. He \nthen takes a picture of them and shows it to Mr. Robinson, who ex- \npresses great dissatisfaction. Mr. Wilkins, rather annoyed, begins \ntaking another, when William walks right in front of the camera, \nMr. Wilkins, in a great rage, kicks him out of the room. Tommy \nand Johnny jump up to look after him. Mr. Wilkins again ai\'- \nranges the group, and this time is successful in taking the picture ; \nhe then dismisses Mr. Robinson and his sons, and goes out after \nthem. \n\n\n\nII. Charade in Dialogue. \n\nFIRST SYLLABLE. \n\nScene \xe2\x80\x94 Mr. Honey dew\'s Parlour. \nEnter Mr. Honeydew, Charles, and Fred. \n\nMr. H. Well, my dear fellows, I am delighted to see you. But \nwhat makes Harry so late I wonder ? \n\nGhas. Oh ! he\'ll be here directly, I have no doubt. We saw his \nbrougham at the door when we passed his club. \n\nMr. H. That\'s all right. By the bye an idea strikes me, I dare \nsay he will allow his coachman to drive round to Cavendish-square \nto fetch my wife home. It will save the trouble of having my horses \nput in the carriage again to-night. {Rings hell. Enter Pat.) Pa- \ntrick, when Mr. Bellamy comes, ask his coachman to be so kind as \nto go to No. 728, Cavendish Square, to fetch your mistress, if con- \nvenient to Mr. Bellamy, and show him up. \n\nPat. Yes, sir. \n\nMr. H. And if anyone else comes show them up. (^^ii Pat.) I \nam sure you fellows must be cold this bitter night ; we\'ll have some \nhot brandy- and- water to warm us. {Rings hell. \xe2\x80\x94 Enter Pat.) Some \nboiling water, Pat. \n\nPat. Yes, yer Honour \xe2\x80\x94 will I bring it hot or cold ? \n\nMr. H. Why, hot, of course, stupid. [Exit Pat. \n\nFred, {laughing. ) Your sei-vant seems rather a bright specimen. \n\nMr. H. Yes, wild Irish, only just caught. \n\n[Re-enter Pat, vnth hettle. There is a Tcnoclc at the street-door, \nhep.its the hettle on the carpet and rusJies out. \n\n\n\nACTING CHABADES. 83 \n\nMr. H. {\'picking wp the kettle and taking it to the fire-place.) Good \nheavens ! I never shall be able to keep this fellow. \n\nBnter Pat, itshering in Coachman. \n\nMr. H. Who is this, pray ? \n\nCoachman. If you please, sir, I am Mr. Bellamy\'s coachman. \nYour servant said you wanted to see me. \n\nMr. IT. I don\'t want to see you. {To Pat.) Didn\'t you give \nhim my message ? \n\nPat. Sure, sir, I gave the message to Mr. Bellamy, and he\'s \nwalked off to fetch the missis, and I showed the coachman up, as \nyer honour tould me. \n\nMr. H. {to Pat). Oh, you idiot \xe2\x80\x94 get out of my sight. {Exit Pat. \nHastily to Coachman.) Eun after Mr. Bellamy, and tell him to come \nback ; it\'s a mistake. {Exit Coachman.) I\'ll give that fellow notice \nto leave ; I\'ll not have him in the house. \n\n{Rings the tell; at the same moment there is a knock at the \nstreet-door. Enter Pat. \n\nPat. Please yer honour, which shall I answer fii-st, your bell or \nthe street-door ? \n\nAir. H. The door, stupid. [Exit Pat. \n\nMr. H. I dare say this is poor Bellamy. [Enter Pat. \n\nPat. Please, it\'s Mr. Bellamy ; will I bring him up ? \n\nMr. H. {very angry.) Yes, instantly. {Exit Pat.) The stupid \ndolt. [Pat shoivs in Mk, Bellamy. \n\nMr. B. {shakvng hands with Mb. H.) My dear fellow, what is \nthe meaning of all this ? I come here in my brougham, and imme- \ndiately I alight at your door your servant tells me that you will be \nmuch obliged by my fetching Mrs. Honeydew home. This request \nappeared to me singular, but, with my usual good nature, I complied \nwithout hesitation. I had not advanced many yards w^hen, to my \ngreat astonishment, I was suddenly seized from loehind by my own \ncoachman, who requested me to return, which I accordingly did, \nand when I did return was most unceremoniously left standing on \nthe door-mat. Pray, explain. \n\nMr. E. {almost breathless with indignation.) I will, my dear \nfellow, in a few moments ; allow me to calm my ruffled temper a \nlittle first ; and before I do anything else, I must go and expel that \nwretched man. \n\n[As he is going out, Pat comes in, and nearly knocks him over. \n\nPat. Och ! master, dear ; I hope you didn\'t hurt me. \n\nMr. H._ Hurt you, rascal ! How dare you show your face to me \nagain ? What do you want now ? \n\nPat. Well, sir, it\'s the bootmaker as is come. Will I show him \nup? \n\nMr. H. {in a great rage.) Show him up, you scoundrel ? No ; \nand if you dare to show yourself again to-night in this room I\'ll turn \nyou out of the house. Be off ! [Exit Pat. \n\nFred. My dear Honeydew, don\'t excite yourself so. I assure you \nI find the fellow very amusing. \n\ng2 \n\n\n\n84) ACTING CHAEADES. \n\nMr. H. Amusing ! I know he will drive me mad before he goes. \nCha . Poor Honeydew ! I propose that we all go out for a walk, \nthe fresh air may cool his fevered mind. \n\nMr. B. Yes ; let us go and fetch Mrs. Honeydew. \n\nMr. H. Oh ! anything to get out of his reach. Let us go. \n\n[ They all go out. \n\nSECOND SYLLABLE. \n\nScene \xe2\x80\x94 A Street. \nEnter Tomkins and Jenkins. \n\nTom. Is not this fearful news ? \n\nJen. It fs, indeed. \n\nTom. What is to be done to put a stop to such proceedings ? \n\nJen. Ah ! what 1 \n\nTom. Shall we not prove ourselves men, and strike against such \ntyranny ? \n\nJen. We will. \n\nTom. But how shall we begin ? \n\nJen. Ah ! How ? \n\nTom. Here comes Dobkins ; perhaps he can advise us. {Enter \nDoBKTNS and Simkins.) Oh ! Dobkins, shall we suffer this ? \n\nDoh. What? \n\nTom. {surprised.) What ! \xe2\x80\x94 you have not heard ? \n\nBoh. Heard what? \n\nTom. {tragically.) Listen. You know, Dobkins, how we have \nlong chafed under the oppression of the present Government, To- \nday the last straw has been laid upon the camel\'s back. I have \nheard from the most reliable source that there is to be a tax on \nfcandpaper. \n\nDoh. and Sim. {astounded.) No! \n\nTom. It is too true. {They all groan.) But say, shall we stand it ? \n\nA II. Never ! \n\nTom. Then let us act at once. How shall we begin ? \n\nAll. Ah! How? , \n\nTom. I have it. We will plant our standard here, and cry, Dowil \nwith an oppressive Government ! \n\nDoh. We will ; but where shall we get the standai-d ? \n\nTom. Here. {He takes a coloured pocTcet-handkerchief from his \npocket, and commences tying it on to his walking-stick.) If we could \nbut get up the pavement, we would immediately raise a barricade, \nand hundreds would rally round our banner. \n\nDoh. Oh ! for a pavior. \n\nTom. Alas ! they are all in the pay of that Government which it \nis our mission to overthrow, and will not desert it so long as they get \ntheir wages. \n\nJen. Stay ! If you want a barricade I will be generous \xe2\x80\x94 ^you \nmay have all my furniture towards it. I will go and fetch it. \n\nTom. Go ! Noble Jenkins. [Exit Jenkins. \n\n\n\nACTING CHAEADES. 85 \n\nDob. Go, brave man ! How happy lie who sacrifices his all in \nthe cause of freedom. \n\nTom. Let us all take Jenkins for an example, and give our all for \nthe great cause. We who have no furniture can give our lives. \n\nAll. We can. \n\n[Re-enter Jenkins with an old chair and a gridiron. \n\nBoh. Nobly done, brave Jenkins. \n\n\\_Tliey all shake hands with Jen, \n\nTom. {grasping Jenkins hy the hand, andmihch agitated.) Jenkins, \nyou will have your reward. Your noble-hearted deeds will be \nhanded down to posterity, and tears will dim the eyes of our great- \ngrandchildren when they hear related the noble self-denial of \nJenkins. [Jenkins weeps. \n\nDoh. {taking the gridiron, and placing it on the ground.) Let this \nbe the foundation of the great barrier which will put a stop to the \nprogress of despotism. \n\nTom. {placing flag upon the gridiron.) Here we take our stand. \n{The others group themselves round.) The tyrants may send their \nmyrmidons to disperse us, but shall they do so ? \n\nAll. No! no! \n\nTom. We will never flinch. \n\nAll. Never ! \xe2\x80\x94 Never ! \n\nTom. Then let us make our opinions known. Shout, my brave \nconfederates. \n\n[All shout, \'^ Down with the Government.\'^ \xe2\x80\x94 Enter Biffins, a \npoliceman. \n\nBiff. Now, then, what\'s all this noise about \xe2\x80\x94 eh ? \n\nTom. Begone, base miscreant ! \n\nBiff. Don\'t you get a- calling of me names, \'cos I wont stand it \xe2\x80\x94 \nthat\'s all. Come, move on. \n\nDob. Never, at your command. \n\nBif. We\'ll see about that. Come, move on with your rubbish. \n\n[Takes out his staff. \n\nTom. Do not attempt violence, man. Do you not see we are four \nto one ? \n\nBiff. What, you\'re going to turn obstropolus, are you? Very \nwell. [Exit. \n\nTom. Ha ! ha ! See how the paid mercenary of the oppressor is \ncowed before the lion spirit of the friend of freedom. \n\n[Re-enter Biffins with head-constable. \n\nBiff. Them\'s the parties, sir. \n\n[Jenkins and Simkins slink behind the other two. Tomkins \nstands in a defensive attitude. \n\nCon. Now, then, what is the meaning of all this ? \n\nTom. Down with the oppressor ! \n\nCon. Will you move on or will you not ? \n\nTom. Never I \n\nDob. Down with the Government ! \n\nCon. Oh \xe2\x80\x94 ha \xe2\x80\x94 that\'s what you\'re after, is it? Come, disperse, \nwill you ? \n\nDob. Never! \n\n\n\nbb ACTING CHAEADES. \n\nCon. Biffins, do your duty ; take them into custody. \n\n[Biffins approaches them ; Tomkins strikes out at him. \nBiff. You see, sir, they wont be took. \n\nCon. Oh ! it\'s come to that, is it ? Biffins, read the Act. {He \ntakes the Riot Act out of his pocket, and gives it to Biffins. While \nhe is unfolding it the others slink off one by one, Tomkins the last. \nWhen they are all gone Constable looks round.) Holloa, Biffins, they \nare all gone ; you need not read it. \n\nBiff, (laughing.) I thought they\'d soon come to. \nCon. Well, I\'ll go ; you had better stop about here a bit, in case \nthey should meet again. \n\n[Exit. \xe2\x80\x94 Biffins walks up and down ; after a little while \nJenkins creeps in unseen by him, and endeavours to possess \nhimself of the gridiron which he has left behind him, ichich \nhe at length does while Biffins has his back turned; he then \nruns out; Biffins perceives him and runs out after him.. \n\nTHE WHOLE WORD. \n\nScene \xe2\x80\x94 Market-place at Altorf. \nEnter Verner and Furst. \n\nFurst. Well, Verner, this is an unfortunate affair. \n\nVer. What do you mean ? \n\nFurst. Have you not heard about poor Tell ? \n\nVer. What about him ? \n\nFurst. He was taken prisoner yesterday by some of Gesler\'s \nsoldiers. \n\nVer. That is very unfortunate. Poor Tell ! what will become of \nhim? \n\nFurst. He is to undergo his sentence to-day, but what that sen- \nrence is, is not yet known. \n\nVer. See, there are some people coming, and Gesler among them. \n\nFurst. I see Tell also. We will stay here ; we may be able to \nbefriend him. \n\n[Enter Gesler, Tell, Albert, and Fritz, a soldier. \n\nFritz. Well, my lord, what is to be done with these prisoners. \n\nGes. I am considering. I will tell you presently. \n\nTell, {aside to Albert.) Albert, don\'t say you are my son, there\'s a \ngood boy. Pretend we don\'t know each other. I\'ll make it all \nright. \n\nAlbert. Very well, pa. \n\nGes. Now I have got this famous rebel in my hands, I do not know \nwhat to do with him. {To Tell.) I hear you are a good shot with \nyour bow ; I should like to see a specimen of your skill. \n\nTell. Would you, indeed, then that is a very powerful reason for \nmy not showing you one. \n\nGes. How, slave. \n\nTell. I beg your pardon, were you alluding to me ? \n\nGes. This effrontery is unbearable. {To Fritz.) To prison with \nhim. \n\n\n\nACTING CHAEADES. 87 \n\nTell, {^putting Fkitz on one side.) No, thank you, one day of that \nwas quite enough. \n\nGes. A repetition of this impertinence, and I summon my guards. \nAlbert, {aside to Tell.) Better be civil, pa. \n\nTell. So I will, my dear. {To Ges.) You see I do not fear you \nvery much, because I know that if anything happens to me through \nyou, you will have all the mountaineers down upon you before you \ncan say Jack Robinson. \n\nGes. And you think I fear that ? (Aside.) Though I think, my- \nself, I had better take it into consideration. \n\nFurst, {tvJdspers to Tell.) Shall we try and rescue you. \nTell. No, thank you, old fellow, I dare say I shall be able to \nmanage it somehow. \n\n. Ges. I do not wish to be unmerciful, I\'ll tell you what you shall \ndo. You see that boy. {Points to Albeet.) He shall be placed against \nthat tree {points off). You shall stand here. An apple shall be \nplaned upon his head and you shoot at it. If you hit the apple you \nshall go free. If you fail, you die. \n\nTell. Very nicely an-anged. I am quite ready. Now, young \ngentleman {to Albert), take your place. {Aside to him.) I\'ll try and \nnot hit you, but if you see the arrow coming too low, duck your \nhead down. \n\nAlbert. All right, daddy, I am not afraid ; go in and win. \n\n[Fkitz leads Albeet off; he then brings Tell some arroics to \nchoose from. Tell tai:es two, hiding one in his dress. \nTell, {aside.) One for my little duck, the other, in case I fail, for \nthat great goose. {Looking at Geslee.) \n\n[ While Tell is arranging his bow and arrow, FuKST, Veknek, \nand Feitz, watch him tvith great interest. \nFritz. Two to one he misses. \nVer. Four to one he don\'t. \nFtirst. If he misses I\'ll be shot. \nVer. No ; but the boy will. \n\n[Tell stands in an attitude and shoots. They all hole out \neagerly. \nAlbert, {outside.) All right, governor ! \n\n[^Runs in xoith the apple in his hand with an arrow through it. \nAll but Geslee appUmd Tell, \nGes. {aside). This man is too dangerous to let him go ; I must have \nhim locked up again. {Aloud.) Fritz, seize your prisoner, and \naway with him to prison. \n\n[Fkitz advances towards Tell. Fuest and Veener interpose \nthemselves between them. \nFurst. Stop a moment, if you please. Hun, Tell ; your friends are \nwaiting for you. [Tell and Albert run off, \n\nGes. Stop them. {Calls out.) Stop thief ! \n\n[Fuest and Veener struggle with Feitz and Geslee a little \nivhile. \nVer. They\'re all safe by this time. Furst, let us go. \n\nFuest and Verner each gives his opponent a farewell kick, \nand then run off\'. Fritz and Gesler run after them. \n\n\n\n83 \n\n\n\nTHE \n\n\n\n\nTO THE \n\n\n\nENIGMAS, EIDDLES, ETC. \n\n\n\n1. The letter H. \n\n2. The eye \n\n3. Monosyllable \n\n4. A dog \n\n5. Ab almanack \n\n\n\n6. Letter E. \n\n7. Noah in the Ark \n\n8. Hay \n\n9. Lark-spur \n10. Car-nation \n\n\n\n11. Time \n\n12. Life \n\n13. The moon \n\n14. Letter 0. \n\n\n\n1. Fire \n\n2. Striking- \n\n3. Foot-man \n\n4. Milk-maid \n\n\n\nCHABASSS. \n\n5. Candle-stick \n\n6. Foot-stool \n\n7. Flow-er (flower) \n\n8. Mis-take \n\n\n\n9. Waist-coat \n\n10. Well-come (welcome) \n\n11. Sun-day. \n\n\n\nCOlfTTIfDBUMS. \n\n\n\nYour voice is lost on him \n\nBecause they are all numbered \n\nBecause he has pages \n\nBecause it has veins in it \n\nA ditch \n\nBecause the more you lick it, the \n\nfaster it goes \nWhen he is a gobbling (goblin) \nThe great shay-hoss ! (chaos; \nThey go round with the world \nAt Endor \n\nTwo, the inside and outside \nYesterday \nBecause it was forty days before he \n\nsaw ere-a-rat (Ararat) \nBecause they go too, too, too (two \n\nand two and two) \nBecause it is flesh and blood \nWhen they are chattering \nLong-Acre \n\nBecause it makes him hold his jaw \nPul-tusk \nIn-cisors \n\nBecause they\'re sent in-complete \nThe Elder-tree \nBecause he is full of dues (dews) \n\n\n\n35. \n\n\n\n42. \n\n\n\nBecause they are leg-ends (legends) \nIn his fortieth \nBecause it is on a stand \nBecause they are hearty-flsh-all (ar- \ntificial) \nOn the other side \nWhat does y-e-s spell \nTo keep his head warm \nOne miss-guides, and the other \n\nguides miss \nBecause they are high hose (heigh \n\nho\'s !) \nBecause it is t?jflrm \nBecause he is over a fish-house \n\n(officious) \nTo find out the most difficult thing \n\nin the world \nBecause it must be dark when they \n\nshine \nWhen it is a-jar \nBecause we have a peel from it \nShort (short-er) \nBecause it is chequered \nThose that eome after T. (U. V \n\nW. X. Y. Z.) \nBecause they\'re fencing \n\n\n\nKEY TO ENIGMAS, BIDDLES, ETC. \n\n\n\nBecause it\'s a bad habit \n\nNoise \n\nBecause they are stationary (sta- \ntionary) \n\nIt contains a merry-thought \n\nBecause it turns night into day \n\nMake an impression \n\nWhem it is a little radish (reddish) \n\nA piUow \n\nBecause his nose is above his chin \n\nBecause it is read (red) \n\nAdam \n\nThe Thames, which flows between \nChelsea, and Batters<?a \n\nWhen it is eye-water (high-water) \n\nTo Eat-on (Eton) \n\nBegause he goes his rounds \n\nAn ear-wig \n\nBfccause the weary traveller there \nfinds rest \n\nWhen he is a-board \n\nA tanner \n\nHimgary \n\nThe wind \n\nOver the hills and far away \n\nThey are often heard of, but seldom \nseen \n\nBecause he belongs to the fire-place \n\nWhen he\'s a-shaving \n\nA hawk \n\nWhen he is in the shrouds \n\nIV. \n\nBecause she tries to get rid of her \nv:3eds \n\n\n\nBecause it is a landau let \nBecause it produces a-corn (acorn) \nY. Z. (Wisehead) \nBecause words are constantly pass\xc2\xbb \n\ning between them \nBecause they are put-off till the \n\nnext day ! \nA wig \nBecause every year its doubling \n\n(Dublin) \nBecause it\'s got no point \nBecause he\'s a sharper \nBolt it \n\nBecause it is crusted \nHunger \n\nBecause it is felt \nBecause his is all net profit \nTo ashes \nBecause it is hot \nZebedee \n\nBecause it is lofty \nBecause it has wards in it \nBecause it is out of the head \nBecause all his actions are brilliant \nBecause he has a long bill \nBecause they are so hard to find \nA pack of cards \nBecause he fingers the keys \nAn icicle \nIn Noah\'s Ark \nIt is immaterial \nHis inclination. \n\n\n\nACTING CHAEADES. \n\nI. Port-rait {rate) \\ II. Pat-riot. \n\n\n\n\n90 \n\n\n\n\nThough in themselves "trifles light as air," puzzles and paea- \nDOXES are undoubtedly the result of much ingenuity on the part of \nthe contrivers, and certainly the cause of much patient investigation \non the part of those who attempt to solve them ; and since we have \nassumed the task of catering for every taste, we proceed to lay \nbefore our readers a selection of some of the most amusing and \nintricate puzzles we have been able to gather. \n\nIn the arrangement of them, at least of most of them, we have \nadopted a different system to that usually followed, for instead of \ngiving the solutions of the puzzles immediately after the propositions, \nwe have classed them under a distinct head, that of *\'The Key to \nthe Puzzles and Paradoxes," and we would suggest that our readers \nshould strive to unravel the problems ere they seek the aid of the \nauthentic explanations. \n\n1. How many kings have been crowned in England since the \nNorman conquest ? \n\n2. Cut out of a piece of card, five pieces, \nsimilar in shape and size to the annexed figures \n\xe2\x80\x94 viz., one piece of fig. 1, three pieces of fig. 2, \nand one like fig. 8. These five pieces are then \nto be so joined as to form a cross, like that re- \npresented by fig. 4 ; but of course larger in \nsize. \n\nThis is a vai\'iation from the preceding puzzle, and is much \nmore complex in its different parts. Cut \nout of a stiff card three pieces in shape \nlike fig. 1, and one like fig. 2, and be very \ncareful to make them in exactly the same \nproportion to each other ; next, cut out \none piece like fig. 3, and then endeavour \nto arrange them so as to form the cross \nshown in fig. 4, \n\n\n\n\\\\ \n\n\n\n\n\n\ncTb \n\n\n\nm \n\n\n\nPUZZLES AND PARADOXES. \n\n\n\n92 \n\n\n\n4. A gentleman sent his servant with a present of nine ducks in \na hamper, to which was aflixed the following direction : \xe2\x80\x94 \n\n"To Alderman Gobble, with IX ducks." \nThe servant having more ingenuity than honesty, took out three of \nthe ducks, and pontrived it so, that the direction on the ha,mper \ncorresponded with the number of the ducks. As he neither erased \nany word or letter, nor made a new direction, how did he manage it ? \n\n5. Cut twenty triangles out of ten square pieces of wood ; mix \nthem together, and request a person to make an exact square with them. \n\n6. A parallelogram, as in the illustration, fig. 1, may be cut \n\ninto two pieces, so that by shifting the i 1 r \n\nposition of the pieces, two other figures \' * \n\nmay be formed, as shown by figs. 2 \nand 3. \n\n\n\n\n7. Two men, A and B, went to C, to purchase some spirits. A \nhad a five- gallon keg, B a three-gallon keg, and C had no other \nmeasure than an eight-gallon keg ; now, as A and B only want four \ngallons of liquor each, I wish to know if it is possible for C to \nmeasure the desired quantity to his two customers, and also how he \ndoes it ? \n\n8. Cut a piece of apple or turnip into the shape of \na horse-shoe, stick six pins in it for nails, and then by \ntwo cuts, divide it into six parts, each containing one \npin. \n\n9. Take one from nineteen, the remainder you\'ll see, \nIs twenty, exactly; pray, how can this be? \n\n10. Mathematicians affirm that of all bodies contained under the \nsame superficies, a sphere is the most capacious, but surely they have \nnever considered the amazing capaciousness of a body whose name \nis now required, and of which it may be truly said, that supposing \nits greatest breadth is 4 inches, length 9 inches, and depth 3 inches, \nyet in these dimensions it contains a solid foot. \n\n11. A lady met a gentleman in the street ; the gentleman said, \n\'* I think I know you ;" the lady said he ought, as his mother was \nher mother\'s only daughter. What relation was he ? \n\n12. The Card Puzzle. A is a piece of card, along the loAver \npart of which a slit has been made, so as almost \nto divide the slip a, a from it ; hh is another \nnarrow slip, having square ends, cc, B is a \npiece of tobacco-pipe, through which the slip \nS & is passed, and which is sustained by the \nends c c. The puzzle is, to get the pipe oflf \nwithout breaking it, or injuring the other parts \nof the puzzle ; and this, though it at first sight \nappears an impossibility, is not impracticable, \nas there is as much difficulty in getting the pipe \non as off. \n\n\n\n\n92 \n\n\n\nPUZZLES AND PAEADOXES. \n\n\n\n\n13. The Scale and Eing Puzzle must be made out of a piece of \nthin wood, of about two inches square ; in each of \nthe corners A, B, C, D, drill a round hole, and in \nthe centre four small holes, a a, b h, disposed in a \nsquare, at the distance of half an inch from each \nother. Next take four pieces of silk cord, each \nabout six inches in length, and put them through \nthe holes in the corners, taking the precaution to \nfasten a bead, or to make a knot at their ends, to \nprevent them from being drawn through ; take \nanother cord of about fourteen inches in length, \nand pass the ends through the centre holes, a a, \nfrom the front to the back, and then return them \nfrom the back to the front, through the other holes, \n\nhi ; draw all six ends up to a centre, and knot them together, so \nas to make a small scale, allowing the centre cord to be of such a \nlength that, besides passing through the holes, it may be drawn up \ninto a loop of about half an inch in length. Next, take a small \nbrass ring, lay it upon the scale and draw the loop through it, \ntowards you ;.pass it, doubled as it is, through the hole in the corner, \nA, over the knot beneath, and draw it back ; then pass it through \nthe thole B, over the knot, and draw it back ; afterwards, draw the \nloop up a little higher, pass it over the knot at the top, and then \nthrough the other holes, C, D, and the ring is fixed ; the puzzle is, \nto release it. \n\n14. If from six you take nine, and from nine you take ten. \n\nYe wits now the puzzle explain ; \nAnd if fifty from forty be taken, there then \nWill just half a dozen remain. \n\n15. Is it possible to place twelve pieces of money in six rows, so \nas to have four in each row ? \n\n16. The Heakt and Ball Puzzle. \xe2\x80\x94 Cut out of a thin slip of \nwood a piece in the form of a heart, and drill six holes in it, as in \n\nthe annexed engraving. A, B, C, D, E, F. Then \ntake a silk cord, double it, and fasten the two ends \ninto a little wooden ball, and try to set the puzzle, \nthus : \xe2\x80\x94 Pass the loop through the hole F, from \nface to back, up to B, through which you must \nbring it, and then pass it through C, E, D, and A, \nin rotation ; through D again, and down the back \nto F, through which hole bring it to the face ; pass \nit over the ball, and again draw it through the \nholes F and B, and the puzzle is complete. The \ntask is now to release it. The length of the string should be in- \nvariably proportioned to the length of the heart ; for instance, if you \nmake the heart two inches long, the string should be, when doubled, \nabout seven inches. \n\n17. The Bead Puzzle. \xe2\x80\x94 This puzzle may be procured at many \n\n\n\n\nPUZZLES AND PARADOXES. \n\ntoy- shops. The part A is made of ivory ; \na cord, fastened to the end B, is passed \nthrough the hole D, in such a manner that \nit forms a loop there capable of being \ndrawn out at pleasure, and is afterwards \nfastened off at C. Two beads are put on \nthe string, as delineated here, and the \nobject of the puzzle is to play both balls on to one string. \n\n18. A Maze or Labybinth. \xe2\x80\x94 This maze is a correct ground-plan \nof one in the gardens of the Palace of Hampton Court. No legen- \n\n\n\n\n\ndary tale is attached to it, of which we are aware, but its labyrin- \nthine walks occasion much amusement to the numerous holiday- \nparties who frequent the palace-grounds. The partitions between \nthe walks are hedges of clipped hornbeam, and are about five feet in \nheight. The puzzle is to get into the centre, where seats are placed \nunder two lofty trees, and many are the disappointments experienced \nbefore the end is attained ; and even then the trouble is not over, it \nbeing quite as diflBlcult to get out as to get in. \n\n19. The Gentlemen and their Servants. \xe2\x80\x94 Three gentlemen \nare going over a ferry with their three servants, who conspire to rob \nthem, if they can get one gentleman to two of them, or two to \nthree, on either side of the ferry. They have a boat that will only \ncarry two at once ; and either a gentleman or a servant must bring \nback the boat each time a cargo of them goes over. How can the \ngentlemen get over with all their servants so as to avoid an attack ? \n\n20. The Chinese Puzzle. \xe2\x80\x94 ^This puzzle being one for the purpose \nof constructing different figures by arranging variously-shaped pieces \nof card or wood in certain ways, requires no \nseparate explanation. Cut out of very stiff \ncard-board, or thin mahogany, which is de- \ncidedly preferable, seven pieces in shape like \nthe annexed figures, and bearing the same \nproportion to each other; one piece must be \nmade in the shape of figure 1, one of figure \n2, and one of figure 3, and two of each of \nthe other figures. The combinations of \n\n\n\n\n94, \n\n\n\nPUZZLES AND PAEADOXES. \n\n\n\nwhich these figures are susceptible are almost infinite ; and we sub- \njoin a representation of a few of the most curious. It is to be borne \n\n\n\n\nm raind that all the pieces of which the puzsde consists must be \nsuiployed to form each figure. \n\n\n\n95 \n\n\n\nTHE \n\n\n\n\nTO THE \n\n\n\nPUZZLES AND PARADOXES. \n\n1. One, only : James I., who was King of Scotland before he \nascended the English tlirone. \n\n\n\n2. A simple inspection of the annexed figure will show \nhow the pieces must be arranged to form the cross. \n\n\n\n3. To form this cross, the pieces must be arranged in \nthe manner shown in the annexed representation. \n\n\n\nE^ \n\n\n\n4. The servant merely put the letter S before the two Eoman \nnumerals IX. The direction then read as follows : \xe2\x80\x94 \n\n"To Alderman Gobble, with SIX ducks." \n\n5. The solution of this puzzle may be easily \nacquired by observing the dotted lines in the \nengraving, by which it will be seen that four \ntriangles are to be placed at the comers, and a \nsmall square made in the centre. When this is \ndone, the rest of the square may be quickly \nformed. \n\n6. Divide the piece of card into five \nsteps, and by shifting the position of \nthe pieces, the desired figures may be \nobtained. \n\n\n\nV \n\n\n\n\nN \n\n\n\\ \n\n\n^ \n\n\n\xe2\x96\xa0^\\^-^ \n\n\n\n/ \n\n\n\n\n/ \n\n\nL \n\n\nr \n\n/ \n\n\n\n96 KEY rO PUZZLES AND PAEADOXES. \n\n7. C first filled the tliree-gallon keg out of the eight, and then \npoured the three gallons into the five-gallon keg; he next filled \nthe three again out of the eight, and poured two out of the three into \nthe five. He thus filled the five, and left one gallon in the three ; \nhe then emptied the five into the eight, and the one out of the \nthree into the five. He then filled the three again, and poured it \nto the one in the five, and thus contrived to pour four gallons of \nliquor into the five-gallon keg, and four into the eight, the exact \nquantity A and B required. \n\n8. By cutting off the upper circular part, containing two of the \npins, and by changing the position of the pieces, another cut will \ndivide the horse- shoe into six portions, each containing one pin. \n\n9. XIX make nineteen ; therefore, if you take I away, XX must \nremain. \n\n10. A Shoe. \n\n11. Her Son. \n\n12. After the slit had been made along the card A, the slip b h, \nwith its ends c c, is to be cut out of another card, as in the \n\nannexed figure. The card A is then to be care- \njO [?=:zs!i!i!P! fully bent, so as to let the slip at the bottom of \nit be bent and passed through the pipe, as here \nshown. The slip with square ends is next to be \nput half way through the loop e, at the end of \nthe pipe, doubled in the centre, at /, and pulled \nthrough the pipe by the loop e ; and the puzzle \nis then complete. To get the pipe ofl^ the card \nmust be bent in the same way as to put it on, \nthe slip attached to it passed through the pipe \ntill there is room enough to bring one of the \n\nsquare ends of the other slip c c through the loop so formed, when \n\nthe slip may be removed, and the pipe drawn off. \n\n13. To release the ring, you must reverse the order of your move- \nments, and pass the loop through the holes D C, then over the knot, \nand through the holes B and A. \n\n14. From SIX take IX, and S J \n\n\xe2\x80\x9e IX \xe2\x80\x9e X, ,, I > will remain. \n\xe2\x80\x9e XL \xe2\x80\x9e L, \xe2\x80\x9e X) \n\n15. By forming a figure like the annexed, and putting \na piece of money at each angle and each point where \nthe lines intersect each other, the query will be re- \nsolved. \n\n16. To get the ball off, hold the heart as shown in the engraving, \npage 92, loosen the string slightly, by drawing, at the back, the \nbaU towards the lowest hole F ; slacken the remainder of the string \nby pulling it towards you, and then draw up the loop as, far as \n\n\n\n\nKEY TO PUZZLES AND PAEADOXES. \n\n\n\n97 \n\n\n\nnext put the loop through hole B, pass it down the back \nof the heart to F, and bring it to the front, and pass it over the \nball ; again draw the loop back through F, and the ball and string \nwill come off. Great care must be used that the string may not \nbecome twisted or entangled. \n\n17. Draw down the loop, and pass one of the beads (say B) \nthrough it. Still holding the ivory in the same position, pull all the \nstrings at the centre hole towards you, \ntill two loops are drawn through ; pass \nthe same ball through both of these, and \npull the strings back again. It will then \n36 seen that by passing the ball through \none remaining loop, it will be brought on ^ \n\nto the same string with the other. It \nmay be played back again in a precisely similar manner. \n\n19. Two servants go over first, one takes back the boat ; two \nservants go over again, and one returns with the boat ; two gentle- \nmen go over, a gentleman and a servant take back the boat ; then two \ngentlemen go over, and a servant takes back the boat, brings over \none of his dishonest friends, and then returns for the other. \n\n\n\n^^7 \n\n\n\n\n3)0 TOTJ GITE IT UP I \n\n\n\n98 \n\n\n\nfr^^id^TAT^TAT^WAWiTiTAWS^^ \n\n\n\n\ni&^WBOOiWPiaermstsaxwmmsu^^ \n\n\n\nTO POLISH SHELLS. \n\nMany species of marine and fresh-water shells are composed of \nmother-of-pearl, covered with a strong epidermis When it is wished \nto exhibit the internal structure of the shells, this epidermis is re- \nmoved, and the outer testaceous coatings polished down, until the \npearly structure becomes visible. It has been a common practice to \nremove the thick epidermis of shells by means of strong acids, but \nthis is a very hazardous and tedious mode of operation. The best \nplan is to put the shells into a pan of cold water, with a quantity \nof quick-lime, and boil them from two to four hours, according to \nthe thickness of the epidermis. The shells should be afterwards \ngradually cooled, and then some diluted muriatic acid applied care- \nfully to the epidermis, which it will dislodge so that it may be easily \npeeled off. Two hours are quite sufl&cient for such shells as the \ncommon muscle to boil. After this they must be polished with \nrotten- stone and oil, put on a piece of chamois leather, and then \nrubbed with a flannel or nail-brush. \n\nThe epidermis of theUnio Margaritifera is so thick that it requires \nfrom four to five hours\' boiling ; underneath this epidermis there is a \nthick layer of dull calcareous matter, which must be started off with \na knife, or other sharp instrument ; this requires great labour, but \nwhen accomplished, a beautiful mother-of-pearl specimen is obtained, \nwhich makes an agreeable variety. Various Turbos and Trochuses \nare also deprived of their epidermis, and polished with files, sand- \npaper, and pumice-stone, till the pearly appearance is obtained. \nAfter the operation of polishing and washing with acids, a little \nFlorence oil should be rubbed over, to bring out the colours, and \ndestroy the influence of the acid, should any remain on the shell ; \nit also tends to preserve the shell from decay. . The muriatic acid \nshould be applied to the epidermis by means of a feather, and it \nshould not be suffered to remain on the outside of the shell for more \nthan a minute or two, and the greatest care should be used to keep \nthe acid from touching, and consequently destroying, the enamelled \nsurface of the inside ; indeed, some jjersons coat the parts of the \nrihell which they wish to preserve from the effects of the acid with \n\n\n\nMISCELLANIES. 99 \n\nbees\' wax. Some concliologlsts prefer laying white of egg on the \nshell with a small camel\'s-hair brush to rubbing them with Florence \noil. ^ \n\nMINIATUEE OAK TEEE. \n\nIf an acorn be suspended by a piece of thread, within half-an- \ninch of the surface of some water contained in a hyacinth-glass, and \nso permitted to remain without being disturbed, it will, in a few \nmonths, burst and throw a root down into the water, and shoot \nupwards its straight and tapering stem, with beautiful little green \nleaves. A young oak tree growing in this way on the mantel- shelf \nof a room, is a very elegant and interesting object. We have seen \nseveral oak-trees, and also a chestnut-tree, gi\'owing in this manner ; \nbut all of them, however, have died after a few months, probably \nowing to the water not being changed sufficiently often to afford \nthem the necessary quantity of nourishment from the matter con- \ntained in it. \n\nTO EXTRACT THE PERFUME OF FLOWERS. \n\nProcure a quantity of the petals of any flower which has an \nagreeable perfume ; card or comb thin layers of cotton wool, dip \nthem into the best Florence oil, sprinkle a small quantity of fine \nsalt on the flowers, and place layers of cotton and flowers alternately, \nin an earthen, or else a wide-mouthed glass vessel, until it is full. \nThen tie the top close with a bladder, and place the vessel in a south \naspect, exposed to the heat of the sun ; and in about fifteen days, \nwhen opened, a fragrant oil may be squeezed away from the whole \nmass, little inferior, if roses are made use of, to the dear and highly- \nprized otto or attar of roses. \n\nVEGETABLE SKELETONS. \n\nProcure a large earthen open topped pan, which will hold about \na gallon, and put into it some leaves, seed vessels, &c., of plants ; \npour over them just so much boiling water as will cover them, and \nthen place the pan upon the tiles of the house, or any other place, \nexposed to the rays of the sun, or the vicissitudes of the weather. \nOccasionally and carefully stir the leaves, but never change the \nwater. The putrefaction and fermentation will soon ensue, and in \nabout six weeks, or rather more, most of the specimens will be com- \npletely macerated, and require no further care than merely to hold \nthem singly under the tap of a water-butt, or a little stream of water \npoured from a large jug, to wash away all the putrid green pulpy \nmatter. If this matter will not come off easily when slightly assisted \nby the thumb and finger, or a small knife, the leaves must be soaked \nfor some short time longer. Such of the leaves as are brittle and \nliable to break during the rinsing, may be preserved from fracturing \nby placing them upon a piece of iDoard, and holding them up by the \nthumb and finger while the water is running upon them ; and if \nsome of the green matter still remains between the veins of the \nskeleton- leaf, it may speedily be removed by striking the leaf perpen- \ndicularly and carefully with a clothes-brush. The maceration and \n\nh2 \n\n\n\n100 MISCELLANIES. \n\ncleansing being finished, the leaves will next require bleaching, which \nmay be done very effectually by putting thenx in a band- box, with a \nsmall quantity of sulphur burning in a little gallipot by the side of \nthem. The most certain method, however, of bleaching objects of \nthis description is to immerse them in dilute chloride of lime, or \nchloride of soda, for a few minutes. Amongst the most suitable \nsubjects for this interesting pursuit will be found the leaves of the \nwhite and black Lombardy poplars ; the lime and tulip trees, apricot, \napple, orange, lemon, box, ivy, holly, and several of the exotic \npassion flowers, Magnolia glauca, acuminata, and others. The calyces \nof the Molucalla Isevis are, when prepared, exceedingly pretty ; as \nare also the calyces and seed-vessels of the blue- flowered micandra, \nof the winter cherry, of henbane, the various kinds of campanulas, \nparticularly the Canterbury-bell, the hare- bell, and the throat wort ; \nthe larger species of mallows, the tree mallow, horehound, field and \nalpine eryngoes, sea-holly, moon-trefoil, yellow lucern, common \nhedge nettle, several of the nettles, red hemp nettle, white fraxinella, \nJerusalem sage, common thorn-apple, atropa, the scutillarias or skull- \ncaps, and the capsules of all species of poppies. To these may be \nadded the stalks of the cabbage, radish, flax, hemp, and stinging \nnettles ; the tuber of the turnip, theinvoluces of Astrantia major and \naustriaca, and of the Hydrangea hortensis. The above is a tolerably \ncomprehensive list of those plants the leaves and calyces of which \nmay be reduced to skeletons with the greatest certainty ; the leaves \nof the oak contain so much tannin that it is impossible to decompose \nthem ; as is the case also with the leaves of the walnut, hazel, horn- \nbeam, chestnut, maple, elm, willow, sycamore, buckthorn, and tea- \ntrees ; care should therefore be taken that no leaves of the above- \nnamed trees are put in the vessel in which the process of maceration \nis going on, as they evolve their tanning qualities to such a degree \nas to hinder the decomposition of all the others in contact with \nthem. It is also impossible to obtain skeletons of the leaves of the \nfir and camphor trees, and of the laurel, bay, and many other \nspecies of evergreens and shrubs, from their highly resinous pro- \nperties. \n\nCHEEKY-STONE BASKETS. \n\nMany lads are extremely partial \nto the occupation of turning cherry- \nstones into pretty little baskets ; \nthat we may assist them as far as \nwe can, we subjoin a few designs \nfor their imitation, and for the in- \nstruction of those lads who have \nnot attempted such miniature works of skill, we offer a few hints as \nto the mode of proceeding. A smooth, round cherry-stone should \nbe selected, and, after planning out the size of the handle and depth \nof basket, the superfluous portion of the stone should be filed away \nwith a triangular file, till the handle stands all proper, as in oiir \nrepresentations, and the marks of the file and all inequalities, should \n\n\n\n\nMISCELLANIES. 101 \n\nthen be obliterated by scouring the stone with a bit of sand- paper, \ntill it is perfectly smooth and neat. The ornaments on the basket \nshould be carved with a penknife, and, where practicable, the file \nmay be brought into requisition ; but especial pains must be taken \nthat the hues decorating the sides run parallel with each other, and \nif curved, that they sweep gracefully round the basket. \n\nTO FOKM FIGURES IN RELIEF ON AN EGG. \n\nDesign on an egg-shell some pretty figure or ornament, with \nmelted tallow, or any fat oily substance ; then immerse the egg in \nvery strong vinegar, and let it remain there till the acid has corroded \nthat part of the shell which is not covered with the greasy matter ; \nwhen taken out, those parts will remain in relief, exactly as you \nhave drawn them. \n\nSTORM-GLASSES \n\nForetel the changes of weather in a very pleasing and singular \nmanner ; they are thus made. Procure a bottle or tube about ten \ninches in length, and three-fourths of an inch in diameter ; into it \nput two drachms of camphoi", half a drachm of purified nitre, and \nhalf a drachm of muriate of ammonia, pulverized and dissolved in \ntwo ounces of proof spirits, and then cover its mouth with a piece \nof bladder perforated by a needle. If the weather promises to be \nfine, the liquid portion of the composition will be perfectly trans- \nparent, whilst the solid matter will settle at the lower part of the \nbottle. If there is a probability of rain, the liquid will remain clear, \nbut the compound will rise gradually, and minute stars move about \nin the vessel. Twenty -four hours before a storm, or very high wind, \nthe fluid will become thick, and appear to be in a state of fermen- \ntation, whilst the solid matter will rise and remain floating on the \nsurface somewhat in the fomi of a leaf. In the winter, the com- \nposition rises rather higher than usual, especially during the preva- \nlence of frosts or snows, and small stars keep constantly in motion. \nDuring the hot and serene weather of the summer months, the \nsubstance subsides close to the bottom of the glass ; and during \nwindy weather, the solid particles adhere to the bottom on the side \nopposite to that from whence the wind blows. \n\nTO MAKE BREAD SEALS. \n\nTake a piece of new bread, knead it thoroughly in your hands, \ntill it acquires an adhesive and paste- like quaUty, free from all \ncrumbs and lumps, and then colour it with some water colour, using \nonly suflBcient to produce the desired tint. Next, lightly oil the \nimpression in sealing-wax, which is to be the model from which your \nseal is to be produced, either with a camel\'s hair pencil dipped in \nsweet oil, or with a little bit of oiled wadding. Press the bread \nvery carefully into every part of the impression, shape the upper \npart of it into a pyramidical form, remove it immediately, and suffer \nit to dry gradually. \n\n\n\n102 MISCELLANIES. \n\nTO TAKE IMPRESSIONS FROM SEALS. \n\nWarm the seal a little, and rub the end of a wax candle over it, \nand then sprinkle it with a little Chinese vermilion. Melt the sealing- \nwax, taking care that it does not catch fire, suffer it to drop upon \nthe paper, press the seal upon it, and if performed adi-oitly, a beau- \ntiful impression will be the result. \n\nIf it is wished\' to produce various colours in the impression, the \nseal should be powdered with colour of one tint, and then impressed \nupon wax of another ; as, for instance, if the surface of the seal is \ndusted with lamp-black, the impression will show a red device upon \na black ground. \n\nVARNISH FOR ORNAMENTAL PURPOSES. \n\nA beautiful varnish for oraamental purposes may be readily made \nby the following process. Eeduce into powder a stick of superfine \nsealing-wax, and put it into a phial, together with half a gill of \nspirits of wine ; put it in a warm place to dissolve, which it will do \nin a few hours, and it is ready for use. Should it be too thick, it \nmay be reduced by the addition of more spirits of wine till it is of \nthe proper consistency. \n\nThe phial should bo carefully corked when not in use, by which \nmeans the vai-nish may be preserved for some time. It should be \napplied as thin as possible, by a camel\'s hair brush, and if three \ncoats are given, the effect will be pleasing. \n\n\n\n\nA HOBEEIT ILLUMIH^ATOB. \n\n\n\n103 \n\n\n\n\nUndek this head we describe those shows which may be exhibited by \nany ingenious youth for the amusement of a large circle of fiiends. \nParents frequently employ the itinerant Punch-and-Judy man to \nastonish and delight a juvenile party with his comical puppets ; and \nwe are convinced that they act wisely, as children of all ages enjoy \nnothing so much as a good show. The reader, by following our \ndirections, may exhibit the freaks of Punch and Judy, the dancing \nfigures of the Fantoccini, the grotesque shadows of the Gallanty Show, \nor the brilliant artificial fireworks of the Chinese ; iu fine, he may \nbecome quite an expert showman. The rules we have given for \ngetting up a model stage, and for tinselling characters, will, we trust, \nbe fully appreciated by our younger readers. \n\n\n\n\nBy following our directions the reader may, with comparatively \nlittle trouble, construct some comical puppets, and acquire sufficient \nskill in working them, to give private representations of the cele- \nbrated drama of " Punch and Judy," which never fails to excite the \nlaughter of old and young. \n\nIn carving the heads of the puppets, the ingenuity of the reader \nwill be most severely taxed. Each head must be fashioned out of a \npiece of soft wood, with a sharp penknife, and then painted with oil \ncolours. An old wooden doll will be a capital model for the reader \nto work from, only he must cut much deeper in order to make the \nfeatures of his puppets sufficiently prominent. Punch\'s nose and \n\n\n\n104 \n\n\n\nPUNCH AND JUDY. \n\n\n\nchin may be fonned of separate pieces of wood, and then fastened \non to the face with a little glue. Our artist has drawn a full length \nfigure of Punch, and the faces of the other characters in the drama \n\xe2\x80\x94 namely, 1, Judy ; 2. Beadle ; 3. Foreigner ; 4, Ghost ; 5. Doctor; \n6. Clown ; 7. Jones ; 8. Hangman. The carver should study these \n\n\n\n\nillustrations attentively, and endeavour to imitate them. The eyes \nof the ghost are two black beads, which may be fixed by pins, or \nloosely attached by short pieces of thread, so that they may roll \nabout in their saucer- Hke sockets. The eyes of the other puppets \nmay be formed of white beads fixed by black-headed pins in small \ncavities made to receive them. The hair and beard of the Foreigner, \nand the Clown\'s three tufts, may be made of any kind of fur ; the \nHangman\'s wig, and the Doctor\'s scanty locks, of worsted. Each \nhead should be about the size of an ordinary hen\'s egg, and should \nhave a hole made at the bottom large enough to receive the tip of \nthe showman\'s finger. \n\nPunch is the only puppet that exhibits its legs to the audience, \nand therefore the only one requiring lower limbs ; these legs, as well \nas the hands of all the characters, are to be cut out of wood and \npainted. \n\nThe cloth figures of the puppets must be so constructed, that the \nexhibitor can easily slip them over his hand and wrist ; to these \nhollow bodies the heads and hands are to be securely fastened, with \na little glue, or some small tacks. Punch\'s figure may be formed of \nred merino, or any other gay-coloured stuff; the "goodly hunch" \nand prominent stomach must not be forgotten ; these important \nappendages may be stufied with cotton or tow. Judy\'s dress may \nbe made of cotton print ; the Beadle\'s, of blue cloth edged with \ngold lace ; the Foreigner\'s, of almost any kind of stuff ; the Doctor\'s, \nof black cloth ; and the dresses of Jones and the Hangman, of any \nsober- coloured stuffs. The Ghost must be enveloped in a long white \nlinen gown ; and that popular favourite, the clown, must be arrayed \nin the true pantomimic style. In constructing the dresses, the \nreader will have his patience sorely tried, unless he can persuade a \nfew young ladies to aid him with their nimble fingers. \n\n\n\nPUNCH AND JUDY. 105 \n\nMotion is given to each of the puppets by the showman\'s hand, \nthe forefinger of which moves the head, while the thumb and second \nfinger work the two arms ; the annexed engraving will elucidate this \noperation. \n\n\n\n\nWe have not yet alluded to two important characters in the drama \n\xe2\x80\xa2 \xe2\x80\x94 namely, the Baby and the eccentric dog Toby. Any little doll \nmay be dressed in long-clothes to represent the Baby, so the reader \nmay be spared the trouble of carving another head. The part of \nToby is generally filled by a living performer, but as we do not suppose \nthe reader to be the owner of a properly-trained cur, we recommend \nhim to procure one of those barking or squeaking dogs which are \nsold at the toy-shops ; with such a Toby, the fun of the piece will be \nincreased rather than diminished. \n\nPunch\'s stick must be about a foot long and quite half an inch \nthick ; it must be formed of tough wood, as some rough work is per- \nformed with it during the progress of the drama. The gallows must \nbe of the letter F form, and must have two holes bored through the \nend of the projecting beam; the cord having been knotted at one \nend, is to be passed through each hole. \n\nHaving described the puppets, we will now say a few words about \nthe show in which they are to be exhibited. The dingy curtains \nwhich conceal the street performer of Punch are supported by a tall \nrectangular frame of wood, which the reader could not imitate without \nconsiderable labour and some knowledge of carpentry. The show we \nrecommend is simply a box about three feet square, open in front and \nat bottom ; this is hung upon nails against the wall, above the head \nof the amateur showman, who is hidden from view by curtains which \nreach from the box to the floor. The box may be a large tea-chest \ninverted, with the lid and one of its sides removed. The inside of \nthe box should be hung with green-baize or any other dark- coloured \nstuff. A proscenium cut out of pasteboard, and tastefully painted, \nshould be fastened in front of the box so as to conceal the unsightly \nedges of the wood. A shelf of wood about four inches wide should, \nproject beyond the proscenium, so as to form a little stage upon which \nPunch may drum his legs, lay down his stick, and plac\xc2\xab the dead \n\n\n\n]06 PUNCH AND JUDY. \n\nbodies of his victims; this shelf may be fixed by screws passmg \nthrough the two sides of the box. \n\nDuring the performance the puppets must be kept in an open box \nhanging against the wall within reach of the showman. \n\nThe reader having prepared everything, should learn the drama \nand practise the different voices which he intends to give to the dif- \nferent characters. He will probably be some time before he can \nacquire the peculiar squeak of Punch, which is generally supposed \nto be produced by an instrument called "a squeaker." With none \nof the squeakers we have seen could any distinct words be uttered, \nand we therefore recommend the reader to trust to his own powers of \nmimicry. With regard to the musical accompaniments, tLe amateur \nshowman should get some kind sister or cousin to sit at the piano, \nthe notes of which are much more pleasing than those of the Pandean \npipes and drum. We give the words of the drama, slightly altered \nfrom the original text. \n\nTHE DEAMA OF PUNCH AND JUDY. \n\nPersons Represented. \n\n\n\nMr. Punch. \n\nJudy, Ms wife. \n\nMaster Punch, an infant. \n\nJoET, a clown. \n\nThe Beadle. \n\nThe Foreigner. \n\n\n\nThe Doctor. \n\nThe Hangman. \n\nJones, the former owner o/Toby. \n\nToby, Punch\'s little dog. \n\nThe Ghost. \n\n\n\nMusic. The pianist plays some popular melody. Curtain rises. \n\nPunch (below). Eoot-to-to-to-to-too-o-o-it ! Sha\'n\'t be long ; Pm \nonly putting on ray new boots. {Pops up.) Root-to-too-it! \n\n[^Lively music. Punch dances and throws his legs over the \nfront of the stage. \nWhere\'s my wife, I wonder? (Calling beloiv.) Judy! \xe2\x80\x94 Judy, my \ndarling ! \xe2\x80\x94 Judy, my duck o\' diamonds ! Oh ! you are dressing the \nbaby, are you ? \n\nEnter Judy. \n\nJudy. Well, Mr. Punch, what do j\'-ou want with me ? \n\nPunch. Why, I want to give you a kiss, to be sure. {Husland \nand wife embrace fondly.) Now, let\'s have a dance. \n\n[Music. They dance. At the conclusion, Punch hits his wife \non the head loith his stich. \n\nJudy. Oh ! you villain ! How dare you strike your own wife ? \n\nPunch. Haven\'t I a right to do what I like with my own ? \n\nJudy (talcing stich from him) . Then Pll let you know something \nabout woman\'s rights, (Hitting Punch.) Take that! \n\nPunch. Oh! \n\nJudy {Jutting him again). Oh ! \n\nPunch. Oh! \n\nJudy {hitting him, once more). Oh I \n\n\n\nPUNCH AND JUDY. 107 \n\nPunch {taking stick from her, and knocking her out of sight). Oh ! \nThat was to request her to step down stairs to feed the babby. Such \na beautiful babby. I\'ll go and fetch him. \n\n[Picnch disappears, and pops tip again with his infant son in \nhis arms. \nPunch (sings). \n\n" Hush-a-bye, baby, \n\nSleep while you can ; \nIf you live till you\'re older, \nYou\'ll grow up a man." \n\nOh, you little duck ! There never was such a good child. \n\nMaster Punch (cries). Mam-ma- a- a ! \n\nPunch (thumping him with stick). Go to sleep, you naughty boy ! \n{Resumes his song.) \n\n\'\'Hush-a-bye, baby" \n\nMaster Punch (Louder). Mam-ma-a-a-a ! \nPunch (hitting harder). Hush-a-bye ! \nMaster Punch (yells). Ya-a-a-ah-ah ! \n\nPunch (hitting him). Be quiet, can\'t you 1 Bless him, he\'s got \nhis father\'s nose ! (The child seizes Punch hy the nose.) Murder ! \nLet go ! There, go to your mother if you can\'t be good with me. \n\n[Throws Master Pwiich out of window, or rather over the front \nof the stage. \nPunch (sings, drumming with his legs on the stage). \n" She\'s all my fancy painted her, \nShe\'s lovely, she\'s divine !" \n\nEnter Judy. \nJudy. Where\'s the boy ? \nPimch. The boy? \nJudy. Yes. \n\nPunch. What ! didn\'t you catch him 1 \nJudy. Catch him ? \n\nPunch. Yes, I threw him out of window. I thought you might \nbe passing. \n\nJudy. Oh, my poor child ! Oh, my poor child ! \n\nPunch. Why, he was as much mine as yours. \n\nJiidy. But you shall pay dearly for it ; I\'ll tear your eyes out. \n\nPunch. Root-to-to-to-too-it ! [Kills Judy at a Mow. \n\nEnter Beadle. \n\nBeadle (brandishing his staff of office). Hollo ! hollo ! hollo ! \nHere I am ! \n\nPunch. Hollo ! hollo ! hollo ! And so am I ! \n\n[ Whacks Beadle over the head. \nBeadle. Do you see my staff, sir ? \n\nPunch. Do you feel mine, sir ? [Hits him again, \n\nBeadle (striking the front of the stage with his truncheon in an \n\n\n\n108 PUNCH AND JUDY. \n\nimposing manner). I\'m the Churchwarden, Street-keeper, Turncock, \nStipendiary Magistrate, and Beadle of the Parish ! \n\nPunch. Oh ! you are the Church- warming- pan, Street-sweeper, \nTurniptop, Stupidity Magistrate, and Blackbeetle of the Parish ? \n\nBeadle. No nonsense, Mr. Punch ! You have committed a bar- \nbarous and cruel murder, and you must answer for it to the laws of \nyour country. \n\nPunch. Oh, indeed ! \n\nBeadle. I am the Beadle. \n\nPunch. And so am I. \n\nBeadle. You a Beadle ? \n\nPunch. Yes. \n\nBeadle. Where\'s your authority? \n\nPunch. There it is ! [^KnocTcs Mm down, \n\nBeadle (rising). Mr. Punch, you are an ugly, ill-bred fellow. \n\nPunch. And so are you. \n\nBeadle. Take your nose out of my face, sir. \n\nPunch. Take your face out of my nose, sir. \n\nBeadle. Pooh ! \n\nPunch. Pooh ! [Gives Beadle another taste of his sticlc. \n\nBeadle. You have committed an aggravated assault on the majesty \nof the law, and I am under the necessity of taking you up. \n\nPunch. And I am under the necessity of knocking you down. \n\n[Kills him loith a blow of his sticlc. \n\nPunch {dancing). Eoot-to-to-to-too-it ! \n\nEnter Fokeiunee. \n\nForeigner. Shallabala \' \n\n[Punch ai7ns at and misses him. He disappears, and hohs up \nat the other side. \nForeigner. Shallabala ! \n\n[Punch tries to hit him, hut again fails. \nPunch. Why don\'t you speak English ? \nForeigner. Because I can\'t. \nPunch. Oh, I\'ll give you a lesson. There ! \n\n[Hits the unfortunate alien, who falls a lifeless corpse. \nPunch. Eoot-to-to-to-too-it ! \n\n[Sings a fragment of a popular melody, drumming with his \nheels upon the front of the stage. \n\nterious music. The Ghost rises and places its hands \nupon the bodies of Punches three victims. The bodies rise \nsloioly and disappear. \nPunch {sings). \n\n*\' Bum ti turn ti iddity um, \nPop goes" \n\nGhost. Boo-o-o-oh ! \n\nPunch. A-a-a-ah ! [He throws up his hands, and hicks wildly. \n\nGhost. Boo-o-o-o-oh ! \n\nPunch. Oh dear ! oh dear ! It wasn\'t me ! \n\n\n\nPUNCH AND JUDY. 109 \n\nGhost {tJtrowing its arms around Punch) . Boo-o-o-o-oh ! \n\n[Ptmch faints. The Ghost sinJcs to appropriate music. \nPunch. Oh dear ! I\'m very ill ; fetch a doctor. \n\nEnter Doctok. \n\nDoctor. Somebody called for a doctor, Why, I declare it is my \nold friend Punch. What\'s the matter with him, I wonder ? {Feels \ntlce patient\'s pulse.) Fifteen\xe2\x80\x94 sixteen \xe2\x80\x94 eleven \xe2\x80\x94 nineteen \xe2\x80\x94 six. The \nman is not dead \xe2\x80\x94 almost, quite. Punch, are you dead ? \n\nPunch {starting up and hitting his medical adviser). Yes. \n\nDoctor. There\'s no believing j\'ou ; I think you are alive. \n\nPunch {hitting him again) . No, I\'m dead. \n\nDoctor. Then I must go and fetch you some physic. [^Exif. \n\nPunch. A pretty doctor to come without physic. \n\nRe-enter Doctor, loith a sticTc. \n\nDoctor. Now, Punch, are you dead ? No reply ? {Beating him.) \nPhysic ! physic ! physic ! \n\nPunch {returning to his senses). What sort of physic do you call \nthat. Doctor? \n\nDoctor. Stick-liquorice ! stick- liquorice ! stick- liquorice \n\n[^Repeats the dose. \n\nPunch. Stop a bit ! Give me the bottle in my own hands. \n{Talcing cudgel from the Doctor, and thrashing him loith it.) Physic ! \nphysic ! physic! \n\nDoctor. Oh ! " \n\nPunch. What ! don\'t you like your own physic ? {Hitting him \nagain.) Stick- liquorice ! stick-liquorice! stick- liquorice ! \n\nDoctor. For goodness\' sake. Punch, pay me my fee, and let \nme go. \n\nPimch. What is your fee ? [Lays dozvn sticJc. \n\nDoctor. A guinea. \n\nPunch. Give me the change out of a fourpenny-bit. \n\nDoctor. Why, a guinea\'s twenty-one shillings. \n\nPunch. Let me feel for my purse, then. {TaTces up the stick and \nhits Doctor.) One! two! three! four! Stop! that wasn\'t a good \n\none ! I\'ll give you another ! Four ! five ! six ! seven ! \n\n{^Delivers twenty-one blows. The Doctor falls lifeless on the \nreceipt of the last one. \n\nPunch. Settled ! Koot-to-to-to-too-it ! \\_Si71gs. \n\nEnter Joey, the Clotvn. \nJoey. Punch! {^Disappears. \n\nPunch. Who called me ? \n\n[Looks round, and seeing no one, resumes his song. \n\n"\' I dreamt that I dwelt in marble halls. \nWith vassals and serfs by my si-wi-wide" \n\n[Joey rises, and taking up the dead body of the Doctor, hobs \nits head in Punch\'s face. \n\n\n\n110 PUNCH AND JUDY. \n\nJoey. Bob. \n\nPunch. Who said "bob?" \n\nJoey {\'pushing Doctor into his face agaifi) . Bob! bob! bob! \nPunch. Bob ! bob ! bob ! {Knocks Doctor out of sight, and dis- \ncovers Joey.) Ah, Joey ! was that you ? \nJoey. No, it was I. \n\nPunch. Well, don\'t do it again, because I\'m nervous. Come and \nfeel how my hand shakes. \n\n[Joey approaches. Punch tries to hit him, hut he dodges and \navoids the hloto. \nCome a little nearer; I won\'t hurt you. \n\n[Joey again approaches Punch, and again avoids the blow in- \ntended for him. \nThere ! it didn\'t hurt you, did it ? \nJoey. No. \n\nPwtich. Nor that ? [Malccs another failure, \n\nJoey. No. \nPunch. Nor that ? \nJoey. Not a bit. \n\nPunch. Then what are you afraid of? Come and shake hands. \n[Joey approaches, but has to ducJc doion as before, to avoid a \nblow which Punch makes at his head. \nPunch. Joey, you\'re an arrant coward. \nJoey. Don\'t call names. \nPunch. Then fight fair. \nJoey. Come on. \n\n[Music. Grand combat bctiveen Punch and Joey, the former \ntosing his stick and the latter butting with his head. The \nClown avoids all Punch\'s bloios by dodging. After bobbing \nup and doxon in every direction, Joey suddenly thrusts his \nhead through a hole in the curtains outside the stage. \n\nJoey. Hollo, Punch ! [Disa2Jpears. \n\nPunch. Where are you, Joey ? \n\nJoey {reappearing.) Here I am. [Disappears again. \n\nPimch. I saw him. \n\n[Peeps round the curtains, and comes into collision with Joey. \nBoth start back frightened. \n\nPwnch (laying down his stick and peeping cautiously roimd the \ncurtains). I\'ve got him now ! \n\nJoey {rising behind him, and seizing stick). And how do you like \nhim? [Cudgels Punch. \n\nPunch. Murder I fire I thieves ! Toby, come and help your \nmaster ! [Toby barks beloto. Exit Joey. \n\nEnter Toby. \n\nPunch. Good doggy ! I knew you\'d come to help your master. \nPoor little Toby ! Ain\'t you fond of your master ? {Toby snaps.) \nOh, my nose ! Now, be a good dog, and you shall have a pail of \n\n\n\nPUNCH AND JUDY. Ill \n\nwater and a broomstick for supper. {Tohy sna]ps again) Be quiet, \nsir, or I\'ll knock your brains out ! \n\n[Toby barks, and Punch goes to strike him, hut at the same \ninstant Jones, the former owner of the dog, rises and receives \nthe Mow intended for Toby on his head. \n\nJones. What did you do that for ? I shall make you pay for my \nhead, sir ! \n\nPunch. And I shall make you pay for my stick, sir ! \n\nJones. I haven\'t broken your stick. \n\nPunch. And I haven\'t broken your head. \n\nJones. You have, sir ! \n\nPunch. Then it must have been cracked before. \n\nJones. Hollo! Why, that\'s my dog Toby! Tob^, oid fellow, \nhow are you ? [Toby barjcs. \n\nPunch. He isn\'t your dog. \n\nJones. Yes, he is ! \n\nPunch. No, he isn\'t! \n\nJones. He is, I tell you ! A fortnight ago I lost him. \n\nPunch. And a fortnight ago I found him. \n\nJones. We\'ll soon see whether the dog belongs to you. You shall \ngo up to him and say, "Toby, poor little fellow, how are you ?" \n\nPunch. Very good. {Goes up to Toby.) Toby, poor little fellow, \nhow are you ? [Toby snaps at Punch\'s nose. \n\nJones. There ! you see ! \n\nPunch. What? \n\nJones. Why, that shows the dog\'s mine. \n\nPicnch. No ; it shows he\'s mine. \n\nJones. Then if he\'s yours, why does he bite you ? \n\nPionch. Because he likes me. \n\nJones. Nonsense ! We\'ll soon settle which of us the dog belongs \nto, Mr. Punch. We\'ll fight for him. Now don\'t you begin till I \nsay "Time." {Punch knocks Jones down.) Mr. Punch, that wasn\'t \nfair. \n\nPunch. Why, you said "Time." \n\nJones. I didn\'t. \n\nPunch. What did you say, then ? \n\nJones. I said, * \' Don\'t you begin till I say \' Time. \n\nPunch {knocking him doion again). There, you said it again. \n\nJones. Toby, assist your master. [Toby flies at Punch, \n\nPunch. It isn\'t fair ; he didn\'t say " Time." \n\nJones. At him again, Toby. [Toby barks and attacks Punch. \n\nPunch. Murder ! please to call him off ! \n\nJones. Very well. Come along, Toby ! [Exit with Toby. \n\nPunch {calling after them). I wouldn\'t have him at a gift ; he\'s \ngot the distemper ! Koot-to-to-to-too-it! \n\nEnter Hangman. \nHangman. Mr. Punch, you are my prisoner. \nPunch. What for? \nHangman. For having broken the laws of your country. \n\n\n\n112 PUNCH AND JUDY. \n\nPunch. Why, I never touched them. \n\nHangman. At any rate you are to be hanged. \n\nPunch. Hanged ? Oh, dear ! oh, dear ! \n\nHangman. Yes ; and I hope it will be a lesson to you. \n\n[^Erects the gallows on the stage. \n\nPunch. Oh, my poor wife and sixteen small children ! most of \nthem twins, and the oldest only three years of age. \n\nHangman. Now, Punch, you are ordered for instant execution. \n\nPimch. What\'s that? \n\nHangman. You are to be hanged by the neck till you are dead ! \ndead ! dead ! \n\nPunch. What ! three or four times over ? \n\nHangman. No. Place your head in the centre of the noose. \n\nPunch. Stop a bit \xe2\x80\xa2 I haven\'t made my will. \n\nHangman. A very good thought. We can\'t think of letting a man \ndie till he has made his will. \n\nPtmch. Can\'t you ? ^ \n\nHangman. Certainly not. \n\nPunch. Then I wont make mine at all. \n\nHangman. That wont do, Punch. Come put your head in there. \n\nPunch {putting his head under the noose) . There ? \n\nHangman. No ; higher up ! \n\nPunch, {^outting his head over.) There ? \n\nHangman. No ; lower down ! \n\nPunch. Well, I never was hanged before, so how can you expect \nme to know where to put my head ? \n\nHangman. Oh ! as you were never hanged before, it\'s but right I \nshould sbow you the way. Now, Mr. Punch, keep your eye on me. \nIn the first place, I put my head in the noose \xe2\x80\x94 so ! (Puts his head \nin noose.) Well, when I\'ve got your head in, I pull the end of the \nrope. \n\nPunch {pulling rope). So ? \n\nHangman. Yes, only much tighter. \n\nPunch. Very good ; I think I know now. \n\nHangman. Then turn round and bid your friends farewell ; and \nI\'ll take my head out. \n\nPimch. Stop a minute. {Pulls the rope tightly, and hangs the \nHangman.) Oee! oee ! oee ! I understand all about it. Eoot-to- \ntoo-it ! Here\'s a man tumbled into a ditch, and hung himself up to \ndry. [The Ghost rises and taps Punch on the shoulder. \n\nGhost. You\'re come for. \n\nPunch. Ob, dear ! oh, dear ! What do you want \n\nGhost. To carry you off to the land of Bobbetty-Shooty, where \nyou will be condemned to the punishment of shaving the monkeys ? \n\nPunch. Stop ! who were you to ask for ? \n\nGhost. Why, Punch, the man who was to be hanged. \n\nPunch. I\'m not Punch ; there he is ! \\_Points to Hangman. \n\nGhost. Oh ! I beg j^^our pardon. Good night ! \n\n[Carries off Hangman. \n\n\n\nrANTOCCINI. 113 \n\nPunch {hitting the sinhing Ghost). Good night ! Pleasant \njourney ! [Sings. \n\nE,oot-to-to-it ! served him right, \nNow all my foes are put to flight ; \nLadies and gentlemen all, good night, \nTo the freaks of Punch and Judy ! \n\n[Curtain falls. \n\n\n\n\nAbout sixty years ago, a puppet-show was exhibited at the west- \nend of London, with the Italian title of Fantoccini, which greatly \nattracted the notice of the public, and was spoken of as an extraor- \ndinary performance ; it was, however, nothing more than a revival \nof the old puppet-show which drew crowded and fashionable audi- \nences during the reign of Queen Anne, and rivalled the more pompous \nexhibitions of the larger theatres. In the present day Fantoccini \nare exhibited in the open streets by the itinerant showman, vt^hose \nragged coat and battered hat show how puppets have fallen in the \nestimation of the fashionable public. \n\nAny ingenious youth may amuse and astonish a large circle of \nfriends with an exhibition of dancing puppets, as the different figures \nare not difficult to construct, and their motions are very easily \nmanaged. The puppets may be common wooden dolls dressed up in \nappropriate costumes. The arms and legs are to be loosely attached \nto the bodies so that they may be moved about in any direction by \nthreads fastened to their extremities. These threads may be formed \nof black sewing-silk, or strong black cotton. All the threads pro- \nceeding from the diflTerent limbs and joints of a puppet are to be \nattached to a stick in such a manner as to allow the figure to stand \nin a natural attitude ; the annexed engraving shows two puppets thus \nsupported. \n\nThe puppet-show maybe formed in the following simple manner: \xe2\x80\x94 \nTake a tall, three-sided clothes-horse, and place its outer edges against \nthe wall so that it may enclose a square space ; then hang curtains \nor shawls over the horse, leaving no part uncovered except a rectan- \ngular space close to the floor in front ; to this opening you may, if \nyou think proper, fix a painted proscenium. Now place a small towel- \nhorse, hung with black stuff, at the distance of a foot behind the \nproscenium to serve as a background to the stage^ and to conceal your \nlegs while you are engaged in working the puppets; having done \n\nI \n\n\n\n114 \n\n\n\nFANTOCCINI. \n\n\n\nthis, lay down a little green-baize carpet on that part of the floor \nwhich represents the stage, and your puppet-show will be complete. \n\n\n\n\nThe puppets may be illuminated by candles placed on the floor in \nfront of the proscenium. The spectators are to be stationed as far \nfrom the show as possible, so that they may not perceive the \nthreads. \n\nThe performer takes his seat behind the small horse, and holding \nthe stick to which the threads are fastened in his left hand, he \nmanages the motions of the puppet with the fingers of his right hand. \nWhen the motions are very complicated, the showman may attach \nthe stick to a string hanging from a rod placed across the top of the \nshow, and employ the fingers of both hands in working the figure. \n"With very little practice the amateur puyjpet-man may acquire great \nproficiency in the art of giving life-like movements to the dolls. \n\nThe reader may dress tip his puppets in any fancy costumes, but \nhe must endeavour to give to each its appropriate action ; the follow- \ning characters may perhaps be allowed to figure in his Fantoccini : \xe2\x80\x94 \n\nThe Sailor. \xe2\x80\x94 This puppet, which is represented in our illustra- \ntion, is a popular favourite. The doll should have wl)iskers of Berlin \nwool glued on its cheeks, and a trim black-silk pigtail attached to the \nback of the head. It is to be dressed in the conventional naval cos- \ntume, namely, a blue jacket, loose white trousers, and a straw hat. \nOn its entrance it should be made to bow to the audience in a cha- \nracteristic manner, by inclining its body and kicking one leg behind \nhim. The Sailor\'s Ilorn;pix>e is then to be struck up by the pianist. \n\n\n\nGALLANTY SHOW. 115 \n\nand the puppet made to dance to the music. If the showman can \nmanage six strings at once, two threads, not shown in our illustration, \nmay be attached to the knees. \n\nThe Jugglee may be dressed in a fanciful Eastern costume; a \nstring is to be attached to the head, and another to each of the hands. \nA gilded ball, having a hole pierced through it, is strung on each \nhand- thread, and to each ball a fine silken thread is attached. Our \nillustration shows how the five threads are to be attached to the sup- \nporting-stick. A little practice will enable the showman to work this \npuppet so dexterously that the spectators will be fairly puzzled to \ntell how the rapid tossing and catching of the balls is managed. \n\nThe Headless Man. \xe2\x80\x94 This puppet may be dressed according to \nthe reader\'s fancy ; its head is not fastened to the body, but is strung \non a thread attached to the neck. When the showman has made the \ndoll dance for a short time, he pulls the head from the body by means \nof a thread fastened to it, and makes the headless puppet dance on \nas if nothing had happened. \n\nThe Milkwoman. \xe2\x80\x94 A puppet, dressed like a woman with a \nyoke and milk-cans, makes its appearance and performs a country \njig. Before the dance is concluded a little white doll jumps out of \neach can. The milkwoman tries to catch the dolls, but they fly out \nof sight. This trick is easily managed; to the head of each little \ndoll is fastened a thread, which the showman pulls at the proper \ntime. The yoke may be cut out of a piece of soft deal, and the cans \nmay be made of pasteboard covered with tin-foil. \n\nJim Crow is simply a black doll dressed in a very ragged blue \ncoat, patched breeches, and a battered white hat. The showman \nmakes this puppet go through a ludicrous dance to the tune of Jim \nCrow, or some other nigger melody. \n\n\n\n\n" Come like shadows, so depart !" \n\nThe comical moving shadows of the Gallanty Show rival Punch \nand Judy in popularity, and when exhibited at night in the streets \nof London, never fail to attract a large audience. A private gal- \nlanty show can be got up with very little trouble in any house where \nthere is a room which communicates with another apartment by \nmeans of folding-doors, so that the operator may be in one room and \nthe spectators in another. The figures are to be cut out of card-board \nor very stifi" paper, and their limbs are to oe made moveable by \nforming them of separate pieces, and making them work on pivots of \nthread or wire. All the figures should be blackened on both sides, \n\ni2 \n\n\n\n116 \n\n\n\nGALLANTY SHOW. \n\n\n\neither with indian-ink or lamp-black mixed with water and size. \nThe figures are to be worked behind a semi-transparent screen formed \nby stretching a piece of linen or thin calico over a wooden frame \nabout three feet in width by two in depth. During the exhibition, \nthe screen is to be illuminated by a lamp or candle placed behind it \nat the distance of three or four feet. The screen must be supported \nat the height of about five feet from the floor in\xc2\xabthe doorway between \nthe two rooms, by a light fi-amework of wood, or by any other means \nwhich the ingenuity of the operator may devise. Curtains or shawls \nmust now be hung over the doorway on the outside, so as to hide \nthe showman from the spectators, and shut out all the light except \nthat which passes through the linen screen. A piece of strong tape \nstretched along the bottom of the frame by a nail driven in at each \ncorner, serves to hold one figure in its proper position while the \noperator is engaged in moving another. The annexed engraving \n\n\n\n\nrepresents the interior of the gaUanty show, and shows how the \nfigures are to be worked; the smaller boy holds all the figures, and \nhands them one at a time to the showman. The operator should pay \nparticular attention to the actions of the diSerent figures, while \ncarrying on the dialogue, to see that they make appropriate gestures \nand movements with their heads, arms, and, legs. We recommend \nthe youthful exhibitor to write his own dialogues, as the ordinary \nstreet gallanty-show dramas are too coarse for private representation. \nThe following burlesque is a specimen of the kind of play most \nlikely to cause amusement. \n\n\n\nGALLAXTT SHOW. \n\n\n\n117 \n\n\n\nTHE WONDEEFUL CEOCODILE. \n\n\n\n\nScene I. Egy^t. A desert plain. On one side a single loahn-tree, \non the other a little hut. \n\nEnter Sambo, running. \n\n[The annexed illustration shows how this figure is \nto be cut out. The showman gives motion to the \nlegs by means of the long slips of cardboard attached \nto the feet. Sambo\'s eye may be made to roll about \nin a very comical manner, if the exhibitor will take the \ntrouble to stretch a hair with a black glass bead strung \nupon it, across the hole cut in the face to represent \nthe white of the eye.] \n\nSambo. Oh, golly ! me neber see sich a terrible bnite in de whole \ncourse ob my hfe ! Here, missis, come out directly, or else you\'ll \nbe eaten up in your bed ! \n\nEnter Mrs. Smith from the hut. \n\n\n\n[The figure of Mrs. Smith does not require much \ndescription. The arms are loosely attached to the \nshoulders, and made to move up and down by a thread \nor wire passing behind the figure.] \n\n\n\nMrs. Smith. How dare you summon me in that rude manner? \nMy poor nerves have been in such a dreadful state ever since I left \nEngland, that I tremble like a leaf at the slightest noise. \n\nSamho. Oh, missis ! I\'ve seen sich a dreffle creature ! \n\nMrs. Smith. Heavens ! what do you mean ? \n\nSambo. Great big large monster, ninety, eleventy, hundred feet \nlong \xe2\x80\x94 cohered all ober wid scales like de roof ob a house \xe2\x80\x94 hundred \nmillion teeth in him mouth, and tail dat would reach all de way from \nhere to New York. \' \n\nMrs. Smith. Good gracious ! Oh ! why did Mr. Smith bring me \nto this dreadful country? Where is your master. Sambo? Go and \nfind him directly, and tell him that he is a brute to leave his poor \nwife all alone by herself in this desert place. Oh, deary me ! Why \ndid I ever marry a traveller ? [Exit into hut. \n\nSambo. S\'pose me must go and look for massa, but me so bery \nfrightened ob de fellow wid de teeth, dat me take good care to go \nright away from him. [Exit, \n\n\n\n\n118 \n\n\n\nGALLANTY SHOW. \n\nEnter Little Jim. \n\n\n\n[The figure of the black child, little Jim, shown in the \nmargin, need not be made with moveable limbs.] \n\n\n\nJim {calling after Samho). Daddy take de little nigger wid \nyou ! Him out of sight tw^o or three times ober ! [Cries. \n\nEnter the Wondekful Crocodile, \n\n\n\n\n\n[The figure of this remarkable animal should be very carefully cut \nout. The tail and lower jaw work on pivots, and are moved together \nvirith two of the legs, by means of two long slips of card.] \n\n[TJie^ Wonderful Crocodile crawls sloidy towards Little Jim^ \nseizes that hapless youngster, and hacks out with him, betiveen \nhis huge jaics. The child yells. \n\nEnter Miis. Smith. \n\nMrs. Smith. Mercy on us ! I thought I heard poor little Jim \nscream. I wonder where the little brat has got to? Oh, dear! I \nwish my brute of a husband would come ! Oh, here he is at last. \nHow frightened he looks ! \n\nEiiter Smith. \n\n\n\n[The arms and legs of this figure need not be formed of \nseparate pieces, as Smith plays an unimportant part in \nthe drama.] \n\n\n\nSmith. Oh, my love ! I\'ve seen a crocodile with poor little Jim in \nits enormous jaws. {Mrs. Smith screams.) Ah, my dear ! we are not \n\n\n\n\nGALLANTY SHOW. 119 \n\nsafe an instant in this place. The authorities ought to put a stop to \ncrocodiles and all other dangerous reptiles. I am not afraid for \nmyself nor for you. \n\nMrs. Smith. Oh, you heartless brute ! \n\nSmith. Be patient, my love ! I am only afraid for the safety of \nmy valuable notes on the domestic habits of the ostrich. \n\nMrs. Smjith. Botheration ! I v^ish you had never interfered with \n\nthe ostrich, and had stopped at home like a sensible man. Oh, \n\ngracious goodness ! Look there ! [Screams. \n\n[The Wonderfvl Crocodile makes its appearance, swallows \n\nSmith, and hades out again. Mrs. Smith continues \n\nsa\'caming. \n\n[The swallowing is easily managed. The showman moves the \n\nCrocodile close up to Smith, and pulls the latter figure out of \n\nsight.] \n\nEnter Sambo \n\nSamlo. Can\'t find raassa. Look for him eberywhere ! \nMrs. Smith. Oh, Sambo ! Your poor master ! \nSamho. What ! hab de fellow wid de teeth eat him up ? \nMrs. Smith. Don\'t ask me. Oh, dear i oh, dear ! \nSambo. Where\'s little Jim ? \nAfrs. Smith. He\'s with your poor master. \n\nSambo. Oh, dear ! poor little Jim, de pride ob my heart. But \nsee him come again. \n\n[The Crocodile appears at one side, Samho and Mrs. Smith run \n\nout screaming at the other ; the monster after opening and \n\nshutting its jaios a feiu times disappears. \n\nEnter Captain, foUoioed hy the Army \n\n[The figure of one of the soldiers is represented in the \nannexed illustration. The best plan of moving the soldiers \nacross the stage is to fasten them to a long piece of tape, \nwhich is passed over two empty cotton-reels turning on \nstrong pins driven in the lower corners of the wooden frame ; \nthe ends of the tape are fastened together so as to form an \nendless band. The army will continue on the march as \nlong as the showman keeps turning one of the reels.] \n\nCaptain. Forward, my brave men ! Let us exterminate the ter- \nrible monster without delay ! \n\n[The Crocodile pops its head in on one side, and the soldiers \nall march into its mouth. Having eaten up the uhole army, \nUie monster retires. \n\n\n\n\n120 GALLANTT SHOW. \n\nEnter Jack Bowline and Mks. Smith. \n\n\n\n[The legs of the British sailor are moveable, but the \narms are cut out with the body. Each leg has a slip \nof card attached to it for the showman to hold.] \n\n\n\nJack. Eaten your husband and a little black baby say you ? Shiver \nmy timbers ! I\'ll chop the lubber into mincemeat ! \n\nMrs. Smith. You\'re very good, sir, but suppose the monster should \nswallow you ! \n\nJacJc. Swallow one of her Majesty\'s navy ! I should like to see \nhim do it ! But where\'s that Sambo, he promised to show me where \nthis land-shark harbours. So come along, my little craft, let\'s take a \ncruise in chase of him. \n\nMrs. Smith. If you kill the crocodile, sir, you will convey me to \nmy aged papa, will you not ? \n\nJacJc. I should think so ! The man who would not protect a \nlovely widow isn\'t worthy of the name of a British sailor. [Exeunt. \n\nScene II. \xe2\x80\x94 The Crocodile\'s Home on the hanJcs of the Nile. \nEnter the Young Crocodile. \n\n\n\n[The comical figure of the youthful crocodile \nshown in tlie margin, is easily worked by pulling \nthe strip of card which is connected with the \nlower jaw and tail.] \n\n\n\nYoung Crocodile {supioosed to he speaking the Crocodilian lan- \nguage). Oh ! I do wish papa would come home ! I have had nothing \nto eat since breafast, and then I only had two oxen and a few skinny \nArabs. I\'m so hungry ! Pa-pa-a-a ! pa-pa-a-a-a ! {Cries.) Oh ! \nhere he comes with something in his mouth. Hoor-ray ! La di diddle \nde, da de da. [Sings and dances in an absurd manner. \n\nEnter Wonderful Crocodile with Little Jim in his mouth. \n\nWonderful Crocodile {putting down Jim). Well, my son, I hope \nyou\'ve been a good little reptile in my absence. See ! I\'ve brought \nsomething nice for supper. \n\n\n\n\nGALLANTY SHOW. 121 \n\nYoung Crocodile. What a little bit ! That won\'t be enough. \nWonderful Crocodile. Don\'t be greedy ! I\'m going to bed as I\'m \nnot very well. I swallowed a troop of soldiers this afternoon, and \nthose nasty guns and bayonets have given me a pain in my chest. \nI never could digest iron. Good night, my child ! Have your \nsupper and go to bed. [Exit. \n\nYoung Crocodile. Good night, daddy ! Now for my supper. \n\n[Tries to catch little Jim, roho runs hacJcivards and forwards \ncrying all the time. After many unsuccessful attempts, the \nCrocodile catches Jim. \n\nEnter Jack Bowline. \n\nJack. Hold hard, you lubber ! The crocodile that would go to \n\neat a little baby like that isn\'t worthy of the name of a British \n\nsailor ! [The Crocodile leaves Jim, and makes a rush at the Sailor. \n\nJack. What! yon fresh-water shark! Do you want to try the \n\ntemper of a British cutlass ? Come on then ! \n\n[Terrific combat hetiveen Jack and the Young Crocodile. At \n\nthe conclusion of the fight the Crocodile falls backwards out \n\nof sight. \n\nJack. Hurrah ! Three cheers for Old England, Queen Victoria, \n\nand the Lords of the Admiralty ! {To Jim.) Now, young \'un, let \n\nme take you to your daddy, then I\'ll come back and look for the \n\nfather of the chap that was going to make salt junk of you. The \n\nman who would be content with thrashing one crocodile isn\'t worthy \n\nof the name of a British sailor. [Exeunt. \n\nScene III. \xe2\x80\x94 England. The sailor\'s native village. A p\'^imp on one \nside, a signboard, with the loords " The Jolly Sailor\' cut out, on \nthe other. \n\nEnter Jack Bowline. \n\nJack. Here I am again in my native village, safe and sound as a \nnew frigate! Wont my blessed old dad be glad to set eyes on me, \nand wont all the folks stare when they see my tame crocodile? \nSambo, a-hoy ! Tow the vessel into this port ! \n\nEnter Sambo leading the Wondeeful Crocodile hy a string, \nLittle Jim folloiving. \n\nSambo. Here we be, Massa ! De critter as tame as pos\'ble. Tink \nhim turned vegetarian as him eat noting but grass and clober. Him \ncry like a child when me scold him. \n\nJack. It\'s a queer craft to look at. Let me get on deck. {Mounts \nthe Crocodile.) Now, music, strike up "Jack Robinson." The man \nwho wouldn\'t dance a hornpipe on a crocodile\'s back isn\'t worthy of \nthe name of a British sailor ! \n\n[He dances a hornpipe on the back of the Wonderful CrocO\' \ndile. Curtain falls. \n\n\n\n122 \n\n\n\n\nCHINESE SHOW OF ARTIFICIAL EIREWORKS. \n\n\n\nThe Chinese showman, by an ingenious arrangement of punched \npictures, transparencies, and revolving wheels, imitates brilliant stars, \ncones, jets, and cascades of fire so cleverly, that his exhibition rivals \na display of real fireworks. The Chinese show is not difficult to con- \nstruct, and may be exhibited, like the gallanty show, in a doorway \nleading from one apartment to another. \n\nHave a frame made some three or four feet square, and twelve or \nfourteen inches deep, and let there be a ledge or groove aloDg the \nbottom in front, and a corresponding one, also in front, at the top, \nsufficiently wide to slide a picture in. Two wires are to be placed \nacross this frame, each having a loop in its middle, for the purpose of \nbearing an axle or spindle, wiaich may be made of stout wire. On \nthe front end of this spindle, a wheel, of about two feet in diameter \nmade of a thin hoop, and six or eight wire spokes, must be fastened, \nand the other end should have a handle securely fixed on it. The \nwire wheel must be placed as close to the front as the sliding groove \nwill allow. Next have as many straining frames prepared, like those \nmade for pictures, as you intend to have subjects, and stretch upon \nthem either calico or parchment, or paper, and paint them on both \nsides with oil paint, or else with lamp-black mixed with water and \nsize. When thoroughly dry, you must proceed to sketch out upon \nthem the different designs you wish to exhibit, taking care, if they \nare intended to appear in motion, that the centres of the pieces cor- \nrespond with the centre of the wire wheel, and then punch an innu- \nmerable quantity of holes, of various sizes, to the shapes of the \n\n\n\nCHINESE SHOW OF FIEEWORKS. \n\n\n\n123 \n\n\n\nfigures: of course having the largest holes and greatest quantity \nnearest the centres, from whence the sparks are supposed to jet, and \nif a few narrow slits are intermingled with the holes, radiating from, \nand close to the centres of the pieces, much will be gained in their \neffect. As much is added to the beauty of this species of exhibition \nby producing the appearance of various coloured fires, it is as well \nto paste over the backs of the designs, when punched out, a piece of \ntissue paper, colouring it according to the nature of the display \nyou intend, either with Prussian blue, carmine, gamboge, a purple \ncomposed with carmine and Prussian blue, or a green made with \ngamboge and Prussian blue, &c. Indeed, any transparent colour, \nor combination of colours, may be used for the purpose of adding \nrichness and variety to the figures ; and if you wish them to be ex- \ntremely brilliant, either varnish the paper after colouring it, or mix \nvarnish with the colours at first. \n\nAs the mere objects themselves, in a \nquiescent state, possess little interest, \nthe means of producing motion next de- \nmand our attention. It being necessary \nto employ three different motions, three \nhoops must be procured of a size sufficient \nto fit tightly upon the hoop of the wire \nwheel, and upon three pieces of blackened \npaper, of the same kind as that employed \non the object frames, the dimensions of \nthe hoops should be sketched. Por the \nfirst species of motion, that by which a \nquivering, glittering light is imitated, a \nwheel of twelve radii or spokes must be \ndrawn upon one of the pieces of paper, as \nin the annexed figure, and the intervening \nwhite spaces cut out with a penknife. \n\nPor the second species, producing the \neffect of fire flowing from a centre, in \none uniform motion, the wheel must have \na great number of radii flowing in regu- \nlar curved lines from the centre, as deli- \nneated in the illustration, and the white \nspaces carefully cut out. \n\nPor the third motion wheel, tbe direc- \ntion of the radii must be varied : an \ninner series flowing from the centre in \none course, whilst an outer series should \nproceed in exactly the reverse way, as in \nthis figure, and the white spaces cut out. \n\nAfter the figures of the motion wheels \nare properly drawn and cut on the pieces \nof paper, they should be pasted upon ttie \nhoops prepared for them, and they are \nthen ready for use. The first kind of \n\n\n\n\n\n\n121 CHINESE SHOW OF FIEEWOEKS. \n\nwlieel is adapted for anything requiring \na wavering light ; the second is exceed- \ningly well calculated for brilliant stars, \nthe sparks from which are to appear as \nif they were radiating from the centi\'e \nto the circumference. The third is in- \ntended for such pyrotechnic figures and \nstars as have jets of fire playing from \npoints away from the centre of the piece, \nas well as those immediately from it ; of \nthis kind are the three annexed marginal \nfigures, and the different directions in \nwhich the fire will seem to be ejected, \nparticularly if variously coloured fires are \nimitated, will produce an animated and \ninteresting scene. \n\nA shower of fire requires but little art \nto imitate it ; have a roller fastened at \nthe top of the box, close to the front, \nand another at the bottom, likewise close \nto the front, and let there be handles \nafiixed to them ; upon these rollers wind \na very long coil of blackened paper, pro- \nfusely punched with holes of various di- \nmensions ; and when by moving the \nlower roller the paper is pulled down \nand wound upon it, a shower of brilliant \nsparks will seem to be falling. By re- \nversing the movement of the paper by \nturning the upper roller, the sparks will \nthen appear to be moving upwards, and \nif an object frame with a figure like a \nfountain is put before it, the effect of a \nfountain of fire will be very neatly dis- \nplayed. \n\nIf a cone or globe is intended to appear \nin motion, figures of the annexed shape \nmust be drawn and cut out. \n\nWhen showing these objects, three or \nfour lamps or candles should be placed \nalong the sides of the frame, and care \nmust be taken that the wheels are not \nturned too quick, else a haziness will be \nproduced, instead of the tremulous, vary- \ning light necessary for the proper display \nof the pieces. \n\nThe cheap paraffin lamps, which give a steady brilliant white light, \nare admirably adapted for illuminating the pyrotechnic figures of the \nChinese show, and one of them may advantageously be used for \nexhibiting the shadows of the Wonderful Crocodile and his friends. \n\n\n\n\n\nTHE MODEL STAGE. \n\n\n\n125 \n\n\n\nOther and more complicated designs than those we have given \nwill doubtless present themselves to the minds of our young readers, \nand we trust that the really pretty effects which can be obtained in \nthese artificial fireworks will tempt them to lay aside the use of the \nperhaps more lively, but certainly dangerous, real ones. \n\n\n\n\nTo possess a model stage with a complete set of characters and \nscenes, is doubtless the aim of many a lad into whose hands this book \nwill fall. A few practical hints upon getting up a stage will not, \ntherefore, be out of place in this section, which treats of juvenile \nshows. \n\nHaving decided on the play you intend to represent, you may \npurchase the characters, which are sold in sheets at almost all the \nsmaller toy- shops, and at many booksellers. After painting the sheets \nin water-colours, they are to be stuck on cardboard with paste or \ngum, and when dry you must carefully cut out each character with a \nsharp penknife. In painting the same characters in different atti- \ntudes, be careful to make use of the same colours, as nothing can be \nmore absurd than to make a figure change the colour of its coat, \nevery time it kneels, sits, or draws its sword. When all the charac- \nters have been prepared, the scenes, side-wings, and drop-pieces may \nbe purchased; these you must paint in their natural colours, and \nthen paste upon cardboard. \n\nThe stage may be bought ready-made, but you may save the ex- \npense and earn the praises of your companions by constructing it \nyou7-self. The frame-work of the stage is not unlike a four-post \nbedstead, and may be easily formed by gluing a few straight pieces \nof deal together; the stage itself must be made of a square piece of \nboard, planed very smooth on its upper surface. Slips of wood must \n\n\n\n126 THE MODEL STAGE. \n\nbe glued on tlie stage, and corresponding slips on the upper frame- \nwork, so as to form grooves for holding the scenery. The j^roscenium, \nor frontispiece of the stage, shown in our heading, is sold as a scene; \nit should be painted with bright colours, and pasted on very stiff \ncard-board. A tin lamp, with five or six burners, is to be let into \nthe front part of the stage. The curtain may be formed of any dark- \ngreen stuff, and may be wound on a roller placed behind the upper \npart of the proscenium : besides the curtain there should be a painted \nscene or act drop, to let down between the acts of a drama. Duiing \nan exhibition, lamps or candles are to be placed on each side of the \nstage to illuminate the scenes. \n\nTo move the characters and work the scenery two operators are \nrequired, and each should have the entire management of one side of \nthe stage. The play should be read by a third person, who should \nendeavour to distinguish the different parts by different tones of \nvoice. A little tin foot, soldered to the end of an iron wire, is the \ncontrivance by which each character is supported in an upright posi- \ntion and moved on and off the stage. When a character has to strike \na new attitude while on the stage, the two figures required to exhibit \nthe change of posture may be stuck in two slits made in a square rod \nof deal, as shown in the annexed cut, and by turning the rod, one \n\n\n\n\nfigure will be made to take the place of the other ; this plan is much \nbetter than the ordinary one of pulling one figure off the stage and \npushing another on in its place. \n\nWhen you exhibit your theatre you must hang drapery all round \nit, so as to completely screen yourself and your assistants fi\'om the \nspectators. In a house where there are two rooms with folding \ndoors opening from one to the other, the theatre may be placed on a \nhigh table in the doorway between the apartments. In a single \nroom a large clothes-horse may be covered with curtains and used as \na screen. \n\nIn conclusion, we recommend you to study the play you intend to \nrepresent very carefully, so as to get all the parts tolerably perfect, \nand to persuade your assistants to follow your example ; we have \nseen so much confusion arise from the neglect of this important point \nthat we cannot insist upon it too strongly. \n\n\n\n12: \n\n\n\nTINSELLING. \n\n\n\nThe art of Tinselling is so intimately connected with painting \ntheatrical characters, that we have thought proper to class it with \nshows. A well-tinselled portrait of some favourite performer as a \nJRobber Chief, a Bold Pirate, or a Red-Cross Knight, is a very mag- \nnificent object, at any rate in the eyes of schoolboys, though it may \nnot be considered a work of high art. A good deal of patience and \nsome money must be expended on a single picture, but the juvenile \nartist will find himself fully repaid in the plaudits of his admiring \nfriends when the tinselling is completed. \n\nShould the reader feel inclined to try his hand at tinselling, he \nmust procure one of those full-length theatrical portraits that are \nsold at the shops for a penny each. He ought to select one of the \nbest-known figures, as he will then have no difficulty in procuring \nthe embossed gold and silver work with which \nit is to be adorned. The whole figure must \nbe carefully painted with water-colours, and \nthe artist should take particular pains with \nthose parts which are not intended to be \ncovered or cut away. Having finished the \npreHminary operation of colouring, the artist \nsliould neatly cut away those parts of the \nengraving which represent drapery, and place \nunder the spaces thus formed, satin, silk, or \nvelvet, of the proper colour, which may be \nsecured to the back of the picture with a little \ngum. In the annexed figure of a warrior, those parts that should be \ncut away to show the satin beneath, are made black. \n\nMany tinsellers employ regular print-colourers to shade their silks \nand satins, but we strongly advise the reader to trust to his own \nabilities, and boldly set to work to indicate the folds of the drapery \nby proper shadows. The pieces cut out of the engraving will show \nhim where the different shadows ought to fall, and as for the colours \nto be used, we may state as a general rule that silk, satin, or velvet \nof a certain colour ought to be shaded with darker tints of the \nsame colour. Gum-water should be mixed with the colours used \nin shading, to prevent them running when applied to the woven \nfabric. \n\nThe artist may now proceed to the work of tinselling, which con- \nsists in gumming little spangles and embossed ornaments over certain \nparts of the picture. Every piece of armour, every button, every \njewel, and every weapon, should be represented in embossed work. \nAll the pieces required for tinselling a figure may be purchased at \nthe proper shops. In the above figure of the warrior, the breastplate, \n\n\n\n\n128 \n\n\n\nTINSELLING. \n\n\n\nr \n\n\n\nshield, sword, and jewels would have to be formed of pieces of gilt \nor silver paper cut and stamped into proper shapes and patterns. \nThe price of each piece of embossed work depends of course upon its \nsize or elaborateness. When the picture is finished, it should be \nmounted on fine card-board, and placed in a neat frame. \n\n\n\n\nLRBJe?8 \n\n\n\n^ \n\n\n\n^ \n\n\n\n^^^^1^>\xe2\x80\xa2 \n\n\n\nLIBRARY \n\n\n\n\n'