IW TO MAKE THEM. EXPLAINED AND ILLUSTRATED BY Samuel Booth &. Co., riuters aiid Engravtrs, 201 Ceuiie btreet. New Voik. Class ^:3 Book ^ ^ V^ r Entered according to Act of Congress, in the year 1888, by John LeClair, in the Office of the Librarian of Congress, at Washington, D. C. OTl SHADOWGRAPHS HOME AMUSEMENT FOR OHILDEEN AND THE FAMILY CIRCLE GENERALLY. The wise parent should always encourage indoor amusements for the children — not that outdoor exercises should be discour- aged; but that the child may learn to love, esteem and revere its household remembrances in after life above all others. How many of mankind's most promising buds have been nipped in their early blossoming by their parents' indifference in this res- pect none can tell — though if the facts could be statistically cal- culated we do not hesitate to state our belief that the majority of the youth wrecked in early life might be able to trace the first stages of their ultimate downfall to this cause. Children need recreation more than adults, for their youthful proclivity is to seek ever that which is novel. The older minds on the contrary, as a general rule, deprecate everything tending to juvenility — to the evident detriment of the home circle. How can I keep my child at home ? How can I best manage to inculcate a feeling of love in the mind of my offspring for its habitation ? are questions that have ever puzzled the thoughtful parent. The doll, the miniature kitchen, the various games of cards, and innumerable other ingenious devices to the same pur- pose have all furnished their quota to this end, and still the youthful minds clamor for more. Again, if the attractions bear a too close similarity one to the other the child soon tires of them, and the father or mother not infrequently blames the poor child for its non-appreciation of the good things provided by its thoughtful parent. Long before the countless and almost inconceivable varieties of household entertainments of the present generation had even been HAND SHADOWS, OR SHADOWGRAPHS. thought of, it was customary for the family circles of ancient days to be amused evenings by Shadows of various devices cast upon the wall by means of characters cut with a knife or scissors upon a piece of cardboard or paper previously folded into peculiar shopes. An- other and more popular and fascinating entertainment was the cast- ing of Shadows (imitative of men, birds, animals, etc.) upon the wall, simply by a dexteious commingling of the fingers and thumbs of both hands, accompanied by surprising contortions of the hand and arm muscles. Some of the most marvelous combinations formed by this method, which are alike capable of being shown in the pailor, the kitchen, or wherever there is a strong enough light, will be found accurately described and illus- trated on the succeeding pages. The young student, with the ex- ercise of a small aujouiit of patience and ingenuity, can readily master them. REMARKS, \ In explaining the positions of the hands and lingers, I shall say Right and Lejt Hand Thumb, First, Second, Tltird and Fourth Fingers, as my obj»^ct is to explain the mode of making the Shadows in as concise and simple a manner as possible. It is desirable, at times, to turn the hands to the right or left, to get a good and well defined outline. If you wish to make your Shadows on the wall, a smooth, white surface is required — such as a white- washed one. If your room is papered with a colored pattern, then a large sheet of white pa- per, tacked on the wall will answer every purpose. A great deal of amusement may be afforded your opposite neighbors if you happen to have a white blind in your window. Let your light be exactly opposite and on a line with the centre \ of the screen, or whatever you use for a substitute. f HAND SHADOWS, OR SHADOWGRAPHS. Necessary arrangement of Hands, Fingers and Thumbs to make the Shadows Illustrated in following pages. 5 f f/T 6 nn. Diagram illustrating; the position of Performer and distance between the Light and the Screen. HAND SHADOWS, OR SHADOWGRAPHS. INSTRDCTIONS FOR MAKING THE VARIOUS FIGURES. THE DUCK. Place the surface of the two thumbs together — that will bring the back of the right hand in the palm of the left ; let the sec- ond finger of each hand overlap the third a little ; then, turning the back of the hands towards the screen or wall, you have the shadow of the duck. By opening and closing the hands, just a little, will give the impression of the duck flying. THE ELEPHANT. Extend the left hand in front of you the four fingers closely pressed together pointing downwards, the thumb pointing straight out ; place the tips of the four fingers of the right hand on the knuckle-joints of the left, the thumb laying on the back of the left hand ; raise the four fingers of the left hand to a horizontal position, and let them gradually fall and curl up into the palm, — that will give the motion of the elephant's trunk, as if con- veying food to the mouth. THE CAT. For this Figure, a towel or tablecloth is required. Lay it over the right arm, from the wrist to the shoulder ; then, with the left hand, gather in tightly the hanging folds of the cloth, bringing up the right arm straight from the elbow, the palm of the hand facing the screen ; close the four fingers tightly, the thumb point- ing straight up and the little finger projecting a bit above the others ; the left, grasping the loose folds of the cloth, you keep at the tip of the right elbow, the first finger pointing down. By bending the wrist of the right forward will give the figure the motion of cleaning itself. HAND SHADOWS, OR SHADOWGRAPHS. THE SW^AN. Sit in a chair, the left side of the face towards the screen ; throw back the head so that it will not be seen ; bend the right arm from the elbow, close the thumb, first and second fingers tight, extend the third and fourth fingers straight out, pointing directly from you ; bring the wrist of the left resting on the inside part of the muscle of the right arm, which will bring the back of the left hand facing the screen, the fingers close together and pointing towards the right shoulder. By bending the wrist of the right forward and backward, side to side, will give the Swan the ap- pearance of arranging its feathers. THE DOG. First Position. — Stand ^ith your side to the screen, extend both hands forward, open fingers of hands together, close and extend, place the palm of the right hand along the first finger of the left, bringing the thumb of the left tightly between the thumb and first finger of the right, the back of both hands in- clining downwards. By raising the fingers of the right hand and lowering the left hand, will give the motion of the dog opening and closing his mouth. Second Position. — By raising and lowering the fingers of the right and left hands, quickly, it will give the motion of the dog eating. For the finale, raise the fingers of the right and lower those of the left and you have the dog with its mouth wide open; then raise the first finger of the left hand, and you have the tongue protruding. THE RABBIT. Link the fourth fingers of both hands, turn them back to back, left uppermost ; link the first finger to the tip of the thumb of the left, resting on the tip of the first finger of the right hand ; elbows close to the body, thumb and second and third fingers of the right pointing down, second and third fingers of the left pointing up. By moving the second and third fingers of the right and left, will give the shadow a life-like appearance. o o o ^:Pr 1 1^„^^,— ^..^^ — ..- .--^j-.^ iP>iW^'i;riffr"^f--i-»i.TffrTi;f-y>rfri«iy-ri''1hf.i«-rir-V, HAND SHADOWS, OR SHADOWGRAPHS. THE NIGGER. Of all shadows, that of faces are the easiest made, by a com- bination of movements of the first joints of the first, second, third and fourth fingers of the left hand. All kinds of expressions can be put on the shadows — laughing, crying, etc., opening and clos- ing the mouth, puffing at the pipe, extending or drawing in the nose, and a hundred different contortions of the face. To make this figure, close the left hand, the first finger partly so, allowing it to partly project beyond the others — this is the nose; the second and third projecting a little beyond the fourth. Place an old pipe between the second and third fingers, grasp the thumb tightly with the right hand, the thumb bent over the point of the left hand. Now project the second and third fingers, still re- taining the pipe, tightly held between the fingers; project the second and third fingers out and in — that will give the figure the expression of pulling or puffing away at his pipe. THE DUTCHMAN. To get the proper expression of this figure, a little alteration of the fingers is necessary. First place the little finger in a direct line over the fingers of the left hand, draw in a little the third finger and project the fourth of the left To get a good profile, it will always be found necessary to move the hands a little to the right or left. THE CLOWN. This figure is made almost the same as the Nigger — only draw in the third finger and project the fingers of the right hand over, same as shown in the cut. By different movements of the fingers of the left hand, you can get a lot of different expressions out of the figure — for instance the nose. Gradually open the first finger of the left hand until it projects straight out — here you have the Clown with a long pointed nose. Again, close the finger slowly and it will have the appearance of getting shorter, until it comes to its normal size. 10 HAND SHADOWS, OR SHADOWGRAPHS. THE FISHERMAN. First Position. — For this Figure, cut out of cardboard an outline of a boat and hat, a round stick with ring attached to one end, so that it will fit over the thumb tightly ; a bit of paper or cloth, stretched between the light and screen, will cut off one- half and leave you a straight shadow across. Take the boat in your left hand, place your thumb through the ring, double up the fingers tightly and close, let the tip of the fourth finger project beyond the other fingers, put the hat between the second and third fingers of the right hand. Now let the boat rest against the wrist of the right hand, bring the boat up to the shadow-line, so that only the boat and figure are seen ; work the thumb back- ward and forward, and gradually pass the boat along, as if in the act of rowing, until it passes out of the light. Second Position. — When out of the range of light, change the stick, or oar, for a fishing-rod. The rod is made the same way as the oar, only have a piece of string attached with a cardboard fish on the end. Then appear fishing. Bend the hand forward, and make any attitudes you wish with the figure. Third Position.— E^ndi the hand over the bow of the boat, which will make the figure appear as if looking into the water for the fish, — such as shaking the head backward and forward, raising and lowering of the fishing-rod, suddenly put the figure forward and jerk up the line and expose the fish attached; shake the head quickly, giving the figure the expression of laughing — as if in high glee over his luck. A great amount of amusement can be got out of this figure. 12 HAND SHADOWS, OR SHADOWGRAPHS. PARSON AND PULPIT. This Figure is also very amusing. All that is required for this is an outline of a college-cap with tassel cut out of cardboard. Rest on a chair, with side of the face towards screen ; half close the left hand with the fingers pointing in a direct line from the knuckles, bringing the thumb closely against the first finger ; let the cuff of your coat sleeve project in the same direction as the fingers, — there you have the Pulpit. Close tightly the fingers of the right hand (same as directed for the Fisherman), place the cap between the second and third fingers. First exhibit the Pul- pit, then let the Preacher approach towards the pulpit, disap- pearing and raising in the pulpit ; bend the hand forward and bring the thumb up, as if in the act of praying ; then proceed to make motions with the thumb, etc., gesticulating, etc., — and there you have a very laughable subject. SHADOW PANTOMIME. What is most required for this subject is a House. By taking a large sheet of cardboard, and cutting out the outline of a house (same as shown in the cut), and placing it between the light and screen, so that you get a clear, sharp shadow, which you will ob- tain by placing the profile nearer or farther from the light; next sit on a chair, facing the screen so that you don't throw any shadow of your own head on the screen. The first figure to ap- approach is the Lady. This is done by the right hand (same as for the Fisherman and Parson,) only place a woman's hat be- tween the second and third fingers; approach very slowly, enter the house. The next figure is the Masher. Change the lady's hat for a gentleman's derby; knock at door with thumb, and the lady will appear on the balcony. This is done with the left hand (same as right for Fisherman, Parson, etc ) Make motions as if talking with each other. The lady disappears from the bal- cony and comes to front door and invites masher in; lady enters, followed by the masher. Enter Dude, tall hat, approaches door. ■ — ~-... -l^.-J.. ■ 14 HAND SHADOWS, OR SHADOWGRAPHS. knocks. Masher appears at window or balcony, leans over and knocks off hat of the dude; disappears and comes to door and confronts the dude ; gesticulate, as if both very angry, and finally end up with a fight and exit. Enter Policeman, knocks at door, lady appears, pantomime business between them, lady exit?, po- liceman closes up nearer to door and appears with bottle. — [This is made on same princijde as the fisbing-pole of Fisherman, only cut out of cardboard.] The policeman drinks out of bottle, then hands it back, and the lady appears again, they pantomime and kiss. — -[This is done by proj^^cting the fingers of each hand to- wards each other until they meet.] After kissing, exit police- man and lady. Enter Dutch musician playing clarionette, (clari- onette made on same principle as before described), play under balcony; the old man appears on same with Lightcap and candle, (see cut), pantomimes to go away, Dutchman continues to play. Exit old man, reappearing with sweeping-brush or broom, (made as before described), leans over balcony and belabors musician — no heed taken of it. Exit, returning with water-jug he proceeds to pour contents over the unfortunate Dutch musician. — Finale. Sawdust or sand, previously put into the jug, will give a good imitation of water. iiiJiia^^^ ' A^Vr'IX^XalJS^ i ■V ^ r9$ f^^ \ - < \^^mm LIBRARY OF CONGRESS 10 020 237 530 3 ^- ^ ?ff-l?;. M^ ^^ i ■'"Jvf- SttI ^ '>^-~ &^^ ^-^-.-^^. '^.^-^. ^ w ^ ^ - ■ \ ^./^\r^ ^:,..: -^^ H-^ ^^^i^ ■■ ■■■' -^ ?^t^% '^^ ^1,: ^t^