Extenore

100
THE LIBRARY
THE
REGENTS
IX OF
UNIVERSITY
JOMNIROS
ARTIBUS
MINNESOTA
Frank in Woodbury.
Rim

2
!


2012,

THE
BOY'S OWN BOOK.
IMPROVED EDITION.
NEUW FORK.
C. S. FRANCIS AND COMPANY.

BOY'S OWN BOOK
EXTENDED.
A
COMPLETE ENCYCLOPEDIA
OF ALL
ATHLETIC, SCIENTIFIC, RECREATIVE, OUTDOOR AND INDOOR,
Cxercises and Diversions.
INCLUDING
THE BOY'S OWN BOOK,
THE BOOK OF GYMNASTICS,
AND PARLOR MAGIC.
New York and Boston:
C. S. FRANCIS AND COMPANY.
1859.


BOY'S
MAR 8 '83
Huston
OWN BOOK.
PRELUDE.
A POPULAR ENCYCLOPEDIA of the Sports and Pastimes of Youth,-
a companion for all holydays,-THE BOY'S OWN BOOK,-mixed with
aught that was not highly interesting to himself, had long been a deside-
ratum; to supply which, he was usually led to become his own caterer,
and purchase publications of an objectionable character, merely because
their low price placed them within his reach. The present Work was an
attempt to obviate this inconvenience, by enabling those, who had the
guardianship of youth, to present their young protegés, in the form of a
Holyday or Birthday Present, with a concentration of all that usually
delights them, executed in such a manner as their own judgment would
approve, and much more amusing and instructive to the juvenile inind,
than the cheap trash on which the hoarded shilling is usually expended.
The event has fully justified the expectations of the Publishers; few works
have met with so flattering a reception, from the press and the public;
the whole of the first edition, which extended to three thousand copies,
having been sold without advertisements, in little more than two months.
559726

PRELUDE
2
A wider field than we have taken cannot well be imagined. Our
plan embraces the amusements of all minds, and of all seasons,—in win
ter and in summer,-at home and abroad; the robust and the delicate,-
the contemplative and the ingenious,-have each their tastes provided
for. The sports and exercises of out-door enjoyment,-the pastimes of a
winter's fire-side, and the recreation of science,-are copiously detail-
ed in our pages, which have been printed in a close type, that we might
be enabled to compress a whole library of sportful lore in the brief compass
of one little volume. We can honestly say, that no pains have been
spared to do justice to our plan. We have attempted to please Seniors
and Juniors, no easy task; but our failure can only be partial, for
should we be condemned by a few, we are sure that the many will be in
our favor; and that a host of advocates, appreciating our industry and
our motives, would cheerfully undertake, on our behalf, the task of a
pleader.
So far the London Preface. The American publishers have omitted a
few articles, entirely useless on this side the Atlantic, as the extra expense
would have debarred the more useful part from being in the hands of
hundreds of Youths, who will find everything that will amuse them in our
present volume.

Minor
Sports.

ענית

MISCELLANEOUS OUT-DOOR SPORTS.
WE heartily trust that our young readers will commence the perusal o
our pages with pleasure equal to that which we feel in sitting down to write
them, and that we shall go pleasantly together through our work. The
description of these Minor Sports, most especially, will, we are convinced,
be an agreeable pastime to us, and call up, from time to time, welcome
reminiscences of those days of our boyhood, when we were a hero at " Ring-
taw," and by no means a contemptible adversary even to the most accom-
plished youthful players at "Fives." It will remind us of our happy holydays
and favourite school-fellows;-of feats of agility performed at "Follow my
Leader," and trophies borne off in triumph at "Peg in the Ring;"-of
those merry mornings, when the first glance of the sun awakened us, to
snatch an additional half-hour for the play-ground, without encroaching on
the allotted times for study;-when, during winter's surly reign," we
joined the active few, who, instead of moping in great coats, or shivering
round a fire, sallied forth into the clear, cold, invigorating air, and marking
out goals and bounds in the crisp hoar frost that mantled the ground, sought
R

B
MINOR SPORTS.
after, and found warmth and high spirits in a game of "Prisoner's Base,"
--or made the brows glow at lofty "Leap-frog," or defied the frost by
briskly plying the whip-top with eel-skin, and came in with glad hearts,
ruddy cheeks, perfect willingness, and the best of appetites, to our morning
repast and subsequent studies. It will bring to our recollection also, those
smooth and shady spots, where, when the noontide sun was midway in the
heavens, in the sultry month of August, we alternately perused pleasant
and instructive books, and played with our class-mates at "Increase-
pound,” or set up a pyramid of marbles for them to shoot at, or shot at one
erected by one of them. It will carry us back in imagination to the hills
and downs, where we flew our kites,-the loftiest soarers for miles around;
-of mishaps, through breaking of strings, and long races of rivalry after
our falling favorites-to that cheerful parlour, in which, during the win-
ter vacation, when mince-pies, plum-puddings, and young parties, were
most abundant,-on Christmas-eve, or mirthful Twelfth-night, most espe-
cially,—we bore a part in the exhilarating and harmless fireside sports of
the season ;-to that dilapidated ruin,--the court of that mouldering castle,
with a tall and stately elm rising from one of its corners, and ivy, apparently
ages old, the constant home and nestling-place of innumerable birds, which
bedecked and supported the outward side of its walls,-the scene of our
chief exploits at Fives;-to the garden walk, where our school-swing was
erected, between two gigantic sister pear-trees ;-and, in brief, to all those
places where we played the games which were the delight of our holydays;
when a sportive bout at "Saddle my Nag," was in itself an ample recom-
pense for the past two horf study, employed in working an intricate
question in arithmetic-composing a theme on some difficult subject-ren-
dering a portion of the Iliad into Latin hexameters, or a passage of Pope
into French prose.
We conceive that we are bringing no disgrace on our
boyhood, by avowing that we deeply enjoyed the sports of the play-ground.
The line of a talented writer, " A dunce at Syntax, but a dab at taw," has,
by a thoughtless few, been converted into a proverb, and those who were
most eminent for their activity and love of the usual amusements of youth
out of school, have thus been unjustly stigmatized as inattentive students.
The reverse, we have generally found to be the fact; for, we have often
remarked, that the lads who led the sports in the play-ground, stood high in
their classes in the school-room. "There is a time for all things," is a trite,
but, in this case, an applicable observation: the scholastic discipline wisely
allots certain hours in the day for recreation; they should be employed in
healthful and agreeable pastime, so as to render the boy prepared to returr
with mental vigour to his books;-study should give a relish to sport, and
sport to study. But while we recommend that the school-room should be
forgotten on the play-ground, we wish to impress on our young readers the
necessity of their forgetting the play-ground in the school-room

三
​
MINOR SPORTS.
9
GAMES WITH MARBLES.
THERE were, some years ago, and we believe, there still are, three or
four different sorts of marbles: the Dutch, or variegated clay marbles, were
reckoned the worst; those of yellow stone, with beautiful spots or circles of
black or brown, were next in estimation; and what were called the real
taws, of pink marble, with dark red veins, " blood allies," were preferred to
all others. The games with marbles are not very numerous; the following
pages contain descriptions of all that have come to our knowledge.
SPANS AND SNOPS.
This is the most simple of all games with marbles; one player first shoots
his marble, the second then endeavours to strike or snop it, or otherwise, to
shoot his own within a span of it. If he miss, or do not fire within the span,
the first player, from the spot where his marble rests, in like manner, shoots
at that of the second; and so on, until a snop or span is made, when the
marble snopped or spanned is taken, and the game begun anew, by the
winner.
BOST-ABOUT.
This game differs from the preceding one only in this respect, namely,
that the marbles, instead of being shot with the fore-finger and thumb, are
pitched, or to use the technical word, bosted, by the players.

10
MINOR SPORTS.
HOLES.
Three small holes are dug, about a yard and a half asunder; a line is
drawn about two yards from the first hole, from which the players begin
the game. Chance decides who shall have the first shoot; the object is to
drive the marble into the first hole; if this be done, the player shoots again,
at the distance of a span, towards the second. If, however, he miss the
ole, the other player begins, and each shoots, alternately, as the other
uisses. After having shot the marble into a hole, the player is allowed,
if his adversary's marble be near, to drive it with his own as far as he can,
and if he strike it, to shoot again. The game is won by the player who
gets first into the last hole, in the following order :-first hole, second, third,
-second, first, second, third. The loser places his knuckles at the first
hole, the winner shoots as near to it as he can from the line, and fires three
times, from the place where his marble rests, at the loser's knuckles.
KNOCK-OUT.
Two or more may play at this game. He who begins, throws a marble
gently against a wall, so that it rebounds to a distance not exceeding a yard ;
a second player throws another marble against the wall, endeavouring
to make it rebound, so as to strike or come within a span of the first; if he
can do neither, the first player takes up his own marble, and, in turn, strives
to snop or span that of the second. The marble that is thus snopped or
spanned, is won, and the winner begins again. Where only two play, it
is best to knock out two or three marbles each, alternately, before they
begin to use those on the ground. In this case, a player may win his own
marbles, as they are common stock when down, and take up which he
pleases, to play with.
THE CONQUEROR.
This is a sport, which we do not much approve of, although we must
confess, that in the days of our youth, we were very fond of it. Strong
stone marbles of a moderate size must be used. The game is commenced
by one boy laying his taw on a piece of smooth and tolerably hard earth,
(turf and pavement are both improper,) the other player throws his taw
at it, as hard as he can, so as to split it if possible. If he fail to do So, his
own taw is thrown at in turn, and thus each player has, alternately, a
cast at the taw of the other. A strong marble will frequently break, or
conquer, fifty or a hundred others; where this game is much played, a
taw that has become a conqueror of a considerable number, is very much
prized, and the owner will not play it against any but those which have
conquered a respectable quantity. "When Greek meets Greek," or when
two conquerors are engaged, the number of marbles previously broken by

MINOR SPORTS
11
the vanquished is added to those of the victor; thus, if my taw having
already split twenty marbles, conquers another that has split twenty, my
taw then becomes a conqueror of forty-one,-that is, twenty, its previous
score; twenty, the vanquished taw's score, and one for the broken taw
itself. In the west of England, the game of " The Conqueror" is also play-
ed, with small, hard, variegated shells, which are found in old banks, and
from which the snails, their former inhabitants, have disappeared. The
shell is held in the forefinger of the right hand, and its beak pushed vigo-
rously against that of the adversary's; the shell which breaks is, of course,
conquered.
ARCH-BOARD.
This game, m some parts of England, is called "Nine-holes ;" it has
various names, and is sometimes played with iron bullets instead of marbles.
The marbles are bowled at a board set upright, resembling a bridge, with
nine small arches, all of them numbered; if the marble strike against the
sides of the arches, it becomes the property of the boy to whom the board
belongs; but, if it go through any one of them, the bowler claims a num-
ber equal to the number upon the arch it passed through. We have seen
the boards, in this game, marked above some of the arches with nihils, in
this order :-5, 0, 1, 2, 0, 3, 0, 4, 0. In some places, where there are no
nihils on the board, and the numbers go beyond five, the bowler not only
loses his marble, if it strike against the sides of the arches, but also gives
the board-keeper a marble each time he bowls.
RING-TAW.
The rules of Ring-taw vary in different places; the following are the
most general:-A circle is drawn, into which each party places as many
marbles as may be agreed on. A line, called the offing, is then drawn at
some distance, from which each in turn shoots at the ring. Shooting a
marble out of the ring, entitles the shooter to go on again, and thus the
ring may be sometimes cleared by a good player, before his companion of
Companions have a chance. After the first fire, the players return no more
to the offing, but shoot, when their turn comes, from the place where their
marbles rested on the last occasion. Every marble struck out of the ring.
is won by the striking party; but if the taw at any time remain in the ring,
the player is not only out, but if he have, previously, in the course of the
game, struck out any marbles, he must put them in the ring again. Andi
I one player strike with his taw the taw of another, the player whose taw
Is so struck, is out; and if he have, previously, shot any marbles out of the
circle, he must hand them over to the party by whose taw his has been
so struck.

12
MINOR SPORTS.
INCREASE-POUND.
This is superior to any other game with marbles. It differs from "Ring
taw" in the following particulars :-If, previously to any marble or shot
being struck out of the ring or pound, the taw of one of the players be
struck by the taw of another, (except that of his partner,) or in case he shoot
his taw within the pound in either case, he puts a shot in the ring, and
before either of the others play, shoots from the offing and continues in the
game; but if the first of these events occur after one or more shots have been
struck out of the pound, if he have previously, during that
game, obtained
any shots himself, he hands them over to the party who has struck him, and
also puts a shot in as before, previously to his shooting from the ofling;
but if he have previously obtained no shots during the game, he is put out
of the game entirely, or killed," by his taw being so struck; and again,
if after a shot or shots have been struck out of the pound, his taw get within
it, (on the line is nothing,) he puts his shots, if he have obtained any, with an
additional one, into the pound, and shoots from the offing; but if he have
not obtained a shot or shots after his taw so remains within the ring,
gets fat," as it is called, he is "killed," and stands out for the remainder of
the game. When there is only one marble left in the ring, the taw may then
remain inside it, without being "fat" at this game. The players seldom
put more than one marble each in the ring at first.
THE PYRAMID.
r
ΟΙ
A small circle is drawn on the ground, within which, one player builds a
pyramid, by placing three marbles triangularly, and a fourth in the centre,
on the top of them. Any
other player may then shoot
at the pyramid, at an agreed
distance, by giving, for each
time of shooting, to the one
who keeps the pyramid, a
marble. If the shooter
strike the pyramid with his
taw, as many of the mar-
bles composing the pyra-
mid, as may be driven out
of the circle, belong to the
shooter, and the pyramid is
constantly to be kept up
complete by its owner. This is a good in-door game; variety and addi
tional interest may be given to it, by each player taking the office of pyra
mid-keeper, at stated intervals.

GAMES WITH TOPS.
WHIP-TOP.
This is an excellent amusement. The top is easily set up by twirling it
with both hands on a smooth surface, and applying the whip with gentleness
at first, increasing the vigour of the blows, as the top gets firm on its peg.
There is a local variety of the whip-top, which is too
singular for us to pass unnoticed. We allude to the
Colchester top, of which an engraving is presented in
the margin. Its construction is most simple, and, for
spinning, it is said considerably to excel the tops
made in the common form. The only games we
have ever seen with whip-tops, are "races" and
"encounters ;" in the former, the object is to flog
the top to a certain distance first; in the latter, the tops are whipped against
each other until one is knocked down. The est material for a whip, at this
capital sport, is an eel-skin; it far surpasses cord, or leather thongs.

14
MINOR SPORTS
PEG-TOP.
In this favorite game considerable dexterity may be a quired by prac.
tice. About London, peg-tops are, in general, only used for the purpose
of being spun, and taken up to "sleep," as it is called, in wooden spoons,
which are sold at the toy-shops for that purpose; but elsewhere, regular
games at peg-top are played, in which the victors carry off capital steel
pegs as trophies of their prowess at the sport. A circle, whose diameter is
about a yard, is first drawn on a smooth piece of ground, (pavement is
objectional for this game,) and several players surround it. One volunteers
to commence; he throws his top inside the circle, and the others are at
liberty to cast theirs at it, so long as it remains within the ring; the moment
it rolls out, he may take it up, and peg at those which still remain inside.
The object of each player being to split the tops of his companions, if he
succeed in any case, he keeps the peg of the split top as the spoil of his
victory. If either of the players do not cast his top within the ring, or if
he attempt to take it out, or if he fail to set it spinning when he throws,
or if it do not spin out, or after it ceases spinning, roll out of the circle,
it is called "a dead top," and must be placed in the centre of the ring for
the others to peg at. When it is knocked out again without being split,
the player to whom it belongs, takes it up, and plays away as before.
Sometimes half-a-dozen dead tops are driven out of the ring by one cast,
without any of them being damaged, and indeed, if they be made of good
box, it is but rarely that they split. A top with a long peg i, best at this
game, as it is more calculated to swerve out of the ring after it is spun ; a
top that sleeps after it is cast, runs the greatest danger, and those that sleep
most, are heavy bodied tops with short blunt pegs. It is advisable to wind
the cord round nearly three parts of the peg, as well as the top, and to use
a button at the end instead of a loop. The Spanish
peg-top, of which we give a cut in the margin, is
made of fine mahogany, and tapered off less abruptly
toward the peg than the English tops. The peg is
very short, of an uniform thickness, and rounded,
not pointed, at the end. These tops spin nearly up-
right, and for thrice the usual time; it is unnecessary
to throw them with any degree of force; in fact, they
spin best when set up under-handed; so that, for playing on flooring or
pavement, they are much superior to those made in the English fashion
although, for the same reason, totally unfit for "Peg in the ring." The
forms of English peg-tops, as well as those of humming-tops, and the
common whip-tops, are so well known, that it would be useless for us to
offer engravings of them.

MINOR SPORTS.
200
HUMMING-TOP.
HUMMING-TOPS, of various sizes, are to be bought at the toy-shops; very
little art is necessary to use them. After the string is wound about the up
right piece, one end of it is taken in one hand, and the handle of the fork-
piece in the other; the string is then to be pulled off with force, and the
top is set up


MINOR SPORTS.
15
0 0
GAMES WITH BALLS.
THE games with Balls are numerous and excellent; Cricket is a sport of
such importance, as to claim a separate place in our work, but nearly all the
other games with Balls, our young readers will find under the present head.
FIVES.
Fives may be played either single-handed or with partners. A good
wall must be selected, with a sound flat piece of ground in front of it; a
line must be drawn, about three feet from the ground, on the wall; another
on the ground, about two yards from the wall; and a third, describing
three sides of a square, of which the wall itself will be a fourth, on the
ground from the wall, to mark the bounds. The players toss up for innings;
the winner begins by dapping his ball on the ground, and striking it against
the wall, above the line, and so that it may rebound far enough to fail
outside the line on the ground; the other player then strikes it, in the
same manner, either before it has touched the ground, or dapped, (i. e.)
hopped from the ground, more than once; the first player then prepares
to receive and strike it at its rebound; and thus the game goes on, until
one of the players fail 19 strike the ball in his turn, hefore it has hopped

MINOR SPORTS
more than once, strike it below the mark, or drive it out of bounds. If the
party who is in do neither of these, he loses his innings; if the other, then
the in-player reckons one, on each occasion, towards the game, which is
fifteen. When partners play, the rules are precisely the same; each side
keeping up the ball alternately, and the partners taking turns for innings,
as one of the other side gets out. After the ball is first played out, on each
occasion, it is not necessary to make it rebound beyond the ground line,
which is used only to make the player who is in, give out the ball fa.cly in
the first instance: that is, when he first takes his innings, or when he plays
out the ball again, after winning a point.
NINE-HOLES, OR HAT-BALL.
Near a wall where the ground is level, dig nine, or a lesser number of
holes, according to the number of players, large enough for a ball to be
bowled in without difficulty. Number them, and let each player be allotted
a number, by chance or choice, as it may be agreed. A line is drawn
about five yards from the holes, at which one of the players places him-
self, and bowls the ball into one of the holes. The player to whom the
hole, into which the ball is bowled, belongs, picks it up as quickly as he
can, and endeavours to strike one of the others with it; (the latter all run
off as soon as they perceive that the ball is not for themselves ;) if the
thrower miss his aim, he loses a point, and is called "a fifer," and it is his
turn to bowl: if, however, he strike another, he loses nothing; but the
party so struck, in case he fail to hit another with the ball, becomes" a fifer,"
and it is his turn to bowl. Five or six may be struck in succession, and
the ball may be kept up, no matter how long, until a miss be made, when
the party so missing loses a point, and bowls. It is also allowed, for one
player to accept the ball from another, and run the risk of striking a third:
thus, if A stand close behind B, and C have the ball in front of B, A may
signify by motions that he will take the ball, which is then thrown toward
him by C; he catches it, and endeavours to strike B before he can rus
away; if he miss, he loses a point, and bowls. The second bowling is con
ducted precisely as the first; but he who bowls three times without passing
the ball into a hole, loses a point, and if he nave lost one before, becomes
a tenner;" he must still go on, until he succeed in putting the ball into
a hole; it is his own fault if he bowl into that which belongs to himself.
A party who misses his aim a second time becomes "a tenner;" he who
loses a third point, "a fifteener;" and when four points are lost, the party
stands out. The game goes on until all the players are out but one; the
latter wins the game. One of the others then takes the ball in his left
hand, places his face toward the wall, and throws the ball over the right
shoulder as far as he can. The player who has won stands at the spot
where the ball first touches the ground, or, if it be not immediately behind
66

MINOR SPORTS
17
the party who has thrown it, a line is drawn from the place where the bal
caps, to a spot behind the thrower. Thus, suppose the thrower be at a,
6
α
the ball falls at b, a line is drawn to c. The
winner then throws the ball, from c, at the
loser's back, three times, as hard as he
pleases. The other losers throw in the same
manner, one after another, and the winner
has his three balls at each of their backs,
from the spot where their balls respectively
first touch the ground, or in a line with it,
as above stated, and illustrated by the dia-
gram in the margin:
n the vicinity of London, this game is called "Hat-ball," on account of
the players using their hats, instead of digging holes, and the ball is tossed
into the hats, instead of being bowled into the holes.
CATCH-BALL.
This 18 very similar to the preceding game. Instead of bowling the
ball into holes, it is thrown in the air, and the name of the player, for
whom it is intended, called out by the thrower. If it he caught, before it
has twice touched the ground, by the player so called on, he loses no point,
but throws it up again, and calls upon whom he pleases to catch it. If it
be not caught in due time, he whose name is called must endeavour to
strike one of the others with it; if he miss, he loses a point, and has his
throw up. The remainder of the game, the number of points, and the
losers' punishment, are all precisely as in Nine-holes; of the two, it is the
better game.
FOOT-BALL.
A match is made between two sets of players of equal numbers; a large
ball made of light materials,-a blown bladder, cased with leather, is the
best,-is placed between them, and the object of each party is to kick the
ball across the goal of the other, and to prevent it from passing their own.
The party, across whose goal the ball is kicked, loses the game. The game
is commenced between the two goals, which are about a hundred yards
asunder.
Foot-ball was formerly much in vogue in England, though, of late years,
it seems to have fallen into disrepute, and is but little practised At what
period the game of Foot-ball originated, is uncertain; it does not, however.
appear among the popular exercises before the reign of Edward the Third,
and then it was prohibited by a public edict; not, perhaps, from any par-
ticular objection to the sport itself, but because it co-operated, with other
favorite amusements, to impede the progress of Archery.

18
MINOR SPORTS.
The rustic boys use a blown bladder, without the covering of leather, for
a foot-ball, putting peas and horse-beans inside, which occasion a rattling
as it is kicked about.
GOFF, OR BANDY-BALL.
In the northen parts of the kingdom, Goff is much practised. It answers
to a rustic pastime of the Romans, which they played with a ball of leather,
stuffed with feathers, and the Goff-ball is composed of the same materials to
this day. In the reign of Edward the Third, the Latin name "Cambuca,"
was applied to this pastime, and it derived the denomination, no doubt, from
the crooked club, or bat, with which it was played; the bat was called a
Bandy," from its being bent, and hence is frequently called, in English,
"Bandy-ball"
Goff, according to the present modification of the game, is performed with
a bat, the handle of which is straight, and usually inade of ash, about four
feet and a half in length; the curvature is affixed to the bottom, faced with
horn, and backed with lead. The ball is a little one, but exceedingly hard,
being made with leather, and stuffed with feathers. There are, generally,
two players, who have each of them his bat and ball. The game consists in
driving the ball into certain holes, made in the ground; he who achieves
which the soonest, or in the fewest number of strokes, obtains the victory.
The Goff-lengths, or the spaces between the first and last holes, are some-
times extended to the distance of two or three miles; the number of inter-
vening holes is optional, but the balls must be struck into the holes and not
beyond them. When four persons play, two of them are sometimes part-
ners, and have but one ball, which they strike alternately, but every one
has his own bandy. Goff was a fashionable game among the nobility at
the commencement of the seventeenth century, and it was one of the ex-
ercises with which Prince Henry, eldest son to James the First, occasionally
amused himself.
STOOL-BALL.
in
Stool-ball is frequently mentioned by the writers of the three last cen-
turies, but without any proper definition of the game. Doctor Jo mson tells
us, it is a play where balls are driven from stool to stool, but does not say
what manner, or to what purpose. It consists in simply setting a stool upon
he ground, and one of the players taking his place before it, w' ile his an-
tagonist, standing at a distance, tosses a ball with the intention of striking
the stool; it is the business of the former to prevent this by beat mg it away
with the hand, reckoning one to the game for every stroke of he ball; if,
on the contrary, it should be missed by the hand, and touch the stool, the
players change places; the conqueror at this game is he who st ikes the ball

MINOR SPORTS.
19
most times before it touches the stool. In some parts of the country, a cer-
tain number of stools are set up in a circular form, at a distance from each
other, and every one of them is occupied by a single player; when the ball
is struck, which is done as before, with the hand, they are every one of them
obliged to alter his situation, running in succession from stool to stool, and if
he who threw the ball can regain it in time to strike any one of the players
before he reaches the stool to which he is running, he takes his place, and
the person touched must throw the ball, until he can, in like manner, return
to the circle.
TRAP, BAT, AND BALL.
With the form of the trap, our young readers are, doubtless, acquainted;
it will be only necessary for us to give the laws of the game. Two bounda-
ries are equally placed, at a great dis-
tance from the trap, between which,
it is necessary for the ball to pass,
when struck by the batsman; if it fall
outside either of them, he loses his
innings. Innings are tossed up for,
and the player who wins, places the
ball in the spoon of the trap, touches
the trigger with the bat, and, as the
ball hops from the trap, strikes it as
far as he can. One of the other play-
ers (who may be from two to half-a-
dozen) endeavours to catch it. If he
do so before it reaches the ground,
or hops more than once, or if the
striker miss the ball when he aims at
it, or hits the trigger more than twice
without striking the ball, he loses his
nnings, and the next in order, which must previously be agreed on, takes
his place. Should the ball be fairly struck, and not caught, as we have
nated, the out-player, into whose hands it comes, bowls it from the place
where he picks it up, at the trap; which, if he hit, the striker is out. If he
miss it, the striker counts one toward the game, which may be any number
decided on.
There is also a practice in some places, when the bowler has
sent in the ball, of the striker's guessing the number of bat's lengths it is
from the trap; if he guess within the real number, he reckons that number
toward his game; but if he guess more than there really are, he loses his
maings It is not necessary to make the game in one inning.

20
MINOR SPORTS.
NORTHERN-SPELL.
Northern-spell is played with a trap, and the ball is stricken with a bat,
or stout stick, at the pleasure of the players, but the latter is most com.
monly used. The performance of this pastime does not require the atten-
dance of either of the parties in the field to catch or stop the ball, for the
contest between them is simply, who shall strike it to the greatest distance
in a given number of strokes; the length of each stroke is measured, before
the ball is returned, by means of a cord made fast at one end, near the
trap, the other end being stretched into the field by a person stationed there
for that purpose, who adjusts it to the ball, wherever it may be ; the cord is
divided into yards, which are properly numbered in succession, so that the
person at the bottom of the ground can easily ascertain the distance of each
stroke by the number of yards, which he calls to the players, who place it to
their account, and the ball is thrown back. This pastime possesses but lit-
tle variety, and is by no means so amusing to the bystanders as Trap II.
ROUNDERS.
In the west of England this is one of the most favorite sports with e
bat and ball. In the metropolis, boys play a game very similar to it, cal
Feeder. In rounders, the players divide into two equal parties, and chan
b
decides which shall have first innings. Four ston
or posts are placed from twelve to twenty yards asun-
d der, as a, b, c, d, in the margin; another is put at e; one
of the party which is out, who is called the pecker or
feeder, places himself at e. He tosses the ball gently
toward a, on the right of which one of the in-party
places himself, and strikes the ball, if possible, with his
bat. If he miss three times, or if the ball, when struck, fall behind a, or be
caught by any of the players, who are all scattered about the field except
one who stands behind a, he is out, and another takes his place. If none of
these events take place, on striking the ball he drops the bat, and runs to-
ward b, or, if he can, to c, d, or even to a again. If, however, the feeder,
or any of the out-players who may happen to have the ball, strike him with
it in his progress from a to b, b to c, c to d, or d to a, he is out. Supposing
he can only get to b, one of his partners takes the bat, and strikes at the bal
in turn; while the ball is passing from the feeder to a, if it be missed, or after
it is struck, the first player gets to the next or a further goal, if possible, with-
out being struck. If he can only get to c, or d, the second runs to b, only
or c, as the case may be, and a third player begins; as they get home, that
is, to a, they play at the ball in rotation, until they all get out; then, of
course, the out-players take their places.

MINOR SPORTS.
21
www.ww
SPORTS OF AGILITY AND SPEED.
MANY of the previous sports with balls and tops, are in part games of
agility and speed, and so also are several of those which will be found
among the Miscellaneous Minor Sports; but the following pastimes are
exclusively games either of speed or agility, for which no implements are
necessary.
LEAP-FROG.
This is a most exceilent pastime. It should be played in a spacious place,
out of doors if possible, and the more there are engaged in it, provided they
be of the same height and agility, the better is the sport. We will suppose
a dozen at play :-Let eleven of them stand in a row, about six yards apart,
with all their faces in one direction, arms folded, or their hands resting on
their thighs, their elbows in, and their heads bent for ward, so that the chin
of each rests on his breast, the right foot advanced, the back a little bent,
the shoulders rounded, and the body firm. The last begins the sport by
taking a short run, placing his hands on the shoulders of the nearest player,
and leaping with their assistance (of course, springing with his feet at the
same time) over his head, as represented in the cut. Having cleared the
first, he goes on to the second, third, fourth, fifth, &c. in succession, and as
speedily as possible. When he has gone over the last, he goes to the proper
distance, and places himself in position for all the players to leap over him
in their turn. The first over whom he passed, follows him over the second,
third, fourth, &c.; and when he has gone over, the one who begun the
game places himself in like manner for the others to jump over him. The
third follows the second, and so on until the parties are tired.
C

22
MINOR SPORTS
The manner of playing Leap-Frog about London is different, and as we
think, inuch inferior in safety, appearance, and amusement :-A lad places
himself with his hands on his knees, his body nearly doubled, and his side,
instead of his back, turned toward the leapers, who, with a short run, take
their leap at some distance from the lad who is to be vaulted over; he who
takes his leap the farthest off, is reckoned the best player This, it may be
readily imagined, is by no means so lively as the real game of Leap-Frog,
which we have above described. The boy, who is to be leaped over, re-
ceives the greater shock from the jumpers; and he is in more danger of be-
ing thrown down by, or having a blow on his head from, their knees.
PRISONERS' BASE.
Prisoners' Base is truly a capital game for cold weather. The best num-
ber to play at it is six or eight on each side, but there is no objection to more
or fewer players. The choice of partners is decided by chance; a line, ten
or twelve yards in length, is drawn about a dozen yards from a wall; other
lines are drawn at each end of the first, reaching thence to the wall, and the
third from the middle of the first line to the wall; one party takes possession
of the bounds on one side of this middle, and the other set of players takes
the bounds on the other side of it. Two prisons are also marked in a line
with each other, at from one to two hundred yards (as convenience will per-
mit) from the front of the bounds; the prison belonging to one party must be
opposite the bounds of the other. The game is now commenced by a player
from one side running out mid-way between the bounds and prisons; a
player from the other side immediately follows, and he may be pursued by
one of his adversaries, who in like manner may be followed by a player
from the side which began the game, and so on; both parties being at liberty
to send out as many as they think fit. The object of each player is to come
up with, or intercept and touch any player of the opposite side, who has
left the bounds before him; he is not at liberty to touch any that have
started after him, it being their privilege, on the contrary, if they can, to
touch him before he can get back within his bounds again. A player is
allowed to touch one of the opposite party only each time he quits bounds,
and after having touched an adversary, he is exempt from being touched on
his return to bounds. Every player who is touched, goes to the prison
belonging to his party, where he must remain until one of his own side
(who must start from bounds after the prisoner has been within the line of
the prison) be able to reach him, without being touched in his run from
bounds to prison, by any of the opposite party who may have left their
bounds, after him. When thus released, neither he nor the player who has
relieved him is to touch or be touched in their return to bounds again. The
game is won by that side which has all the players of the other in prison at
the same time.

MINOR SPORTS.
23
SADDLE MY NAG
Two players toss up for choice of partners; six or eight on each side is
he best number: after choosing, the two leaders toss up for innings, he who
oses then ranges himself and his associates in the following manner :-One
player places himself almost upright, with his hands resting against a wal.
or tree, a second puts his head against the skirts of the first, the third
against the skirt of the second, and so on until they are all ranged. They
must either hold by the trowsers of the player who is before them, cross
their arms on their breasts, or lean them on their knees. One of the win-
ning party now begins by taking a run, placing his hands upon the back of
the outer player on the other side, and leaping as far forward on the range
as he possibly can, in order to afford room for his partners behind him,
who follow in succession, until all are on the backs of the other party. If
they can all remain on without touching the ground with the hand or any
other part, while the leader counts twenty, or if any of the other party sink
beneath the weight, or touch the ground with their hands or knees to support
themselves, the riders keep their innings, and go on again. If on the con-
trary, or in case there be not room enough for them to leap on, or they cannot
keep on the backs of those who are on before them, they lose, and the
other party become riders, and they nags.
PUSS IN THE CORNER.
This is a very simple, but at the same time, a very lively and amusing
game. It is played by five only; and the place chosen for the sport should
be a square court or yard with four corners, or any place where there are
four trees or posts, about equi-distant from each other, and forming the four
points of a square. Each of these points or corners is occupied by a play-
er; the fifth, who is called Puss, stands in the centre. The game now com-
mences; the players exchange corners in all directions: it is the object of
the one who stands out, to occupy any of the corners which may remain
vacant for an instant during the exchanges. When he succeeds in so doing,
that player who is left without a corner becomes the Puss. It is to be
observed that if A and B attempt to exchange corners, and A gets to B's
corner, but B fails to reach A's before the player who stands out gets
there, it is B and not A who becomes Puss.
WARNING.
This may be played by any number, from ten to a hundred. One begins
the game by standing within a line, running parallel for a considerable
length with, and about three feet from a wall, and repeating the following
words,-" Warning once, warning twice, warning three times over; a
bushel of wheat, a bushel of rye, when the cock crows out ump I!--

24
MINOR GAMES.
Cock-a-doodle-doo!-Warning!" He then runs out, and touches the firs
ne can overtake, who must return to hounds with him. These two ther
(first crying" Warning" only) join hands, and each of them endeavours
to touch another; he also returns to bounds, and at the next sally joins hands
with the other two. Every player who is afterward touched by either of the
outside ones, does the like, until the whole be thus touched and taken. It
is not lawful to touch an out-player after the line is broken, either accident-
ally, or by the out-players attacking it, which they are permitted to do.
Immediately a player is touched, the line separates, and the out-players
endeavour to catch those belonging to it, who are compelled to carry those
who capture them, on their backs, to bounds. When three are touched,
he who begins the game is entitled to join the out-players.
FOLLOW MY LEADER.
Without a bold and active leader this sport is dull and monotonous; with
one possessing the necessary qualifications it is quite the contrary. Any
number may play at it. A leader is fixed on, and the other players range
themselves in a line behind him. He commences the sport, by some feat
of agility, such as leaping, hopping, or climbing, and his followers then
attempt to perform it in succession. He then goes to another trial of skill;
the others, or so many of them as are able to do so, follow his example, and
thus the sport proceeds until the parties think fit to cease. The most nim-
ble and active should, of course, be chosen for a leader; he should per form
feats of such difficulty as to render the sport interesting, at the same time
avoiding such as he knows can only be undertaken by himself, or by one or
two of his followers. If one boy can perform a feat, which those who are
placed before him in rank fail in attempting, he takes precedence of them
until he is, in like manner excelled by any of those who are behind him.
TOUCH.
This is a sport of speed. Six or eight is the best number to play at it.
One volunteers to be the player, who is called Touch; it is the object of
the other players to run from and avoid him. He pursues them all; or, if
be think fit, singles out an individual, and follows until he comes up with
and touches him. The player so overtaken becomes Touch, and then
endeavours to get near enough to lay his hand upon one of the rest. This
is an active and amusing game for boys in cold weather. It is sometimes
called Touch-iron or Touch wood; in these cases, the players are safe
only while they touch iron or wood, as may be previously agreed. They
are liable to be touched only when ruming from one piece of wood of
won to another

SPORTS WITH TOYS.
The Sports with Toys are very numerous; those which are most usual in
the play-ground are with the kite, the hoop, the sucker, the pea-shooter, and
two or three others; of each of which we offer our readers a description
THE POP-GUN.
The Pop-gun is made of a piece of wood, from which the pith has been
taken; a rammer must be made, with a handle of a proper length, which
should have a shoulder to prevent the slender or ram-rod point going the
entire length of the gun; the pellets are made of moistened tow, or brown
paper. Put one into one end of the gun, push it with the rod to the other,
and then placing a second pellet at the end where the first was inserted, push
that toward the opposite end, and it will drive the first pellet out with great
force. Pop-guns are also made with quills, the pellets for which are cut by
the quills out of slices of raw potato.

26
MINOR SPORTS.
THE PEA-SHOOTER.
By means of a tube of tin or copper, a pea may be propelled from the
mouth, by the mere force of the breath, to a very considerable distance.
The natives of Macouslie, with a cane tube, about twelve feet long, propel
arrows with their breath, with such force and dexterity, as to bring down
different sorts of feathered game.
จา
6
0
THE KITE.
To construct the Kite, you must, in the first place, procure a straight
lath of deal for the upright or straighter, and a thin hoop, or a pliant piece
of hazel for the bow or bender. Fasten the bender
by its centre, with string, to the upright, within a
little distance of its top; then notch the two ends of
the bow, and fasten them to the upright by a string,
which is made fast at each of the ends, and turned
once round the upright, as a, b, c; the string must
then be carried up to the junction of the bow and
straighter, and made fast at d, and thence to a ;
from a, it must pass through a notch at e, up to c;
then down to f, where it must be tied in a notch cut
for that purpose, and up to a again. Your skeleton
being now complete, your next task is to paste a
sufficient quantity of paper together to cover it, and
afford a hem to be pasted over the outer edges.
Next, bore two holes in the straighter, one about a fifth of the whole length
from the top, and the other rather less from the bottom; run through these,
and fasten, by a knot at the two ends, your belly-band string, to which the
ball of string, by which the kite is flown, is afterward fixed. The wings are
made of several sheets of writing paper, half cut in slips, rolled up, and fas-
tened at a and c. The tail, which should be from ten to fifteen times the
length of the kite, is made by tying bobs of writing paper, four times folded,
about an inch and a half broad, and three inches long, at intervals of three
inches and a quarter, on a string, with a large bob, similar to the wings,
at the bottom of it. Your kite is now complete, and fit to be flown in the
usual manner.
It is well known that the celebrated Doctor Franklin once let up રી kite
previous to his entering the water to bathe, and then, lying on his back,
suffered himself to be drawn across a stream by its power. The master of
a respectable academy at Bristol, among whose pupils we have enjoyed
many pleasant hours in the pastire of flying kites, has lately succceded in
ravelling along the public roads, ( we believe, from Bristol to London,) with

MINOR SPORTS.
27
amazing speed, in a carriage drawn by kites, in the most safe and accurate
manner possible, notwithstanding the variations of the wind and the crook-
edness of the roads.
THE THAUMATROPE.
This very amusing toy is made and exhibited in the following manner
Cut out a circular piece of card, to which fasten six bits of string, as in the
cut. Draw on one side of it a
figure with balls, and on the other,
two balls only, as represented in
the margin; then taking one of
the strings between the forefinger
and thumb of each hand, close to
the card, twist or twirl it rapidly
round, and according to which
pair of strings you use, the figure will seem to be tossing two, three, or
four balls in different directions. Various cards and devices may be used:
for instance, you may draw a bird on one side, and a cage on the other;
by only using the centre pieces of string, the bird will seem to be in the
cage or aviary; a horse on one
side, and a jockey on the other, as
in the cut, (taking care to reverse
the figures, or draw them upside
down to each other,) and by using
the different pairs of strings, you
may cause the rider to appear up-
on, leaping under, or by the side
of the horse, as you please. For
other designs, we suggest a tight rope and a dancer; a body and a head; a
caudle and a flame; a picture and its frame, &c.
BATTLEDORE AND SHUTTLECOCK.
Battledores and Shuttlecocks are to be obtained cheap at all the book-
stores. The game is played by two persons, who, with the battledores, strike
the shuttlecock to and fro between them.
Shuttlecock is a boyish sport of long standing. It appears to have been a
fashionable game among grown persons in the reign of James the First, and
is mentioned as such in an old comedy of that time. Among the anecdotes
elated of Prince Henry, son to James the First, is the following: "His
Highness playing at shuttlecock with one far taller than himself, and hitting
cim, by chance, with the shuttlecock upon the forehead. This is,' queth he
'the encounter of David with Goliah.""

28
MINOR SPORTS.
THE SUCKER.
Cut a circular piece out of stout leather; bore a hole through its centre
and pass a string, with a knot to prevent the end escaping, through this
hole. Soak the leather well in water before you use it; when thoroughly
Boaked, place the leather on a stone, press it well down with your foot,
and then taking the string, you may, by your sucker, raise a considerable
weight.
THE HOOP.
Every body knows how to trundle the Hoop in the usual way; several
pairs of tin squares are sometimes nailed to the inner part of the hoop, which
produce, in the opinion of some lads, an agreeable jingle. In some parts of
England, boys drive their hoops one against the other, and the player whose
hoop falls in these encounters, is conquered.
THE WATCH-SPRING GUN.
Neatly cut a bit of wood, about four inches long, into the form of the stock
of a pistol or gun; scoop a groove in the upper part of it; in this groove
place a large quill, open at both ends, fasten it on with waxed thread, and
let it project beyond the point of the stock and reach as far as the middle of
it; next, procure an old watch-spring, which may be bought cheap at a
watch-maker's, cut off a piece of it about as long as the quill, bend it back-
ward, and tie one end of it firmly to the upper part or but-end of the
stock. Then bore a small hole through the middle of the stock about
an inch from the mouth of the quill; cut a pin in two, fasten one half of
it, by its head, to a bit of thread, the other end of which fasten to the
thread that binds on the spring; this is the trigger, and your gun is complete.
To use it, place a little arrow, or a shot, in the groove between the mouth of
the quill and the hole in the stock; put the pin through this hole, and bend
back the spring so that the pin may catch it; take the toy in your right
hand, pull the trigger out with the fore-finger, and the spring being thus re-
leased, will drive the shot, or arrow, through the quill to a considerable dis-
tance. If you use arrows, you may shoot at a little butt or target.
CAT AND MOUSE.
This is a French sport. The toy with which it is played consists of two
flat bits of hard wood, the edges of one of which are notched. The game is
played by two only; they are both blindfolded, and tied to the ends of a
ong string, which is fastened in the centre to a post, by a loose knot, so as to
play easily in the evolutions made by the players. The party who plays the
mouse occasionally scrapes the toys together, and the other, who plays the
car attracted by the sound, endeavours to catch him.

MINOR SPORTS.
29
MISCELLANEOUS SPORTS.
Under this head we intend to describe a variety of amusing sports and
recreations, which could not, in strictness, be inserted among any of the
preceding classes.
BLIND-MAN'S BUFF.
This popular, old-fashioned, and delightful pastime, is so well known, as
to render any description of it unnecessary. There is, however, a variation
of it called Shadow Buff, which is less known, but equally amusing. A
large piece of white linen is suspended smoothly at one end of a room; at a
little distance from it, Buffy, with his face toward the linen, is seated on a
low stool. Directly in a line, and about a yard behind him, a table is placed
with a candle on it; all the other lights must be extinguished. The players
then walk one by one, between the table and Buffy, (who must not turn his
head,) limping, hopping, and grimacing as they please, so as to distort their
shadows on the linen. If Buffy can tell correctly to whom any shadow
belongs, (guessing once only for each person,) the player, whom he so dis
covers, takes his place.
BASTE THE BEAR.
Lots are drawn for the first bear, who takes his seat on a stone, with one
end of a rope, about three yards long, in his hand, the other end of which is
held by the bear's master. The other players attack the bear win wisted
bandkerchiefs, and the master endeavours to touch one of them: if he can
D

30
MINOR SPORTS.
do so without letting the rope go, or pulling the bear from his seat, the play.
er so touched takes the place of the bear. Each bear has the privilege of
shoosing his own master; being bear once, or even oftener, does not exone-
rate a player, if fairly touched, from becoming so again.
DICK, DUCK, AND DRAKE.
From this game comes the proverb which is frequently applied to a spend-
thrift. "He is making ducks and drakes of his money." It is played by
skimming, or what boys call shying, bits of slate or flat stones along the sur-
face of a river or pond. If the thing thrown touches the water and rebounds
once, it is a dick; if twice, a duck; if thrice, a drake. He who makes his
slate or pebble rebound the greatest number of times, wins the game.
SLIDING.
Sliding is one of the diversions ascribed to young men of London by
Fitzstephen, and, as far as one can judge from his description of the sport,
it differed not in the performance from the method used by the boys of our
own time. He mentions another kind of pastime upon the ice, which is even
now practised by boys in several parts of England; his words are to this
effect "Others make a seat of ice, as large as a mill-stone, and having
placed one of their companions upon it, they draw him along, when it some-
times happens, that moving on slippery places, they all fall down headlong."
Sledges are, now-a-days, also used, which being extended from a centre
by means of a strong rope, those who are seated in them are moved round
with great velocity, and form an extensive circle. Sledges of this kind were
set upon the Thames in the time of a hard frost at the commencement of the
last century, as the following couplet, taken from a song written upon that
occasion, plainly proves.
"While the rabble in sledges run giddily round,
And nought but a circle of foily is found."
SKATING.
Skating is by no means a modern pastime, and probably the invention
proceeded rather from necessity than the desire of amusement. It is a
boast of a northern chieftain, that he could traverse the snow upon skates of
wood. Strutt states that he cannot by any means ascertain at what time
skating made its first appearance in England, but that some traces of such an
exercise are found in the thirteenth century; at which period, according to
Fitzstephen, it was customary in the winter, when the ice would bear them,
for the young citizens of London to fasten the leg bones of animals under the
Boles of their feet, by tying them round their ankles, and then taking a pole
shod with iron into their hands, they pushed themselves forward by striking

MINOR SPORTS.
31
it against the ice, and moved with celerity, equal, says the author, to a bird
flying through the air, or an arrow from a cross-bow; but some allowance,
we presume, must be made for the poetical figure: he then adds, " at times,
two of them thus furnished agree to set opposite one to another at a great dis
tance; they meet, elevate their poles, attack and strike each other, when
one or both of them fall, and not without some bodily hurt, and even after
their fall are carried a great distance from each other by the rapidity of the
motion, and whatever part of the head comes upon the ice it is sure to be
laid bare."
The wooden skates shod with iron or steel, which are bound about the
feet and ankles like the talares of the Greeks and Romans, were, most pro-
bably, brought into England from the low countries, where they are said to
have originated, and where, it is well known, they are almost universally
used by persons of both sexes when the season permits. Some modern
writers have asserted that "the metropolis of Scotland has produced more
instances of elegant skaters than perhaps any other county whatever; and
the institution of a skating club has contributed not a little to the improve-
ment of this amusement." Strutt, in noticing this, observes that when the
Serpentine river in Hyde Park was frozen over, he saw four gentlemer
there dance, if the expression may be allowed, a double minuet, in skates
with as much ease and perhaps more elegance, than in a ball-room; others
again, by turning and winding with much adroitness, have readily in suc-
cession described upon the ice the form of all the letters in the alphabet.
SWINGING.
The construction of the swing is simple: two ropes of equal lengths, are
to be suspended from any branch or cross piece of timber, of adequate
strength; at the bottom of these ropes a seat is to be securely fastened, and
the party who takes the seat must be propelled by another on the ground; a
rope for this purpose must be fastened to the back part of the seat-
FRENCH AND ENGLISH.
This game is played by two parties, whose numbers are equal; they all
take hold of a rope, and the object of each party is to pull those belonging to
the other across a chalk line on the ground, by means of the rope. When
all the players on one side are thus pulled over or made prisoners, the other
party wins the game. This is a very lively sport, any number may join in
it, and it affords capital exercise and much amusement.
TIP-CAT.
Tip-cat, or, pernaps, more properly, the game of cat, is a rustic pastime
well known in many parts of the kingdom. Its denomination is derived!
from a piece of wood, called a cat, with which it is played; the cat is about
six inches in length, and an inch and a half or two inches in diameter, and

32
MINOR SPORTS
diminished from the middle to both the ends, in the shape of a double cone;
by this curious contrivance, the places of the trap and ball are at once sup
plied, for when the cat is laid upon the ground, the player, with his cudgel,
strikes it smartly, it matters not at which end, and it will rise with a rotatory
motion, high enough for him to beat it away as it falls, in the same man
aer as he would a ball.
There are various methods of playing the game of cat, but we shall only
notice the two that follow. The first is exceedingly simple, and consists in
making a large ring upon the ground, in the middle of which the striker
takes his station; his business is to beat the cat over the ring. If he fail in
so doing he is out, and another player takes his place: if he be successful,
he judges with his eye the distance the cat is driven from the centre of the
ring, and calls for a number, at pleasure, to be scored toward his game; if
the number demanded be found, upon measurement, to exceed the same
number of lengths of the cudgel, he is out; on the contrary, if he do not, he
obtains his call. The second method is to make four, six, or eight holes in
the ground, in a circular direction, and as nearly as possible, at equal dis-
tances from each other, and at every hole is placed a player with his cudgel;
one of the opposite party, who stand in the field, tosses the cat to the batsman
who is nearest him, and every time the cat is struck, the players are obliged
to change their situations, and run once from one hole to another in succes-
sion; if the cat be driven to any great distance, they continue to run in the
same order, and claim a score toward their game, every time they quit one
hole and run to another; but if the cat be stopped by their opponents, and
thrown across between any two of the holes before the player who has quitted
one of them can reach the other, he is out.
HOP-SCOTCH.
In some parts of England this game is called Pottle. It is played with an
oyster-shell, in the following manner :-Draw, with chalk, on the ground, a
C
6
5
44
2
1
424
難
​33
figure similar to the cut in the margin. Toss up for
innings. He who wins stands at the* and throws the
shell into No. 1, which is called the first bed; he then
s eps with his right foot into that bed, and "scuffles,"
th it is, jerks, with his right foot, the shell out toward
the *. He now throws the shell into No. 2; steps,
with his left foot into No. 1, and then, placing his right
foot in No. 2, scuffles the shell out as before, and steps
with one foot back to No. 1, and thence out. He
must now throw the shell into No. 3, and step into 1,
2, and 3, scuffle the shell out, and step back through
the beds alternately. He must then go to 4, 5, and 6,
in succession, and, at each throw, step into every
previous bed with one foot only, and the like when

MINOR SPORTS.
33
coming back, reversing the numbers. After this, the player puts the shell
into No. 1, hops into that bed, scuffles the shell into 2, and so on to 6, and
back again in the same manner, bed by bed, to the *. Lastly, he places
the shell into No. 1, puts his right foot in the bed, and scuffles the shel
through all the beds, beyond the further line of 6 at one jerk. If the player
who gets the innings do all this correctly, he wins the game. If, however,
he put himself out, as hereafter described, the second player takes the
innings; if the latter put himself out, without going through the game, the
first takes up his own game, where it was when he went out; the second
also does the like with his, if the first gets out a second time. When there
are more than one innings, the first who goes through the game, as above
stated, wins. A player loses his innings in either of the following cases :-
If he throw the shell into the wrong bed, or on the line, or put two feet into
one bed, or a foot upon the lines, or do not scuffle the shell out of the bed in
which it lies at the first attempt, or put his hands to the ground, or throw or
scuffle the shell beyond line c, (except in the last, or what is called "the long
scuffle,") or outside the lines a b; or if, in going forward, he put his leg
into 3 before 2, or the contrary when coming back; or if, when scuffling the
shell through on the hop, he drive it beyond the next bed in which it lies;
or if, in any part of the game, when he has stepped into a bed, he take
more than one hop in order to get near the shell; or if he hop after he has
scuffled it; or, lastly, if, in the long scuffle, he do not, at one effort, send it
with his foot from beyond the line of c. But observe, that when he has cast
the shell into No. 2, or any bed beyond it, he is not compelled to scuffle it
out, that is, beyond the line d, at one effort.
KING OF THE CASILE
This is a very anexceptionable and simple, but nevertheless, lively sport.
One player places himself on the top of a little mound or hillock; he is the
King of the Castle, and he endeavours to retain possession of his post, as
long as possible, against the attacks of his playmates, who endeavour, one at
a time, to push him off. If he be driven off the mound or hillock, the player
who dethrones him takes his place.
SEE-SAW
A plank is placed across a felled tree, a low wall, or anything similar
and a player seats himself at each end; by a slight exertion, if the plank be
properly balanced, each end rises and sinks alternately. It must be obsery-
ed, that if the players be of unequal weight, he who is the heavier must, to
preserve the due equilibrium, make his end of the plank shorter

34
MINOR SPORTS.
WHOOP.
This game is played as follows:-All the players but one, collect at a
place called "home," while one goes off to hide himself. When ready, he
ww
HIDE AND SEEK.
shouts "Whoop oh !55 the
others then sally out to find
him; he who discovers the
hidden player, calls out
6C
Whoop oh!" the hidden
player then breaks from his
concealment, and if he can
catch one of the others, the
one so caught must carry
him on his back to "home."
It is then the boy's turn who
has made the discovery to
go and hide himself, and
the others endeavour to dis-
cover his lurking place, as
before.
This is very like the preceding game; a handkerchief, or some other trifle,
is concealed by one player, and the rest attempt to find it; the discoverer
takes the next turn to hide the article. It is a custom, in this
game, for the
boy who has hid the article to encourage those who approach it, by telling
them that they burn, and to warn them of their departure from it by saying
they freeze.
HIPPAS.
The Greeks had a pastime called hippas, which, we are told, was one
person riding upon the shoulders of another, as upon a horse: a sport of this
kind was in practice with us at the commencement of the fourteenth century,
and is still occasionally seen in some parts of the country; it is performed by
two competitors, who struggle one with the other, and he who pulls his
opponent from the shoulders of his carrier is the victor A soft piece of
turf is usually chosen for this sport.
THREAD THE NEEDLE.
Thread the needle may be played by a considerable number of boys, who
all join hands, and the game commences with the following dialogue be-
tween the two outside players at each end of the line: "How many miles
to Babylon?" "Threescore and ten." "Can I get there by candlelight?"
Yes and back again." "Then open the gates without more ado, and let

MINOR SPORTS.
35
the k ng aid his men pass through." In obedience to this mandate, the play-
er who stands at the opposite end of the line and the one next him, lift their
joined hands as high as possible; the other outside player then approaches,
runs under the hands thus elevated, and the whole line follows him, if possi-
ble, without disuniting. This is threading the needle. The same dialogue
is repeated, the respondent now becoming the inquirer, and running be-
tween the two players at the other end, with the whole line after him The
first then has his turn again.
DUCK.
Duck should be played by a number exceeding three, but not more than
six or eight. A large stone with a smooth top is placed on or fixed into the
ground, and an offing marked at eight or ten yards distance. Each of the
players being previously provided with a large pebble, or stone, double the
size of a cricket ball, or thereabout, one of them, by chance or choice, be-
comes duck; that is, he places the pebble or stone with which he is going to
play, on the large stone, and stands a little on one side. The others then
cast their pebbles or ducks at it, in turn, from the offing, each endeavouring
to knock it off its place. Each player, as soon as he has cast his duck,
watches for an opportunity of carrying it back to the offing, so as to cast
again. If the player who is duck, can touch him after he has taken up his
pebble, and before he reaches the offing, provided his own pebble remain
on the large stone, then the player so touched becomes duck. It sometimes
happens that three or four of the out-players' ducks lie so close together, that
the player who is duck can stand in a situation to be within reach of all of
them; in this case, they cannot, without running the risk of being touched,
pick up. ntil one of those who are at the offing is lucky enough to strike the
duck of the large stone; then, before its owner can replace it, which he
must do before he can touch a player, they all take up their ducks and run to
the offing, where, of course, they are safe.
HUNT THE SLIPPER.
This is usually an in-door game, although there is no other objection to
its being played on a dry piece of turf than that the slipper cannot be heard
when struck by its momentary possessor, when passing round the joyous
ring. Several young persons sit on the ground in a circle, a slipper is given
to them, and one, who generally volunteers to accept the office in order to
begin the game, stands in the centre, and whose business it is to "chase the
slipper by its sound." The parties who are seated, pass it round so as to
prevent, if possible, its being found in the possession of any individual. In
order that the player in the centre may know where the slipper is, it is occa-
sionally tapped on the ground, and then suddenly landed on to the right or
left. When the slipper is found in the possession of any one in the circle, by
the player who is hunting it, the party on whom it is so found, takes the latter
player's place.

36
MINOR SPORTS.
PALL MALL.
Pall-mal is a game wherein a round piece of box is struck, with a mallet,
through a high arch of iron, which he that can do at the fewest blows, or at
the number agreed upon, wins. It is to be observed, that there are two o
these arches, that is, one at either end of the alley. The game of Mall was
a fashionable amusement in the reign of Charles II., and the walk in St.
James's Park, now called the Mall, received its name from having been ap-
propriated to the purpose of playing at Mall, where Charles himself, and his
courtiers, frequently exercised themselves in the practice of this pastime.
The denomination of " Mall," given to this game, is evidently derived from
the mallet or wooden hammer used by the players to strike the ball. It will
be perceived that this game is rather similar to Goff; we have been told that
it still exists in some parts of England; but we must confess that it never fell
under our personal observation.
HOP, STEP, AND JUMP.
This is a sport of emulation; the object is to ascertain which of the play-
ers concerned can, eventually, go over the greatest portion of ground in a
hop, a step, and a jump, performed in succession, and which may be taken
either standing or with a run, as may be agreed, at the outset, between the
players.
DRAWING THE OVEN.
Several players seat themselves on the ground, in a line, and in such a
manner that each may be clasped round the body by the player who is seat-
ed behind him. When all are thus united, two others take the one who is
at the extremity of the line by the two hands and pull until they separate him
from the grasp of the one who is behind him. They then take the second in
the same manner, and so on until they have thus drawn the whole line.
THE LAME LAMPLIGHTERS.
Two boys kneel, each on one knee only, holding the other leg off the
ground, one opposite the other; a lighted candle is given to one, and another
candle, not lighted, to the other; they then attempt to illumine the latter;
but, being in equilibrium on one knee, and liable to be thrown off their
balance by the least motion, they will find this so difficu.: a matter as to
cause great diversion to the spectators.
THE JUMPING ROPE.
A long rope is swang round by a player at each end of it; when it moves
tolerably regular, one, two, or even more boys, step in between those who
hold the rope, suffering it to pass over their heads as it rises, and leaping up
so that it goes under their feet when it touches the ground, precisely as in
the case of a common skipping-rope. The principal difficulty in this sport
is, to run between the players at the proper moment of time, that is, just as

MINOR SPORTS.
37
the rope is at highest elevation, so as to be ready to jump over when, in its
circuit, it comes toward the feet. Care must be taken that due time be kept
in the leaps, so that they may perfectly accord with the motion of the rope.
There is another mode of playing with the long skipping-rope, namely, by
the player at one end of it, advancing a step or two toward the other, keeping
the hand which holds the rope on the outside, and then, with the assistance
of the player at the other end, turning the rope round, and skipping over it in
its circuit.
THE WOODEN BOTTLE.
This is a sport similar to "The Lame Lamplighters," frequently played
by the parlour fire-side, in holyday time :-an individual seats himself on a
wooden bottle which is placed sideways upon the floor, and endeavours, with
P. burning candle, which he holds in his right hand, to light another in his left
DROPPING THE 'KERCHIEF.
A number of players join hands so as to make a circle; one only stands
out; he walks round the outside of the circle, and drops a handkerchief be-
hind which player in the circle he thinks fit. The party behind whom the
handkerchief is thus dropped immediately follows the one who dropped it:
those who stood on each side complete the circle by joining hands, and the
chace commences. The pursuer is bound to follow precisely the course of
the pursued, who winds in and out under the arms of the other players, who
elevate them for his accommodation, and endeavours, by all the means in his
power, to puzzle and elude him. If he succeed in so doing, that is, if the
pursuer make a blunder in his course, he returns to his place in the circle,
and the first player prepares to drop the handkerchief behind one of the play-
ers again. When he is fairly overtaken by the player behind whom he has
last dropped the handkerchief, the latter takes his place, and he joins hands
in the circle.
BUCK.
This is a miniature resemblance of "Saddle my Nag;" but it neither
requires speed, nor even agility. It is a sport for two boys only, who should
be nearly equal in size and strength. A third, who does not join in the
game, stands by as an umpire. The game commences by one of the players
giving a back; that is, placing his arms across his breast, or resting them on
his knees, stooping forward so as to bring his back nearly horizontal with
his head, which he supports against a post, wall, tree or whatever may be
convenient for the purpose. It is usual, but we think quite unnecessary, for
the player who gives the back to be blindfolded; we say unnecessary, be-
cause the only object for doing this is to prevent him seeing what is going on
behind, or, rather, above his back, which he cannot possibly do, if he keep
his head in a fair and proper position; and the umpire should see that he

38
MINOR SPORTS.
The first player having thus taken his position, the second leaps.
Dr vaults, astride on his back, holds up as many of the fingers of one hand as
ne pleases, and says, "Buck, buck, how many horns do I hold up?" The
player who gives the back makes a guess; if he name the right number the
other player becomes Buck, and gives him a back. If, however, his guess
be an incorrect one, the rider gets off, vaults on again, holds up the same or
a different number of fingers, and asks the same question as before; this is
repeated until the Buck name the true number. It is the business of the
umpire to see that there is no foul play on the part of the rider. We should
suggest that it would be an improvement on this quiet, simple game, for the
umpire to be made a third player; so that when the Buck's guess is cor-
rect, the rider should give a back, the umpire become rider, and the Buck
umpire: thus, instead of the place of umpire being a mere idle vocation, the
game would be productive of amusement and exercise to all three of the boys
engaged in it.
THE SNOW STATUE.
In those days, when winter clothes the surface of the earth with a mantle
of snow, and many of the amusements of the play-ground are thereby sus-
pended, it is a custom with boys, as some of our young readers, doubtless,
very well know, to make that which is an impediment to their old recrea-
tions, a material for new ones. Then do snow-balls, harmless if lightly com-
pressed, but otherwise if strongly kneaded, fly about in abundance. Caves
and even pigmy fortresses, are constructed; the rolling ball, which is first
rounded by the little hands of a child, becomes, in a few hours, by driving it
over the snow, too big for a man to move. When the joyous tenants of the
play-ground have become fatigued with rolling the ball, or it has acquired a
size and weight superior to their united powers, it is a common practice with
them to cut a rude resemblance of a man out of the mass, adding to its height
and diminishing its breadth. This is called the Snow Statue; and when
complete, the young sculptors retire to a convenient distance, and, with the
aid of snow-balls, each tries his utmost to demolish that which they have
Just taken such pains to construct.
We are well aware that there are other Minor Sports and Pastimes prac-
tised in play-grounds in different parts of the country, besides those we have
described; it would be impossible for us to press the endless throng" with-
in our limits. We give a selection of the best, and of those which most re-
quired explanation. We are also aware, that the rules of some of the Sports
vary in different places ;-where this is the case, we have given those which
are most generally adopted. Many games and amusements which might
have been inserted in this part of the work, will be found placed with great
er propriety, under other heads.

MINOR SPORTS.
THE SLING.
Cut out an oval piece of leather, about two inches wide at the broadest
part; at each of the ends, fasten a leathern thong, or piece of cord,—one of
these cords, or thongs, should be longer than the other; place a stone in the
broadest part of the leather, twist the longest thong twice or thrice round
your hand, hold the other lightly between your thumb and fore-finger, whirl
it round several times, let go the shorter thong, and the stone will be shot to a
great distance. Small lumps of clay kneaded to the point of a pliant switch,
may be jerked to a height scarcely credible.
///

ROSAMONDS BOWER.
This cut represents, it is said, the Maze at Woodstock, in which
King Henry placed Fair Rosamond. It certainly is a inost ingenious
puzzle, and consists in getting from one of the numerous outlets, to
the Bower in the centre, without crossing any of the lines.

ARCHERY.
生
​To save his own and Albert's life,
Tell is to shoot an apple from the head
Of his own child!
WILLIAM TELL
IN this island, Archery was greatly encouraged in former times, and
many statutes were made for its regulation. The Artillery Company of
London, though they have long disused the weapon, are the remains of the
ancient fraternity of Bowmen or Archers. As to the time when shooting
with the long bow first began amongst the English, there appears no certain
account. Richard I, was killed by an arrow, in 1199; after this time, we
read nothing of Archery, till that of Edward III. when an order was issued

44
ARCHERY.
o the sheriffs of most of the English counties, to provide five hundred white
bows, and five hundred bundles of arrows, for the then intended war against
France. The famous battle of Cressy was fought four years afterward, in
which, it is stated, that we had about two thousand archers, opposed to about
the same number of French. In the fifth year of the reign of Edward IV.
an act was passed, that every Englishman, and Irishman dwelling with
Englishmen, should have an English bow of his own height, which is directed
to be made of yew, wych, hazel, ash or awburne, or any other reasonable
tree, according to their power. The next chapter also directed, that butts
should be made in every township, which the inhabitants were obliged to
shoot at, every feast day, under the penalty of one half-penny when they
should omit this exercise. During the reign of Henry VIII. several statutes
were made for the promotion of Archery. An act of parliament, in Eliza-
beth's reign, regulated the price of bows. Charles I. is said to have been
an Archer; and, in the eighth year of his reign, he issued a commission to
prevent the fields near London being so enclosed as " to interrupt the neces-
sary and profitable exercise of shooting." So lately as the year 1753, tar-
gets were erected in the Finsbury fields, during the Easter and Whitsuntide
holydays, when the best shooter was styled "Captain" for the ensuing year,
and the second, "Lieutenant." Edward VI, in his journal, says, that one
hundred Archers of his guard shot, before him, two arrows each, and after-
ward, altogether; and that they shot at an inch board, which some pierced
quite through with the heads of their arrows, the board being well seasoned
timber. The distance of the mark is not mentioned. As a pastime there is
none, perhaps, superior to this; it is now, and for years past has been, highly
popular in this country; in fact, judging from the past and the present, we
may venture to predict that
The Archer's sport will never be extinct,
Until the memory of Robin Hood,
Of Cressy's well-fought field, and Chevy-Chase,
Be blotted from the tablet of our minds.
THE BOW.
The young archer should, in the first place, select a bow, that is fit and
proper for his own size and strength. It is not probable that, let him be
ever so skilful, he will be able to achieve such an exploit, as the construc-
tion of a good bow himself; bow-making being a trade which requires many
years' practice and much attention; in fact, there are few persons, now-a-
days, although there are many bowyers, who can manufacture bows of a
superior description.
The back of the bow is the flat outside, and the belly the round inside part
of it. The round inside part is bent inward; if the bow be pulled the reverse
way, it will break; therefore, however a bow may be bent when unstrung
t is invariably to be strung with the round part inward

ARCHERY.
45
ARROWS.
Arrows should be delicately proportioned in length and weight to the bow
for which they are intended. They are used blunt or sharp, and varying in
their thickness according to the fancy of the Archer. Some are made so
as to taper gradually from the feathers to the pile, and some viceversa;
others again are thickest in the centre. All arrows should have their nocks
or notches cased with horn, and the nocks should be of such a size as to fit
the string with exactness, and be neither too tight nor too loose. Three
goose or turkey feathers are affixed to arrows; one of these, denominated
the cock feather, is of a different color from the other two, and this is al
ways to be placed uppermost.
THE STRING.
That part of the string which receives the nock of the arrow is whipped
with sewing silk, to prevent the string being rubbed and weakened. If the
silk should come off the string, it ought to be re-whipped without delay;
otherwise, it will be in danger of breaking; and this is not the only mis-
chief, for from the breaking of a string oftentimes ensues the snapping of the
bow. It is also advisable to whip the noose and eye of the string, although
many archers do not tronble themselves to do so. At one end of the bow-
string an eye is made; it is left for the archer himself, bows being of differ-
ent lengths, to make the other: this, to a young archer, will be found rather
difficult; his best plan will be to inspect the mode of making the noose on an
old string. The young archer will do well, if any of the threads of his
string break, to throw it by and use another. He should never, if possible,
permit the string to become twisted or ravelled; should such an occurrence
take place, before it is put on again it ought to be re-twisted and waxed.
A bow, five feet long when braced, should never have the string more than
five inches from its centre. This rule will be a guide to the young archer
in stringing his bow; whatever be its length he will of course adjust the
distance in the same proportion, according to the admeasurement.
THE TASSEL.
This is very necessary to the archer for the purpose of cleaning the arrow
from such dirt as generally adheres to it if it enter the ground. This dirt,
if suffered to remain, will impede the arrow in its flight, and also render its
course untrue. The tassel is suspended on the left side of the archer, and
is thus always at hand for use.
THE GLOVE.
The glove consists of places for three fingers, a back thong and a wrist
strap to fasten it. The finger-stalls should neither project far over the

46
ARCHERY.
tops, nor be drawn back to cover the first joint. The glove is used for the
purpose of protecting the fingers from being hurt by the string.
THE BRACE.
The brace is worn on the bow arm to save it from being injured by the
string, which, without this protection, would, in all probability, incapaci-
tate the archer from shooting long at a time. It is made of stout leather,
with a very smooth surface, so that the string may glide over it without
impediment.
THE QUIVER.
The quiver is for the reception of the arrows, but is never constantly
worn except in roving; it is now usually made of tin, although it is occa-
Bionally constructed, as was indeed universally the case formerly, of wood
or leather.
THE BELT, POUCH, AND GREASE-BOX.
The belt is buckled round the waist; the grease-box is suspended from
the middle, and the pouch or bucket on the right side of it. A composition
for greasing the finger of the shooting-glove, and the smooth side of the
brace, when occasion may require, is kept in the box: the pouch holds the
arrows for immediate use in target shooting.
THE ASCHAM.
This is a large case fitted up with the necessary drawers and compart-
ments for the reception of the bow, stock of arrows, strings, and all the
necessary accoutrements of the archer.
BUTTS.
The butt is rather pyramidical in shape, generally speaking, but it may be
fashioned according to the fancy of the archer; for grown up persons, they
are seven or eight feet wide, three or four feet thick at the base, and nearly
seven feet in height at the middle. Butts are made of long plats of turf
which are to be closely pressed down; a round piece of pasteboard is placed
in the centre of the butt for a mark, which must be increased or decreased in
size according to the distance at which the archer shoots: for thirty yards,
it should be four inches in diameter; for sixty yards, six inches; and so in
proportion for a greater distance. The mark is fixed to the butt by a peg
driven through its centre. Shots that take place outside the mark are not
reckoned, and he who places most shots in the pasteboard during the play is
accounted the winner. Butts are frequently placed at different distances
from each other; a set of butts is four, which are so contrived as not to pre-
vent the players seeing them all at once. Wha is called a single end is
shooting at one mark only; a double end is shooting to a mark, and back
again from that mark to the one first shot from.

ARCHERY.
47
TARGETS.
Targets should be proportioned to the size and skill of the juvenile
archer, and to the distance at which he stands from them. The facing is
usually made of canvass which is sewn on the bass; the bass is made of straw,
worked as a bee-hive. The facing has a gold centre and four circles;
namely, the outer white edged with green, the black inner, white and red.
Where it is not convenient to keep the targets fixed, it is better to use another
kind, made of pasteboard, these being more portable, although by no means
so durable, as targets made of the other materials we have mentioned. If
one target only be shot at, a great deal of time is wasted in going to fetch
the arrows, and again returning to the spot for shooting from: two targets
are, therefore, generally used, and the archers shoot from one to the other.
In Archery matches, there are generally two prizes; one for the greatest
number of arrows shot into the target,-the other for the shot nearest the
gold centre. Hits in the target are sometimes reckoned all alike; but there
is usually a distinction made. The gold centre is the mark, and the circle
which approaches nearest to it, being less in size, and consequently, more
dificult to hit, and nearer the main mark itself, an arrow shot in that circle
is deemed of more value, in reckoning for the prize, than if it were to take
place in any of those outside it, and so in proportion with the others. A
celebrated society of Archery allows the following numbers for each cir-
cle. For the gold, nine; for the red, seven; for the inner white, five; for
the black, three; and for the outer white, one. A writer on this subject,
however, seems to think, that the outer circles are overrated, and if nine
be allowed for the centre, only three should be scored for the red; two for
the inner white; and less, in proportion for the two outer circles. When
the sport terminates, the value of the number of hits, and not the hits them-
selves, should be reckoned; and he whose score is the largest, is, of course,
the victor.
As ink is by no means a convenient thing to carry into the field, and marks
made with the black-lead pencil are liable to Le rubbed out, it is advisable
to have a pin suspended from a card, properly divided for each archer's
acore, and to prick down the hits with it.
STRINGING THE BOW.
The bow is to be taken in the right hand, by the handle, with the flat
part toward the person who is about to string it; his right arm should
rest against his side; the lower end of the bow, which has always the shortest
bone, should be placed against the inside of the right foot, which should be
arned a little inward to prevent the bow from slipping; the left foot should
at the same time be brought forward; the centre of the left hand wrist must
e placed on the upper limb of the how below the eve of the string

48
ARCHERY
forefinger knuckle upon one edge of the bow, and the top of the thumb on
the other. The bow is now to be pulled up vigorously, and the upper
limb of it pressed down by the right hand, and the wrist of the left which
should at the same time slide upward until the eye of the bowstring is safely
placed in the nock. The middle, the ring and the little fingers, should all
three be stretched out, as they are not wanted in this operation of stringing
the bow; moreover, if this be not done, they are liable to be caught be-
tween the string and the bow, and thus become severely punished. The
young archer should take care that the eye is well placed in the nock before
he removes his left hand. He should not become impatient in the action
of stringing the bow, but perform it systematically as directed; if he do
not succeed, let him lay it by for a few minutes, and when he is cool make
a second attempt. To unstring the bow, the short horn is to be placed
on the ground; the palm of the left hand receiving the flat side of the
upper limb; the string should be upward; the handle is then to be pressed
with the right arm so as to slacken the string; when the latter becomes
loose enough, the eye is to be brought out of the nock, by the thumb of the
left hand.
POSITION.
The face is to be turned toward the mark, but no part of the body,
which, if the mark be north, should be turned toward the east; the head
should be rather inclined; the left
hand, with the bow in it in a perpen-
dicular position, is to be held out
straight toward the mark; the arrow
is to be brought well toward the ear
and not the eye, on the left side of the
bow and under the string; the fore-
finger of the left hand passes over it;
by the other hand the nock is placed in
the string at the proper place, with the
cock feather uppermost; when this is
done, the forefinger of the left hand is
removed and placed round the bow.
While the left hand is raising the bow,
the right should be drawing the string
with two or three fingers only and not
the thumb; as soon as it reaches the
head it should be let loose, for fear of
its breaking.
Great care should be taken to ac-
quire a proper position, as represented in the marginal cut, for bad attitudea
in Archery appear extremely ridiculous.

ARCHERY,
49
FLIGHT-SHOOTING.
Flight-shooting was at one time much more frequently practised with
the long bow than it is at present The object in flight-shooting is simply
to ascertain which of a party can shoot to the greatest distance; this must
of course, be very detrimental to bows, which are more frequently snapped
in flight-shooting than at any other pastime with the long bow. No skill in
aiming is requisite in flight-shooting; it is, therefore, by no means improving
to the young Archer, who wishes to excel as a marksman. The longest and
lightest arrows that the bow will bear are used in flight-shooting; the game
is generally seven.
CLOUT-SHOOTING.
Clout-shooting is mostly practised by those who cannot conveniently set up
butts or targets near home. The clout, which is quite portable, is made of
a round piece of pasteboard, thirty-six inches in circumference, fastened to a
stick; or it may be made of white cloth, so contrived as to roll up on a stick
which is run through it. In clout-shooting, seven is the game, and all arrows
tell that fall within three bows' length of the clout.
ROVING
This is a very pleasant pastime with the long bow; and is, indeed, by
some, preferred even to target-shooting. The parties are not restricted
to any particular place, but rove about from field to field for miles around,
if they think fit. The mark is any clear and conspicuous object, such as a
tree or a bush. The number of the game is, in general, as in flight and
clout-shooting, seven; but it may be increased or decreased, according to
the inclination of the parties. If there be more than six persons in a roving
party, they should divide themselves into companies; and when the first
company have shot to, and walked some distance from, the first mark, the
second should shoot at it: and so on with those that follow. Arrows that
reach within five bows' length of the mark tell; but those which reach
nearest cut the others out. In measuring the distance, the Archer does
so with his own bow, from a spot in the mark which is one foot from
the ground; and the first arrow is the one that is nearest, not to the mark.
but to that point or spot of the mark. The Archer may measure to what
part of his arrow he pleases. He who shoots nearest has the privilege of
indicating the next mark. It is better to use blunt-headed arrows in
Roving than sharp ones; as it not unfrequently happens that the latter are
driven so firmly into the mark as to make it a matter of difficulty to ex-
ract them: should this occur, it is advisable to cut away the wood around
the arrow, rather than endeavour to tug it out by violence. Every Rover
should carry at least a dozen arrows with him, in order to be prepared
against accidents.

50
ARCHERY.
CONCLUDING REMARKS.
We strongly recommend the young Archer never to shoot with another
person's bow; he may, very probably, break it; and in that case, a loss
might ensue to the owner, which money could not remedy. When the grass
is above the ankle, shoot only at a considerable elevation. After two or
three arrows are shot, the Archer should cease awhile, otherwise his aim
will get unsteady. If he shoot point-blank at a mark, the arrow, if it mise,
will strike along, and so bury itself in the grass, as to defy the keenest eye,
in many instances, for a very considerable time, to discover it. This in-
convenience may be remedied by shooting at a proper elevation, for then
the arrow will descend in such a manner as to leave the feathers visible;
they will also be saved, from that injury which frequently occurs to them, by
the moisture of the grass, or ground, when shot point-blank. Arrows
should not be used of different lengths, nor should the young Archer shoot
alone; for in solitary shooting, he falls into habits of negligence and indif-
ference; if he practice with others, he will strive to emulate his companions;
and, instead of a careless, unskilful marksman, soon become an adept in the
pleasant pastime of ARCHERY.

CRICKET.
The youthful Yeomanry are in the field,-
Their tents are pitched, and every heart bents high
To join the friendly strife;-their stoutest forts
Are slender wickets-all their entrenchments,
A popping and a bowling-crease; their weapons,
Pats;-their ammunition, a brace of balls.
THIS truly English pastime, although long a favorite with the people
of this country, never reached to a greater degree of popularity than it
possesses at this time. It is a favorite with the peer and the peasant,-
the Socior Societatis Artium and the school-boy. Royalty has, heretofore,
stood bat in hand at the popping-crease, surrounded by those youthful buds
of nobility of which our nation has since been proud; and, strange though
it may seem, yet it is no less strange than true,-young matrons have
played matches of Cricket against maidens, without impeachment to their
usual reputation, and having husbands, brothers, and sweethearts for their
spectators. In many counties, Cricket is the universal pastime of the peo-
ple; in others, it is rarely played, and in many, scarcely mentioned. The
man of Devon, who deems all sports inferior to wrestling, and the inhabitant
of Somerset, who doats upon the manly game of back-sword, seldom bestow
a thought upon Cricket; it is, nevertheless, esteemed and enjoyed by the
people of other counties, especially those about the metropolis, as a sport

7664
CRICKET
paramount, and practised in so great a degree, as nearly to exclude all other
manly field recreations of a similar nature.
Cricket is usually played by eleven persons on each side, though a less
number is sufficient. Two umpires are to be appointed in order to settle
all disputes that may arise; they are to take their stations at each wicket
and should be well acquainted with the laws of the game. The umpire at
the striker's wicket should be rather behind it, so as not to be in the way
of the players; and the umpire at the bowler's wicket, directly behind it, to
see that the striker does not strike the ball with his leg.
BATS, BALLS, WICKETS, &c.
The bat should not be higher than twenty-one inches in the pod, and four
inches and a quarter in the widest part; this is the size for men; boys must,
of course, have bats in proportion to their size and strength.
The ball, for the use of men, should weigh about five ounces; for youth,
however, it should be lighter.
Full-sized wickets are three stumps, which are sufficiently long to leave
twenty-four inches out of the ground, with a bail, seven inches long, to fit
the top. These, like the bat and ball, must be decreased in size for the
young cricketer. They should be placed directly opposite to each other,
at the distance of twenty-two yards for men, but varying according to the
size of the player.
The bowling-crease should be in a line with the wicket, and have a return
crease.
The popping-crease should be three or four feet from the wicket, and
exactly parallel with it.
ness.
THE BOWLER.
Bowling is a very important part of the game, and requires great steadi-
Bad bowling is often the cause of losing a game. A bowler should
not be too systematic, but vary his balls faster or slower, according to the
peculiarities of the striker. The bowler and his partner at the opposite
wicket should have a secret sign, by which they may hint to each other the
propriety of varying the direction or swiftness of the balls. The mode of
bowling most generally approved of, is to hold the ball with the seam
across, so that the tips of the fingers may touch; it should be held with just
a sufficient grasp to keep it steady; by a turn of the wrist, it may be made
to cut or twist after it is grounded, which will frequently perplex expert
players.
THE STRIKER, OR BATSMAN.
The striker should always be ready for running; when his partner is
about to strike, he should stand before the popping-crease, but he must be

CRICKET.
53
cautious not to leave the ground before the ball is out of the bowlers hand,
for if he do, the bowler may put down his wicket, and he will, of course, be
out. As soon as the ball is delivered, the striker may follow it, but should
not run too far, so that, if no runs be obtained, he may return in time to
save his wicket. The bat should be kept on the outside of the opposite
partner, and care taken not to run against him.
THE WICKET-KEEPER.
The wicket-keeper should not suffer the striker to move from his ground
without knocking down his wicket, which is called "stumping out."
THE FIRST SHORT-SLIP.
The first short-slip should stand so as to reach within two feet of the
wicket-keeper; if the latter should go from the wicket after the ball, the
first short-slip should take his place until his return; but no player should
take the ball before the wicket-keeper, provided it be coming straight to
him.
THE POINT.
The point should place himself in the popping-crease, about seven yards
from the striker. In backing up, he should take care to give the slip suffi-
cient room.
LEG, OR SLIP.
Leg, or slip, should stand a little back from the straight line of the pop-
ping-crease.
LONG-STOP.
Long-stop should stand a proper distance behind the wicket, to save a
run, if the ball should not be stopped by the striker or wicket-keeper. The
person who is placed in this situation, should not be afraid of the ball when
bowled swift. He should also be able to throw in well, as it is not only to
the balls that pass the wicket-keeper, but to such as are just tipped with the
edge of the bat, that he will have to attend. He must also be attentive in
backing up.
THE LONG-SLIP TO COVER THE SHORT-SLIP.
This player must stand about the same distance from the wicket as
the long-stop, in a line with the striker, between the point and the short-
slip.
TO COVER THE POINT AND MIDDLE-WICKET.
This player's place is on the off side, so that if the ball should be hit to
the point and middle-wicket man, and missed, he will be in readiness to
receive it

p4
CRICKET.
THE LONG-SLIP OFF SIDE.
He should he placed on the off side, between the middle wicket-mat and
the bowler, at a considerable distance in the field, so as to cover them. It
1s desirable to appoint a person to this situation, who can throw well and
judiciously.
LONG-FIELD ON SIDE.
Long-field on side is at some distance wide of the bowler's wicket, so as
to prevent a second run.
If there be more players, they may be placed to back up, or save runs, in
different situations about the field.
LAWS OF CRICKET.
The bowler should deliver the ball with one foot behind the bowling
crease, and within the return crease. He should bowl four balls before a
change of wickets, which he is to do but once in the same innings. He
must be careful to toss the ball in such a way that the striker can play at
it; for if he should toss it above the striker's head, or out of the bounds of
the bowling-crease, the party which is in shall be allowed one notch, to be
put down to the byes; and such ball is not considered as one of the four
balls. When the umpire calls "In ball," the hitter may strike at it, and
get all the runs he can. When an exchange of bowler takes place, no more
than two balls can be allowed for practice. If the arm be extended straight
from the body, or the back part of the hand be uppermost when the ball is
delivered, the umpire shall immediately call "No ball."
The striker, or batsman, is always out when the bail is knocked off the
stump; when a stump is bowled out of the ground; or, if the ball should,
from a stroke over or under his bat, or upon his hands, (but not his wrists,)
be held before it touches the ground, even if it should be pressed to the
body of the catcher; or if, while he is striking, or at any other time when
the ball is in play, both his feet are over the popping-crease, and his wicket
put down, except when his bat be on the ground within it. Likewise, if
he hit down his own wicket; or, if either of the strikers prevent a ball from
being caught, the striker shall be out; or, if the ball be struck up, and the
hitter wilfully strike it again; or if, in attempting to run a notch, the
wicket be struck down by a throw, or with the ball in hand, before his foot,
hand, or bat is grounded over the popping-crease: If the striker remove or
take up his ball while in play, without being requested by the opposite
party; or if, with his leg or foot, he stop a ball which has been pitched in a
straight line to the striker's wicket. If "A lost ball" be called, the striker
shall be allowed four notches. If the players have crossed each other in

CRICKET.
55
running, he that runs for the wicket which is put down, shall be out; but il
they have not crossed each other, he that has left the wicket which is put
down, shall be out.
When a ball is caught, no notch shall be reckoned. When a striker is run
out, the notch they were running for shall not be reckoned. While the ball
is kept in the bowler's or wicket-keeper's hand, it is considered no longer
in play, nor are the strikers bound to keep within their bounds, till the um-
pire has called "Play;" but if a player should go out of his ground, with
intent to run, before the ball is delivered, the bowler may put him out. If a
striker be hurt by a ball, or otherwise, during his play, he may retire from
his wicket and continue his inning; and another person may be permitted
to stand out for him, but not go in. If any player should stop the ball inten-
tionally with his bat, it shall then be considered dead, and the opposite party
may add five notches to the score.
If the ball be struck up, the striker may guard his wicket either with his
bat or his body. If the striker hit the ball against the wicket of his partner
when he is off his ground, he is out, if it have previously touched the bowler's
or any of the field-men's hands, but not otherwise.
Two minutes are allowed for each man to come in, and fifteen minutes
between each innings; when upon the umpires calling "Play," the party
refusing to play, shall lose the match.
The umpire should observe the situation of the bowler's foot when he de-
livers the ball, and if it be not behind the bowling-crease, and within the
return-crease, he shall call "No ball." If the striker should run a notch,
the umpire shall call "No notch." The umpire at the bowler's wicket has
a right to be first applied to for his decision on the catches.
SINGLE WICKET.
The game of Single Wicket is not so interesting as that of Double
Wicket; but it may be played by almost any number of persons, though it
is seldom played with more than four or six on a side. The business of a
bowler and striker is nearly the same as in Double Wicket.
When the striker runs to the bowler's wicket, and knocks the bail from
off two stumps placed there, with his bat, and returns to his own wicket
without having it knocked down by the ball, he is entitled to count one notch.
After he has run one notch, if he start for another, he must touch, the bow-
ling stump and turn again, before the ball crosses the play, to entitle him to
another notch. He is entitled to three notches for a lost ball.
If four, or a less number are at play, then they should make all hits
before the wicket, with bounds, &c. and not move off the ground, except
by agreement. Where there are more than four players on a side, there
should be no bounds; and all hits, byes, and overthrows, should be allowed.
It is, of course, to be understood, that the bowler must bowl at the usua!
F

56
CRICKET.
distance from the wicket. No more than one minute is to be allowed be-
tween each ball. When the striker hits the ball, one of his feet must be on
the ground, and behind the popping-crease; otherwise the umpire shall call
"No hit." The field's-man must return the ball, so that it shall cross the
play between the wicket and the bowling-stump; or between the wicket and
the bounds; the striker may run till the ball shall be so returned. These
are the principal rules and regulations adopted by the most experienced
Cricket-players, at the game of Single Wicket. The distance between the
wickets is precisely the same as at Double Wicket, consequently, the runner
has twice the ground to run, in obtaining each notch; but we would sug-
gest, that this evil might be remedied by running only a little more than
half the usual distance: by this method, Single Wicket will be rendered
much less fatiguing, and far more lively and amusing, at least to the
BATSMAN.

GYMNASTICS
Enroll'd among our Gymnasts, the pale youth
Whose limbs, erewhile, weak and of muscle void,
Totter'd beneath their puny load, soon gains
The bioom of health; and issues forth, at last,
Robust and hardy as the mountaineer.
GYMNASTIC Exercises have lately attained considerable popularity, not
only in this country, but also in Prussia, and other parts of the Continent.
They may be said to be a series of regular and systematic exercises, adapted
to bring into play, and consequently improve, the strength and activity of
the various muscles in the human frame: imparting a knowledge of the
proper use of each, and teaching the pupil the means of disposing of his
natural powers to the best advantage. They are also calculated to inspire
him with confidence in a moment of danger, and to enable him to extricate
himself, as well as others, from peril, by his increased bodily agility, and
the experience he has acquired, as to the most advantageous mode of its
application. A cotemporary writer on this subject makes the following ob-
servations in support of the assertion that Gymnastic Exercises confer
courage and presence of mind. "Courage is generated by confidence, and
confidence is acquired by practice. A hazardous undertaking which we

08
GYMNASTICS.
Fave often achieved, ceases to be considered as any further dangerous than
affording us an occasion to call forth all our energies. The well-taught
Gymnast would, in a case of necessity, take a leap which few could per-
form, if any would venture. Leaps of great distances and heights he has
often attempted with success. By him the length, the height, and the inter
vening obstacles could be measured in a moment. Rehearsals of such
situations and circumstances have been his daily amusement. He cannot
he dismayed at danger who has often played with it, and the principles of
his art have supplied him with means to disarm it of half its power. To
illustrate the foregoing remarks, we shall here relate what we consider an
instance of the coolness, accuracy, and presence of mind to be acquired by
daily practice. Walking out one day near the city of Edinburgh, our at-
tention was attracted to a field where the Royal Company of Archers were
practising. A man, hired for the purpose, and trained to the duty, was
stationed at the target, with a small flag in his hand to mark the spot where
the arrows fell, the distance being very considerable. It is incredible with
what accurate perception this man followed the arrow in its rapid passage
along the arch it made in the sky; and with what accuracy he seemed to
conjecture how near the target, or on what side it would fall. He stood
close to the target, almost touching it with his right arm; one arrow flew
through the air; he narrowly observed the feathered messenger advancing
rapidly in its course-he stepped one step to the left, and the arrow stuck
firmly in the ground a few inches to his right, betwixt him and the target.
He waved his flag to the spot, and a second arrow was sent; from this he
escaped by darting a little to the right. To save himself from the third, he
had no occasion to move from his station, as he coolly saw it deposited in
the lower part of the target. It is needless to detail the rest. The arrows
stuck before, behind, and on each side of him. The exercise at last con-
cluded; and it seemed no less surprising to us, the insensibility of danger
which this man, for the sake of a little gain, exhibited, than the confidence
which his employers doubtless had in the acuteness of his perception."
The same writer elsewhere observes that "the ancients, particularly the
free states of Greece, cultivated the study of Gymnastics as an important
oranch of the education of youth. Having frequently to defend their lib-
erties, either against the encroachments of kindred states, or the ambition
of powerful foreign enemies, they considered it highly necessary to inure
their youth to hardy and even violent exercise, that their minds might not
be daunted in the hour of danger, nor their bodies sink under the necessary
fatigues of warfare."

GYMNASTICS.
59
GYMNASTIC EXERCISES.
THE necessary fittings-up of a Gymnastic ground are as follows:-An
norizontal bar, a vaulting-horse, a leaping-stand, parallel bars, a climbing-
stand, and ladders of rope and wood.
The best time for performing Gymnastics is early in the morning Boys
should proceed gradually from the more easy to the more difficult exercises;
and it is most advisable to practise these sports under the eye of an expe-
rienced person. Where there is a number of boys, they should be divided
into classes, according to their strength. It is advisable to carry no toys
in the pockets when practising; extra clothes should be put on when
the exercises are finished; and the usual precautions adopted to preven!
taking cold.
The following observations, which are principally from Salzmann, may
be perused with advantage. No person in health is injured by being over
heated; but drinking when extremely hot, or being cooled too quickly, in
whatever manner it happens may prove highly pernicious. It is proper.
therefore to take off whatever clothing can be decently spared, before begin-
ning to exercise, and put it on again immediately after. Lying down
upon the cold ground, too, must not be allowed. On commencing any

60
GYMNASTICS.
exercise, begin, not with its more violent degrees, but with the more gentle.
and leave off in the saine manner; sudden transitions are always danger
ous. Never let bodily exertion, or your attempts to harden the frame, be
carried to excess: let your object be to strengthen the feeble body, not to
exhaust and render it languid. In all exercises, attention should be paid
to such a position of all the parts of the body, that none may be exposed to
injury for example, the tongue must never be suffered to remain be-
tween the teeth. The left hand and arm are commonly weaker than the
right; let them be frequently exercised, therefore, by lifting, carrying, and
supporting the weight of the body by suspension, till they become as strong
as the others.
Although walking, running, dancing, balancing, vaulting, climbing,
jumping, wrestling, riding, swimming, and all other muscular exercises,
may be included in the terin Gymnastics, the common course adopted at
the schools includes only walking, running, jumping, vaulting, balancing.
and climbing.
WALKING.
In walking, the arms should move freely by the side, the head be kept
up, the stomach in, the shoulders back, the feet parallel with the ground,
and the body resting neither on the toe nor beel, but on the ball of the foot.
On starting, the pupil should rise one foot, keep the knee and instep straight,
the toe bent downward. When this foot reaches the ground, the same
should be repeated with the other. This should be practised until the pupil
walks firmly and gracefully.
RUNNING.
In running, the legs should not be raised too nigh; the arms should
be nearly still, so that no unnecessary opposition be given to the air by
useless motions. Running in a circle is excellent exercise, but the direc
ton should be occasionally changed, so that both sides may be equally
workod.
JUMPING.
The first rule in jumping is, to fall on the toes and never on the heels.
Bend the knees, that the calves of the legs may touch the thighs. Swing
the arms forward when taking a spring, break the fall with the hands, il
necessary; hold the breath, keep the body forward, come to the ground with
both feet together, and in taking the run, let your steps be short, and in-
crease in quickness as you approach the leap. Begin with a noderata
neight or breadth, and increase both as you improve.

GYMNASTICS.
61
PARALLEL BARS.
Begin by raising the body by the hands, and then moving the hands
alternately backward and forward, until you go along the bars each way
by means only of your hands. Then
move or jump with both hands at once.
The swing is performed by supporting the
body by the arms, with the stomach up-
ward, until the toes are in a straight line
with the head; when the pupil can do this
with ease, he should throw his body from
this position over the bar to the right or
left. The movement of lowering the body
by bending the elbows is done by drawing
up the feet toward the hams, and sinking
gradually until the elbows are even with
the head; rise again by straightening
the arms, and repeat the exercise sev-
eral times. Many other exercises may
be performed on these bars, which will occur to the pupil in the course of
ais practice.
HORIZONTAL BAR.
The first position is taking hold of the bar with both hands, and raising
the body until the chin is on a line with the knuckles. When you can
ook over the bar in this manner with ease, place the hands on the further
A
side of the bar from you, and raise
the body as before. In the next ex-
ercise, the body is raised from the
ground by both hands on each side
of the bar, and the pupil passes,
springs, or moves the hands alter-
nately along the bar. Keep the legs
close, lift the feet so as to touch the
bar and sink them down again;
repeat this several times, and when
in this position, pass along the bar
by alternately moving the hands;
the body may then be supported by the right arm and left leg, and afterward
by the left arm and right leg; you may then place yourself in a riding posi-
tion on the bar You may also swing with the head downward, take the
bar with both hands, and pass the feet between them, until they hang down

62
GYMNASTICS.
ward; you may either return them the same way, or drop upon our toes
to the ground.
THE LONG LEAP.
Make a trench, which widens gradually from one end to the other, so
that the breadth of the leap may be increased daily. Keep the feet close
together, and take your spring from the toes of one foot, which should be
quickly drawn up to the other, and they should descend at the same instant ;
throw the arms and body forward, especially in descending. Take a rum of
about twenty paces.
THE DEEP LEAP
This is performed from a flight of steps, increasing the depth according
to the progress of the pupil. The body should be bent forward, the feet
close together, and the hands ready to touch the ground at the same time
with or rather before the feet. We do not, however, much approve of
this exercise.
THE HIGH LEAP.
Get a stand made of two upright posts, bored through with holes,
through which you may pass a string at what length you please, with
sand bags of sufficient weight to keep it
straight, and yet not so heavy as to pre-
vent your carrying it away with your foot,
in case you touch it while ler ping; or you
may have holes bored to admit movable
pegs to support the string, as in the cut.
You must take this leap both standing and
with a run; for the former, the legs should
be kept together, and the feet and knees
raised in a straight direction; for the lat
ter, we recommend a short run, and a light
tripping step, gradually quickened as the
leaper approaches the string. You should
be particularly careful not to alight on your
heels, but rather on the toes and balls e
the feet.
THE HIGH LEAP WITH THE POLE.
Take the pole with the right hand about the height of the head, and
with the left about the height of the hips; when put to the ground, spring
with the right foot, and pass by the left of the pole, over whatever you
have to clear, turning round as you alight, so as to front the place you
leap from.

GYMNASTICS.
63
THE DEEP LEAP WITH THE PULE,
This requires strength in the arms and hands. Place the pole the depth
you have to leap, lower the body forward, cast off your feet and swing rouna
the pole so as to alight with your face fronting the point you leaped from
Come to the ground, if possible, on the balls of your feet.
THE LONG LEAP WITH THE POLE.
This is performed precisely as the last, only that you spring forward,
rather than high; it may be practised across the trench.
VAULTING.
The horse for vaulting is made of a wooden cylinder with rounded ends;
two ridges are placed across it, the space between which is called the sad.
dle, and should be wide enough apart for a person to sit between them with
ease. The horse may be wadded or not, according to fancy. Leaping ou
the horse is performed by springing by the hands astride upon it. The body
is raised in the same manner, until the feet reach high enough to stand on
the horse; the hands are then to be placed on the further ridge, and the
body thrown forward into the saddle.
Vaulting into the saddle may be performed with or without a run; place
the hands on one of the ridges, take
a spring, and turn the body on one
side, so that one leg may pass over
the horse, and the performer descend
astride into the saddle. To vault
sideways over the horse, the hands
must be placed as above, and a
spring made sufficient to throw the
feet over the horse one hand then
leaves its hold, and you descend on
the other side. To vault on or over
the saddle forward, take hold of
each ridge with the hands, and spring between them, so as to res or tc
go over the saddle.
TO CLIMB THE ROPE.
In climbing the rope the hands are to be moved alternately, one above the
other, the reet drawn up between every movement of the hands, and the
rope grasped firmly between them; in descending, inove one hand after the
other, as the friction, if you slide, would blister them. The best metho; to
climb the slant rope is to lay the sole of one foot flat on the rope, and the
other leg over the instep of that foot

64
GYMNASTICS.
THE PLANK.
The breadth of the plank should be about two feet; its thickness, two
inches; to climb it, the hands are to be placed on each side, and the feet
on its surface; ascend by moving them al-
ternately. Elevate the plank by degrees as
you improve in the exercise. The progress
that may be made in the ascension of the
plank is astonishing. We know several
Gymnasts who can ascend a plank in a per-
pendicular position, without difficulty. To
do this, the body and feet are in a different
position to that represented in the marginal
cut, where the figure in merely travelling up
an inclined plane; to ascend a perpendicu-
lar plank, the body is curved inward more
from the shoulders downward, and the legs
thrust u up so that the higher one is nearly
even with the hand.
ASCENDING THE LADDER.
Take hold of each side of the ladder, and ascend by moving the hands
alternately. To climb the ladder by rundels, the learner must bring the
elbow of the arm which happens to be the lowest, down to the ribs, before
he pulls himself up by the other. To climb the ladder by one side, take
hold of one side of the ladder with both hands, the palms toward the outer
part of the side; move the hands alternately, and keep the legs close and
steady.
TO CLIMB THE PERPENDICULAR OR SLANT POLE.
Move the legs and hands alternately, taking care, however, not to place
the hands over each other, as in climbing the rope. In descending the pole,
the hands are held ready to be used, if necessary, on each side of it; the
legs being then a little slackened, you will descend with great ease.
FLYING STEPS.
This is a very beneficial exercise. Fix a beam firmly in the ground, with
a strong iron cap, that moves in a circular horizontal position, at the top of
it; four ropes are to be fixed to the cap, and bars of wood fastened at the
Dottom of the ropes, which are to be taken hold of, and the pupils vault
round, bearing the weight on the rope, and continually increasing in speed
until they touch the ground only at intervals with their toes. (Vide cut at
the commencement of Gymnastic Exercises.)

GYMNASTICS.
65
GYMNASTIC RECREATIONS.
THE following Recreations of skill and agility, will, we have no doubt,
prove highly attractive to our youthful readers; they are, with two or three
exceptions, entirely distinct from the usual Gymnastic Exercises; and will
be found, on account of their being less formal, more amusing, perhaps.
than the preceding ones.
STEPPING THROUGH YOUR OWN FINGERS.
Get a bit of wood, or half of a tobacco-pipe, hold it between the two fore-
fingers of each hand, and, without letting it go, after a little practice, you
may leap over it, forward and backward, without difficulty: when perfect
in this, you may, as the writer of this has frequently done, place the tops of
the two middle fingers together, and leap over them both ways, without
either separating or touching them with the feet. It is impossible to per-
form this trick with high-heeled shoes; and, in fact, the great difficulty
consists in clearing the heels.
THE TRIUMPH.
Place the palms of the hands together, behind you, with the fingers down-
ward, and the thumbs nearest the back; then, still keeping as much as pos-
sible of the palms together, and, at least, the fingers of one hand touching
hose of the other, turn the hands, by keeping the tops of the fingers close to
the back, until the ends are between the shoul lers, with the palms together,
the thumbs outward, and the tops of the fingers toward the head. This is
very difficult fett and well deserves its title.
SL

66
GYMNASTICS
THE JAVELIN.
This is a capital Gymnastic Recreation. Get a heavy pole, lod at one
end wi h iron, or a spike, if you think proper; elevate it with the other
hand to the height of the ear, and
cast it at a target. At some of the
Gymnastic schools, the pupils are
taught to cast the pole with their
fingers, as they would a reed; this
is a bad practice,--the spear should
be grasped with the whole hand,
the but-end of it coming out be-
tween the fore-finger and thumb,
and the front or shod part projecting
from the little finger, which ought to
encircle it as much as its thickness
will permit; poise it accurately, and
take your aim deliberately before
you cast it. When you cast, throw
your arm back as far as possible, and deliver the pole with all your force.
DOT AND CARRY TWO.
The person who is to perform this exploit, (whom we shall designate
as No. 1,) stands between two others, (whom we shall call Nos. 2 and 3;)
he then stoops down and passes his right hand behind the left thigh of
No. 2, whose hand he grasps; and his left hand behind the right thigh of
No. 3, whose left hand he grasps. Nos. 2 and 3 then pass each one arm
round the neck and shoulders of No. 1, and when in this position, No. 1, by
raising himself gradually from his stooping position, lifts the others from
the ground.
PROSTRATE AND PERPENDICULAR.
Hold your arms on your breast, lie on your back and get up again, with
out making use of either your elbows or hands.
THE FLYING BOOK.
Place a book, or other convenient thing, between the two feet, in such a
way that it is held between the ancles and the inner side of the feet; then
kick up, backwards, with both feet, and throw the book over your head.
KNUCKLE DOWN,
An exercise of some difficulty, is performed by putting the toes against a
chalk line, kneeling down and rising up again, without any assistance of the
hands, or moving the toes from the chalk line.

GYMNASTICS.
67
THE LONG REACH.
A line is to be marked on the floor, to which both feet, or rather, the
Loes of both your feet are to be brought, and beyond which they must not
pass. One hand, either right
or left, at option, is then to
be thrown forward (without
touching the floor in its pas-
sage) so far and no farther
than you can spring back
again from the horizontal
position to the original up
right position of the body,
without disturbing the stated
posture of the feet, or scraping the floor with the hand in the back-spring.
The distance, at which different persons can thus spring back from the
hand, will, of course, differ according to their length of arm, or their
strength and activity.
When you have ascertained the distance at which you can recover with-
out scraping the hand, or changing the original position of your feet, you
must stretch forward as far as possible; and whilst your body is supported
by the hand on the floor, chalk as far as possible with the other; after this,
rise up from your hand and recover your original position, without touching
the ground again with either hand. There is great scope for skill and ac-
tivity in this feat, and there are persons not exceeding five feet, or five feet
and a few inches, who will chalk considerably further than others six feet
high. The great art is, to bring your body as near to the floor as possible;
for which purpose, it is recommended, (and allowable,) to move the feet
backward from the line of demarcation, as far as you can, which will bring
he body much lower than it is in the figure, and enable you to chalk, at
east, the full length of yourself, which is considered pretty good chalking,
although there are persons who will exceed the distance very considerably.
Those who perform this trick the best, contrive, when on the stretch, that
he body may rest upon the elbow.
CHAIRING THE LEG.
Place the left foot on the lower back rail of a chair, then pass your right
leg over the back of the chair, and bring it to the floor between the chair
and your left leg. This is to be done without touching the chair with your
hand.
In doing this trick, the chair should not stand upon a slippery floor, as it
may move from under you, and cause a fall; a heavy chair should also he
selectes, and great care taken while performing it.

68
GYMNASTICS.
THE TURN-OVER.
In performing this feat, it is necessary to take a rum of half-a-dozen
paces The trick is to place the toe of the right foot against the wall,
about the height of the knee from the
ground, and to throw the left leg over
it, making an entire revolution, so
that when your left leg reaches the
ground, your back will be to the wall.
The toe of the right foot is the point
upon which you must turn; and it
must not quit the wall during the
performance of the exploit. To per
form the turn-over appears to be a
matter of considerable difficulty, at
the first glance of the description;
but it may be attempted by a lad of
tolerable activity, who has made him-
self master of the instructions, without
danger, and, in a short time, accomplished with facility. Ordinary care
must, of course, be taken during the early attempts.
TRIAL OF THE THUMB.
This feat is very simple. Place the inside of the thumb against the
edge of a table, and then move your feet backward as far as you can
from the table, so as to be able to re-
cover your upright position by the
spring of your thumb without moving
your feet. You may accomplish this
feat with much greater ease, if, pre-
viously to springing from the thumb,
you make two or three bends to and
fro with your body. Neither the fin-
gers, nor any part of the hand, except
the thumb, should touch the table. It
is advisable to begin by making the
spring with your feet at a short dis-
tance only from the table at first, and
to draw them further from it gradual-
ly as you improve in the performance
of the feat. The table from which you spring ought to be a heavy one er
the opposite end of it placed close against a wall, otherwise you may push
it back when making your spring; in which case, a fall on the hands and
Knees would be almost inevitable.

GYMNASTICS.
69
THE PALM-SPRING.
A feat, which affords excellent exercise, something similar to the
Thumb-trick, is performed by standing with your face toward a wall
and throwing yourself forward, until
you support yourself from falling, by
the palm of one of the hands being
placed, with the fingers upward, against
the wall; when in this position, you
must recover your former erect station
by springing from your hand, without
bringing your feet forward. Accord-
ing to the greater or less distance you
stand from the wall, the more or less
difficult the feat will be. As in the
feat of the Trial of the Thumb, it is
better to begin the performance of the
Palm-spring at a short distance only
from the wall, at first; by practice, if you are active and resolute, you may,
at last, rise with ease with your feet placed full two-thirds of your own height
distant from the wall.
THE STOOPING STRETCH.
This feat, in which considerable agility may be acquired by practice,
is performed in the following manner: draw a line on the floors against
two fore-fingers, touches the floor.
the chalk line, if your feet keep their
outer si le of it.
which place the outer edge of the right
foot; at a moderate distance behind
the right heel, place the left heel
against the line. Take a piece of
chalk in the right hand, stoop a little
forward, pass the right hand between
the legs immediately under the right
knee, and chalk the floor as far beyond
the line as you can, so that you can re-
cover yourself without moving the toes
of the feet, or touching the ground with
either of your hands. In this case
there is no spring from the hand, as the
chalk only, which is held between the
Your knee and body may project over
proper place, as above directed, on the

70
GYMNASTICS.
TUMBLE-DOWN DICK.
This feat must be performed with a long-backed chair; place the knees
on the extremity of the feet of the chair, in the position indicated by the
cut, and, with your two hands, take
hold about the seat rail; bring
your face down to touch the back
of the chair, upon which, at the
extremity, or as near as you can
come without falling forward, or
suffering the top of the chair to
touch the floor, a piece of money,
or &c. is placed, which is to be
removed with the mouth. Much
of the management in this trick
depends upon properly regulating
the position of the hands, which
may be shifted as you find neces
sary, up or down the upright pieces which form the back of the chair.
strong, old-fashioned kitchen chair is the best for this purpose.
THE FINGER-FEAT.
Your arms must be horizontally placed across the breast, and close to it;
the fore-fingers of each hand must then be brought into contact. In this
position another person must endeavour to separate your fingers by pulling
at each arm. However much stronger le may be than you, he will not be
able to detach your fingers, if you hold them properly. It must be agreed,
previously, that the person who attempts to separate the fingers of the other
shall not use a sudden jerk, but a regular force
TWO TO ONE.
With the skipping-rope several excellent exercises may be performed;
the best, perhaps, is the following. Skip in the common way for a few
seconds, constantly increasing your velocity of movement, and, at length,
leap tolerably high, and whirl the rope round so fast that it may pass twice
under your feet before they touch the ground; continue this until you can
repeat it several times in succession, and, at last, pass the rope three times,
instead of twice, under your feet during the leap.
LIFTING AT ARM'S LENGTH.
Elevating a pole at arin's length has long been accounted a superior feat;
to do this, the arm must be stretched out at full length, the pole (the poker
will do to begin with) grasped with the nails upward, and elevated n a
right line with the arm.

GYMNASTICS.
71 77
LEAP BEFORE YOU LOOK.
Much care must be taken in this, as well as in "The Tumble-down
Dick" feat, lest you hurt yourself. Procure a chair that is strong, and, at
the same time, so narrow in the
back that you can bestride it with
ease; stand on the seat, push with
your hands against the top rail, and
your knees against the middle one,
until you get it tilted on its back
legs; but before you lose your foot-
ing, leap from the seat, so as to
alight on the ground, still holding
the top rail in your hand, and the
back of the chair between your
legs. We repeat that great caution
is necessary at first, but after a lit-
tle practice, the feat is very easy.
Without confidence in your own
powers, it can never be performed;
to give you this necessary confidence, be assured that hundreds have suc-
ceeded in achieving it.
THE GREAT WOODEN BALL.
Casting the wooden ball is a very good recreation. A large wooden
bowler, in which several holes are bored, is used for this purpose. Place
your thumb in one of these holes, and your middle, or fore-finger, in anoth-
er, and cast it, under-handed, either at a mark or for a distance. The com-
mon bowl used in skittle-alleys, (we do not mean those used for nine-pins,)
will afford a pattern; the maker must, however, remember that its dimen-
sions are to be decreased, it being too heavy, and the finger-holes too far
apart for the use of boys. It ought to be adapted in size, to the age of those
persons for whose use it is intended.
THE TANTALUS TRICK.
An amusing scene may be produced by requesting a person to stand
with his back close against the wall, and, when in this position, placing a
piece of money on the ground, a short distance before him, and offering it
to him if he can pick it up without moving his heels from the wall. This,
he will find, is impossible, as, on stooping forward, a part of the body
goes back beyond the heels, which, in this case, the wall will, of course
prevent.
G

72
GYMNASTICS.
TO TAKE A CHAIR FROM UNDER YOU WITHOUT FALLING.
The figure represents a youth with the back part of his head resting
on one stout chair, and his heels upon another, and a third chair, which
ought to be of rather
a lighter make, is
placed under him.
He must stiffen his
body and limbs,throw
up the chest, keep the
shoulders down, and
disengage the middle
chair, which he must
carry round over his
Dody until he deposit it again under him on the opposite side. This is an-
other of those feats which seem very difficult, but which are, in fact, easy
of execution. Be assured that if you do not succeed in it, provided the mid-
dle chair be not too heavy for your strength, it is because you have not suf-
ficiently attended to the instructions.
THE POKER PUZZLE.
This feat is to be performed with a common fire-
poker, which you must hold near the top, between the
fingers and thumb, as shown in the annexed cut. You
must then, by the mere motion of the fingers and thumb,
work or screw the poker upward, until the slender part is
moved up to the hand, whilst the poker remains perpen-
dicular during the whole process. For the first few times
that this is attempted to be done, considerable difficulty
will be met with, as it not only requires strength in the
fingers, proportionate to the weight of the poker, but also
a certain knack, which is only to be acquired by prac-
tice. We have seen some persons perform the poker
puzzle, apparently without the least exertion, while others
of equal strength have tried their utmost, and failed in the
execution of it at last.
THE PULLEY.
Fasten a common pulley to a horizontal piece of wood, or the branch
of a tree; run a cord through it, with a cross piece of wood at each end;
two boys take hold of these cross pieces,-one lies on his back, and the
othe pulls him up, sinking himself as he raises his companion; he, in
turn, is elevated in the same manner, and thus each sinks and is raised
alternately.

GYMNASTICS.
73
BREAST TO MOUTH.
Many persons find much difficulty in performing this feat. Measure
the distance between the outside of the elbow and the extremity of the
longest finger: mark that distance
on a walking-stick or ruler, as
shown by Fig. 2. This stick must
be held horizontally before you, as
in the annexed sketch, Fig. 1; the
middle finger being placed exactly
over the mark; the fingers must
be kept at right angles with the
stick, and the thumb placed over
them, as shown by the fist grasping
the stick. (Fig. 2.) Holding the
stick in this position you must,
without changing the place of your
fingers, lowering your head, or re-
moving your elbow from your side, endeavour to raise the left end of the
stick from your breast to your mouth.
THE CATCH-PENNY.
This is a trick with which many of our young friends are, doubtless,
well acquainted; there are others of them who never heard of it, and we
therefore give a sufficiently minute
description of the manner of doing
it, for the benefit of those who are
in the latter case.
Place two, three, or even four
penny pieces, in a heap, on your
elbow, as in cut; drop your elbow
suddenly, and bring your hand to
a little below where your elbow
was, and you may catch them all.
It is impossible, however, to ac-
complish this, unless you bring
your hand exactly beneath the
tace of your elbow, and perform the motion with quickness.
STILTS.
Walking on stilts is practised by the shepherds of the Landes, or desert,
in the South of France. The habit is acquired early, and the smaller the

74
GYMNASTICS.
boy is, the longer it is necessary to have his sults. By means of these odd
additions to the natural leg, the feet are kept out of the water, which lies
deep during winter on the sands, and from the heated sand during the sum-
mer; in addition to which, the sphere of vision over so perfect a flat is ma-
terially increased by the elevation, and the shepherd can see his sheep much
further on stilts than he could from the ground. Stilts are easily construct-
ed: two poles are procured, and at some distance from their ends, a loop of
leather or rope is securely fastened; in these the feet are placed, the poles
are kept in a proper position by the hands, and put forward by the action of
the legs. A superior mode of making stilts is by substituting a piece of wood,
flat on the upper surface, for the leather loop; the foot rests on and is fas-
tened by a strap to it; a piece of leather or rope is also nailed to the stilt,
and passed round the leg just below the knee; stilts made in this manner
do not reach to the hands, but are managed entirely by the feet and legs
In many parts of England, boys and youth frequently anuse themselves by
Walking on Stilts.

SWIMMING.
Swim-
ning has now become an art, and certam rules may be given for its at-
tainment, by the aid of which, and a little practice, the most timid may
eventually acquire the delightful power of "sporting in the silver flood."
"In addition to its advantages as a healthy and bracing exercise, humanity
alone, the pleasure of being not only able to preserve our own lives, but
those of others, ought certainly to be sufficient inducement to acquire a dex-
terity in this most useful art. When it is considered that ours is a country
having the ocean for its frontier, and that in the interior there is none in
the world more abounding in rivers, brooks, lakes, and artificial canals;
and when it is recollected that England is the first maritime nation in the
world, it may seem surprising that such a proportionately small number of
its inhabitants can swim. It might have been much more naturally in-

76
SWIMMING.
ferred, that every inhabitant of our island felt almost as much at ease in the
water as on dry ground. The upsetting of the slender boats of the natives
of Otaheite, is to them a subject of merriment; they swim about, take
hold of the light vessel, right her again, and paddle away, never consider-
ing they have been in any danger. Were the practice of swimming uni-
versal in this country, and it might be so, we should hardly ever read of
deaths by drowning." It would be useless to enlarge further
vantages to be derived from acquiring this art; they must be evident to the
upon the ad-
most inexperienced.
Before we proceed to those rules by which our youthful readers may be
enabled to attain proficiency, we conceive that we shall be conferring a
benefit on them by offering to their notice some extracts from Doctor
Buchan's remarks, and the excellent advice of the celebrated philosopher,
Doctor Franklin, on this subject.
DOCTOR BUCHAN'S REMARKS.
"Immersion in cold water is a custom which lays claim to the most re-
mote antiquity; indeed, it must be coeval with man himself. The necessity
of water for the purpose of cleanliness, and the pleasure arising from its ap-
plication to the body in hot countries, must have very early recommended it
to the human species. Even the example of other animals was sufficient to
give the hint to man; by instinct many of them are led to apply cold water
in this manner; and some, when deprived of its use, have been known to
languish, and even to die.
The cold bath recommends itself in a variety of cases, and is peculiarly
beneficial to the inhabitants of populous cities, who indulge in idleness,
and lead sedentary lives. It accelerates the motion of the blood, promotes
the different secretions, and gives permanent vigor to the solids. But all
hese important purposes will be more essentially answered by the appli-
cation of salt water. This ought not only to be preferred on account of
its superior gravity, but likewise for its greater power of stimulating the
skin, which promotes the perspiration, and prevents the patient from catch-
ing cold.
"It is necessary, however, to observe, that cold bathing is more likely to
prevent than to remove obstructions of the glandular or lymphatic system;
indeed, when these have arrived at a certain height, they are not to be re-
moved by any means. In this case, the cold bath will only aggravate the
symptoms, and hurry the unhappy patient into an untimely grave; it is,
therefore, of the utmost importance, previously to the patient's entering upon
the use of the cold bath, to determine whether or not he labors under any
obstinate obstruction of the lungs or other viscera: and, where this is the
pase, cold bathing ought strictly to be prohibited.

SWIMMING.
77
"In what is called a plethoric state, or too great fulness of the body, it
is likewise dangerous to use the cold bath, without due preparation. In
this case, there is great danger of bursting a blood-vessel, or occasioning ar
inflammation.
"The ancient Greeks and Romans, we are told, when covered with sweat
and dust, used to plunge into rivers without receiving the smallest injury.
Though they might escape danger from this imprudent conduct, yet it was
certainly contrary to sound reason. Many robust men have thrown away
their lives by such an attempt. We would not, however, advise patients to
go in the cold water when the body is chilled; as much exercise, at least,
ought to be taken, as may excite a gentle glow all over the body, but by no
means so as to overheat it.
"To young people, and particularly to children, cold bathing is of the ut-
most importance; it promotes their growth, increases their strength, and
prevents a variety of diseases incidental to childhood.
"It is, however, necessary here, to caution young men against too fre-
quent bathing; as many fatal consequences have resulted from the daily
practice of plunging into rivers, and continuing there too long.
"The most proper time of the day for using the cold bath, is, no doubt,
the morning, or, at least, before dinner; and the best mode, that of quick
immersion. As cold bathing has a constant tendency to propel the blood,
and other humors, towards the head, it ought to be a rule always to wet
that part as soon as possible. By due attention to this circumstance, there is
reason to believe, that violent headaches, and other complaints which fre-
quently proceed froin cold bathing, might be often prevented.
"The cold bath, when too long continued in, not only occasions an ex-
cessive flux of humors toward the head, but chills the blood, cramps the
muscles, relaxes the nerves, and wholly defeats the intention of bathing.
Hence, by not adverting to this circumstance, expert swimmers are often in-
jured, and sometimes, even lose their lives. All the beneficial purposes of
cold bathing are answered by one immersion at a time; and the patient
ought to be rubbed dry the moment he comes out of the water, and should
continue to take exercise for sometime after."
DOCTOR FRANKLIN'S ADVICE TO SWIMMERS.
"The only obstacle to improvement, in this necessary and life-preserving
art, is fear; and it is only by overcoming this timidity, that you can expect
to become a master of the following acquirements. It is very common for
novices in the art of swimming to make use of corks or bladders to assist in
keeping the body above water; some have utterly condemned the use of
them; however, they may be of service for supporting the body, while one
is learning what is called the stroke, or that manner of drawing in and strik.
ing out the hands and feet, that is necessary to produce progressive motion

78
SWIMMING.
But you will be no swimmer till you can pace confidence in the power o.
the water to support you; I would, therefore, advise the acquiring that con
fidence in the first place; especially as I have known several, who, by a
little practice necessary for that purpose, have insensibly acquired the
stroke, taught as if it were by nature. The practice I mean is this: choos
ing a place where the water deepens gradually, walk coolly into it till it is
up to your breast; then turn round your face to the shore, and throw an
egg into the water between you and the shore; it will sink to the bottom,
and be easily seen there if the water be clean. It must lie in the water so
deep that you cannot reach to take it up but by diving for it. To encourage
yourself, in order to do this, reflect that your progress will be from deep to
shallow water, and that at any time you may, by bringing your legs under
you, and standing on the bottom, raise your head far above the water; then
plunge under it with your eyes open, which must be kept open before going
under, as you cannot open the eyelids for the weight of water above you;
throwing yourself toward the egg, and endeavouring, by the action of your
hands and feet against the water, to get forward, till within reach of it. In
this attempt you will find that the water buoys you up against your inclina-
tion; that it is not so easy to sink as you imagine, and that you cannot, but
by active force get down to the egg. Thus you feel the power of water to
support you, and learn to confide in that power, while your endeavours to
overcome it, and reach the egg, teach you the manner of acting on the water
with your feet and hands, which action is afterward used in swimming to
support your head higher above the water, or to go forward through it.
"I would the more earnestly press you to the trial of this method, he-
cause, though I think I shall satisfy you that your body is lighter than water,
and that you might float in it a long time with your mouth free for breathing,
if you would put yourself into a proper posture, and would be still, and for-
bear struggling; yet, till you have obtained this experimental confidence in
the water, I cannot depend upon your having the necessary presence of
mind to recollect the posture and the directions I gave you relating to it.
The surprise may put all out of your mind.
"Though the legs, arms, and head of a human body being solid parts,
are, specifically, somewhat heavier than fresh water, yet the trunk, particu-
larly the upper part, for its hollowness, is so much lighter than water, as that
he whole of the body, taken altogether, is too light to sink wholly under wa-
ter, but some part will remain above, until the lungs become filled with
water, which happens from drawing water to them instead of air, when a
person, in the fright, attempts breathing, while the mouth and nostrils are
under water.
"The legs and arms are specifically lighter than salt water, and will be
supported by it, so that a human body cannot sink in salt water, though the
lungs were filled as above, but from the greater specific gravity of the head.

SWIMMING
79
Therefore, a person throwing himself on his back in salt water, and extend-
ing his arms, may easily lay so as to keep his mouth and nostrils free for
oreathing; and, by a small motion of his hand, may prevent turning, if he
should perceive any tendency to it.
"In fresh water, if a man throw himself on his back, near the surface, lie
cannot long continue in that situation but by proper action of his hands on
the water; if he use no such action, the legs and lower part of the body will
gradually sink till he come into an upright position, in which he will con-
tinue suspended, the hollow of his breast keeping the lead uppermost.
"But if, in this erect position, the head be kept upright above the shoul-
ders, as when we stand on the ground, the immersion will, by the weight of
that part of the head that is out of the water, reach above the mouth and
nostrils, perhaps a little above the eyes, so that a man cannot long remain
suspended in water, with his head in that position.
"The body continuing suspended as before, and upright, if the head be
leaned quite back, so that the face look upward, all the back part of the
head being under water, and its weight, consequently, in a great measure
supported by it, the face will remain above water quite free for breathing,
will rise an inch higher every inspiration, and sink as much every expira-
tion, but never so low as that the water may come over the mouth.
"If, therefore, a person unacquainted with swimming, and falling acci-
dentally into the water, could have presence of mind sufficient to avoid strug-
gling and plunging, and to let the body take this natural position, he might
continue long safe from drowning, till, perhaps, help should come; for, as to
the clothes, their additional weight when immersed is very inconsiderable,
the water supporting it; though, when he comes out of the water, he would
find them very heavy indeed.
"But, as I said before, I would not advise you, or any one, to depend on
having this presence of mind on such an occasion, but learn fairly to swim,
as I wish all men were taught to do in their youth; they would, on many
ccasions, be the safer for having that skill; and, on many more, the hap-
vier, as free from painful apprehensions of danger, to say nothing of the en-
joyment in so delightful and wholesome an exercise. Soldiers particularly
should, methinks, all be taught to swim; it might be of frequent use, either
in surprising an enemy or saving themselves; and if I had now boys to ed-
ncate, I should prefer those schools (other things being equal) where an op-
portunity was afforded for acquiring so advantageous an art, which, once
learned, is never forgotten.
"I know by experience, that it is a great comfort to a swimmer, who has
a considerable distance to go, to turn himself sometimes on his back, and
to vary, in other respects, the means of procuring a progressive motion
"When he is seized with the cramp in the leg, the method of driving i.
H

80
SWIMMING,
away is, to give the parts affected a sudden, vigorous, and violent shock
which he may do in the air as he swims on his back.
"During the great heats in summer there is no danger in bathing, how-
ever warm we may be, in rivers which have been thoroughly warmed by
the sun. But to throw one's self into cold spring water, when the body has
been heated by exercise in the sun, is an imprudence which may prove fatal.
I once knew an instance of four young men, who, having worked at harvest
in the heat of the day, with a view of refreshing themselves, plunged into a
spring of cold water; two died upon the spot, a third next morning, and the
fourth recovered with great difficulty. A copious draught of cold water.
in similar circumstances, is frequently attended with the same effect, in
North America.
"The exercise of swimming is one of the most healthy and agreeable in
the world. After having swam for an hour or two in the evening, one sleeps
coolly the whole night, even during the most ardent heats of summer. Per-
haps the pores being cleansed, the insensible perspiration increases and
occasions this coolness. It is certain that much swimming is the means of
stopping a diarrhoea, and even of producing a constipation. With respect
to those who do not know how to swim, or who are affected with a diarrhea
at a season which does not permit them to use that exercise, a warm bath, by
cleansing and purifying the skin, is found very salutary, and often effects a
radical cure. I speak from my own experience, frequently repeated, and
that of others to whom I have recommended this.
"When I was a boy, I amused myself one day with flying a paper kite,
and approaching the banks of a lake, which was near a mile broad, I tied
the string to a stake, and the kite ascended to a very considerable height
above the pond, while I was swimming. In a little time, being desirous of
amusing myself with my kite, and enjoying at the same time the pleasure of
swimming, I returned, and loosing from the stake the string with the little
stick which was fastened to it, went again into the water, where I found that,
lying on my back, and holding the stick in my hand, I was drawn along the
surface of the water in a very agreeable manner. Having then engaged
another boy to carry my clothes round the pond, to a place which I pointed
out to him, on the other side, I began to cross the pond with my kite, which
carried me quite over without the least fatigue, and with the greatest plea
sure imaginable. I was only obliged occasionally to halt a little in my
course, and resist its progress, when it appeared that, by following too quick,
I lowered the kite too much; by doing which occasionally I made it rise
again. I have never since that time practised this singular mode of swim-
ning, though I think it not impossible to cross, in this manner, from Dover
o Calais. The packet-boat, however, is still preferable."

SWIMMING.
81
PRACTICAL INSTRUCTIONS.
WE will now suppose one of our young friends by the side of a stream,
and anxious to take his first lesson in the art of swimming. If he have any
friend or companion with him, who is at once competent and willing to give
him the necessary directions, he will do well to follow them; as example in
this, and similar cases, is much better than precept. But if he should not
be so fortunate, he can either adopt the excellent method mentioned by
Doctor Franklin, as stated in a preceding page, or follow the instructions
which we are about to give him on the subject.
ENTERING THE WATER.
Our young pupil must not, at first, venture into the water in the bold
and dashing manner of experienced swimmers. He must wait patiently
until he can do so without danger. Let him remember that there has been
a time when the best swimmer alive, tottered, step by step, into the water,
and sounded the depth with one foot before he lifted the other from the bot-
tom of the stream. Leander himself, with whose history and fate our juve-
nile readers who are tolerably advanced in the classics are, doubtless, ac
quainted,-Leander himself, we repeat, who so often swam across the
Hellespont, once paddled in a pond; and those who, under our directions,
make their first attempt to buoy themselves up by their own natural powers,
in a shallow brook, may, hereafter, become lusty swimmers enough to per-
form the same feat of which Lord Byron was so proud, namely, crossing the
Hellespont, as Leander did in the days of " hoar antiquity." We recon-
mend our young friend to be patient, as well as persevering, during his
probation in the art of swimming. He must not feel disgusted and disheart-
ened, because he seems to make comparatively but little progress : let hu

82
SWIMMING.
remember that he is gradually acquiring a new and most important power
he is, by degrees, obtaining a mastery over the waters. It was well ob
served by a writer of great discernment, that nothing which is worth learn-
ing is compassed without some difficulty and application; that it is well
worth some pains and trouble to render one's self fearless of falling into a
river, in which two out of three of our fellow-countrymen would, in a similar
situation, without assistance, be drowned, must be admitted ;-let not that
trouble, therefore, be grudged.
Previously to entering the water, the head and neck should be well
wetted; the pupil should then advance, by a clear shelving bank, in some
stream, the depth of which he has ascertained by plumbing or otherwise,
until he is breast high; then let him face about toward the bank, and
prepare to make his first essay in this art, as directed in the next paragraph.
STRIKING OUT.
With his face turned toward the bank, as above directed, let the pupil
lie down gently on his breast, keep his head and neck upright, his breast
advanced, and his
back bent inward
Then, let him with
draw his legs from
the bottom, and im-
mediately strike them
out, not downward,
but behind him; strike
out the arms forward,
with the palms closed,
and the backs upper-
most, a little below
the surface of the
water; draw them back again, while he is gathering up his legs for a
second attempt, and thus push forward, making use of his hands and feet
alternately. It will, perhaps, happen, that he will swallow water in his
first efforts, but this should not discourage him: neither should he fancy that,
because he makes but little advances, he is not as capable of learning to swim
as others; the same little mishaps occur to all young beginners.
CORKS AND BLADDERS.
The use of corks and bladders, for those who are learning to swim, is as
strongly recommended by some persons, as it is deprecated by others.
That the necessary action with the arms and legs may be acquired more
easily with thar without them, is clear enough; nevertheless, we are con

SWIMMING.
83
vinced by experience, that it is better to learn how to keep one's self afloat
and to be able to swim ten or a dozen yards, at least, no matter how
clumsily, without them. We have seen several young persons who, after
naving attained the necessary action, in a very superior manner, by the
use of corks or bladders, were totally unable to keep their heads above
the water when they relinquished their aid, and were thus left precisely in
the same situation in which they would have been, had they not made a
single attempt in the art of swimming. We have, it is true, known some
trifling exceptions, but they have been rare indeed. Corks and bladders, we
think, may be useful, but they should not be commenced with. After the
learner has made some progress, and is able to cross a narrow stream,
corks and bladders may be occasionally adopted, for a short time, in order
that the pupil, by means of their support, may, at his ease, perfect himself
in the action necessary for superior swimming, especially with the arms
and hands. The action of the legs may be much better acquired by
means of the plank, as hereafter directed. The best swimmers we have
ever met never made use of corks for this purpose, but still they may be
considered of advan-
tage in the manner
we have stated. If
therefore, our reader
should think fit to use
corks or bladders, let
him attend to the fol-
lowing hints.
Swimming corks
are made thus: three
or four round slices
of cork, mcreasing
progressively in circumference, are run, by a hole made in their centres, on
each end of a piece of stout rope, which is long enough to reach across
the breast, and beyond the arm-pits; the same number of corks is placed
at each side of the rope, and they are kept from slipping off by knots at
the two extremities. When bladders are used, they are blown full of
air, tied at the necks, and fastened by strings to the ends of the rope, in-
stead of corks.
The manner of using corks or bladders is as follows:-the pupil places
his breast across the rope between the corks or bladders as they float; he
raises his legs from the ground, and rests his whole weight on the rope, so
that the corks or bladders swin between his arms and his sides. In this
position he strikes out, and propels himself forward with his legs and feet.
The action of the hands and arms supports a swimmer only, so that he

34
SWIMMING
would advance almost as much when using corks if he kept them stil as it
he moved them; nevertheless, their action may be perfected, while the body
is supported by the corks, and the young swimmer may acquire that grace
ful, steady, and powerful manner of striking out, which he may, subsequent-
ly, by degrees, bring into practice, when he has thrown the corks aside
The writer of these pages has buffeted the billows at a mile or two from
land, where the waters have been moved by, what an angler calls, a curling
breeze, with a pleasure which those, and those alone, who have revelled in
the strong bosom of the sea, can imagine; and what is more difficult, he has
swam the still torpid deeps of an inland lake, in a dead calm; and although,
perhaps, not an excellent, has been a very tolerable, swimmer in his time,
and this is the manner which he has always followed, and which he recom-
mends his young friends to adopt, of striking out with the arms. The fingers
are to be closed, and the thumbs kept close to the hand, which should be
straightened, or rather, a little hollowed in the palm; the hands are then
to be brought together, the two thumbs touching, or palm to palm, it is
little matter which, and raised just under the chin; they are then to be struck
vigorously forward, and when the arms are at their full stretch, parted, and
carried slowly and regularly, a little below the surface of the water, at the
full stretch of the arms, backward, as far as convenience will permit; they
should then sink toward the hips; by a slight pressure on the water, as they
descend, the body will be raised, the head may be thrown back, and the
breath drawn in for the next stroke. When the hands are at, or near, the
hips, they should be raised, with the thumbs or edges, but by no means the
backs, upward, to the first position; while doing this, the legs are to be
drawn up as near the body as possible, and the soles of the feet struck out
against the water with reasonable force, at the same moment the hands are
thrust forward again. This is, in fact, the whole principle of swimming:-
the arms are first thrust forward, and the body propelled by the force of the
soles of the feet, striking against the water; the air in the lungs is expired
or breathed forth during this action; the hands are then stretched out and
carried round so as to lift the body (which wants no support during the time
it is propelled by the legs, and the lungs are nearly full of air,) while the
legs are drawn up, and the lungs filled with air for a second effort. These
very simple motions will seem difficult and complicated to the young swim-
mer at first, but by degrees he will learn to perform them with facility.
Above all things, let him endeavour to do them deliberately and without
being flurried. It is a fact, that a swimmer, who is apparently slow in his
action, makes more progress by half than one who is quick. The former is
deliberate and vigorous; the latter hurried, less effectual, and soon becomes
fatigued. A tyro in the art will make ten efforts during the time occupied
by an adept in performing one, and at the same time will scarcely make
one half the progress.

SWIMMING.
85
We seriously recommend our young readers never to venture out of their
depths with corks, if they cannot swim without them. We once knew a
very promising youth who was nearly drowned, when in deep water, by the
corks slipping from his breast to below his waist, so that his loins, and, at
last, his legs, were above water, while his head was beneath; he was ex-
tricated from this perilous situation by a youth of his own age, who had be-
gun to learn the art of swimming, but without corks, on precisely the same
day as the lad who was thus in danger of being drowned. It would be well,
if a string were tied by its middle to each end of the rope, close to the largest
cork, and one end of it brought over the shoulder at the back, the other in
front, and fastened securely together; this would, at least, prevent the corks
from getting out of their proper places.
THE PLANK.
The plank is useful in a bath, to perfect the young swimmer in the
Lanner of properly throwing out his legs and feet.
A piece of plank, about
ten or twelve feet in
length, two inches thick,
and a foot and a half,
or two feet broad, is
the best size. It is to
be thrown into the wa-
ter, and the pupil, after
he has acquired the art
of supporting himself
for a short time, with-
out any artificial aids,
should take hold of one
of its ends with both hands; his body will thus be supported, and he should
strike out with his legs in the manner before directed, and endeavour to
drive the plank before him, taking care to hold fast and follow it closely,
otherwise he may suffer rather an unpleasant feeling by the plank darting
forward, and leaving him to sink, unexpectedly, over head and ears in the
water. Of the utility of the plank for the purpose above mentioned, we
have frequently been witness, and can, therefore, most confidently recom-
mend it to those of our young readers who have an inclination to learn the
art of swimming by occasional or preliminary artificial aids.
THE ROPE, AND OTHER AIDS.
The rope for swimmers is usually fastened to the end of a stout piece of
wood, which is fixed into a wall or elsewhere, so as to project over the
water; the rope descends to its surface, or it may be long enough for a
oot or sixteen inches of its extremity to sink. The use of the rope's to

86
SWIMMING.
support the learter while practising the action with the legs; but it is very
inferior for this purpose to the plank; as, while the pupil keeps himself
up, by holding the rope, his body remains in too perpendicular a position,
so that he strikes downward rather than backward. The papil should ac-
custom himself, as much as possible, to keep his legs near the surface;
for those who swim with the lower extremities deep in the water never
make such rapid way as others who adopt the proper position, which should
be within a few degrees of horizontal. The plank has another advantage
over the rope; it is more steady in the water, and offers sufficient resistance
to induce, and even to assist, the young beginner, as a point d'appui, to
strike out vigorously with his legs. The rope is, in fact, of more utility
to those who go into the water to bathe, than those who are learning o
swim; for by means of the support which it affords, the bather may raise
சாமம்
his legs from the bottom,
and exercise himself most
beneficially by tossing,
stretching, and turning to
and fro in the water; he
may thus luxuriate in a
manner which would be en-
tirely out of his power with-
out the aid of the rope.
The aid of the hand is
chiefly applied to very
young learners, who have
the advantage of bathing
with a grown-up swimmer.
It is by far superior as an
aid, to corks or bladders;
because it can be with
drawn gradually, and ar
last, altogether, so that the
learner may feel almost insensible of its departure, and restored in an instant,
if exertion renders him too weak to support himself. A tall, strong youth
or a grown-up person, takes the little learner in his arms, and goes into the
water breast-high with him; he then places the pupil nearly flat
water, supporting him by one hand under the breast, and encouraging and
upon
airecting him to strike out boldly, and, at the same time, correctly. After
two or three lessons, on different days, the support of the hand may occa
sionally be, in some degree, withdrawn; and, in the course of a week or ten
days, the little swimmer will, in all probability, have no further need of its
service. Oh! what a happy, triumphant moment is that, when a boy first
Boats upon the water, independent of all other aids but those which Nat
the

SWIMMING.
87
nas provided in his own person. He soon becomes exha isted but, from
that time, he feels a confidence in himself, and his progress is generally
inost rapid.
The aid of the rope and hand we do not so much approve as that of the
hand alone. A rope is fastened about the learner's body, a grown person
holds the other end of it, and supports the pupil while he acquires the mode
of striking out. The aid, in this case, cannot be applied with such precision
to the proper part, nor afforded and withdrawn with such nicety as where
the hand alone is used.
SWIMMING OUT OF DEPTH.
We will now suppose our pupil to have made some progress in swimming,
and to feel anxious to go into deep water. If he feel quite conscious of his
own powers, he may venture a few strokes out of his depth, across a streain,
for instance, which is overhead only for a few feet in the centre, with shelv-
ing banks on each side. Young swimmers sometimes feel alarmed when
they are aware that they have ventured where they can no longer put their
legs on the ground; this
feeling flurries them, they
strike quick, their hurry
increases, trepidation en-
sues, and they have great
difficulty in returning to the
shore. We earnestly cau-
tion our pupil against giv-
ing way to anything of this
sort. Before he ventures
out of his depth, let him calculate his own powers, and attempt such a dis-
tance only as is in proportion with them. Is he able to swim half-a-dozen
yards without dropping his feet to the ground? If so, he may confidently
cross a deep place which is only half that breadth. Let him not imagine
that he is not quite as capable of swimming in deep as in shallow water;
the contrary is the fact, for the deeper the water, the better he can swim.
Above all things, let him not hurry himself, but strike slowly and evenly,
and keep good time with the motions of his arms, his legs, and his lungs.
Boys frequently fall into an error, which is invariably attended with un-
pleasant consequences, when first attempting to swim, as well as when they
begin to venture out of depth, by losing their presence of mind, and breath-
ing at the wrong time. They draw breath at the moment when they are
striking out with their legs, instead of at the time their body is elevated by
the hands, when at the full stretch of the arm backward, or in descending
toward the hips. During this action of the legs, the head partially sinks,
the face is driven against the water, and the mouth thus becomes filled

63
SWIMMING.
wl ich creates a very unpleasant nausea and momentary suffocation. When
the hands are in the position above mentioned, the progress of the body for-
ward ceases, the face is no longer driven against the water, but is elevated
above the surface; then is the time to draw in the breath, which should be
expired while the body at the next stroke is sent forward by the action of the
egs. During this time, if your mouth be even with or partly under the sur-
face, no water can enter it, the air which you are driving between your lips
effectually preventing it. "Keep time," is one of the swimmer's golden
rules. Unless the pupil pay attention to it, he will make but little progress,
and must inevitably, now and then, take in a mouthful of the stream in which
he is swimming. To those who have never swam " in the silver flood," a
circumstance of this sort will be thought very lightly of indeed; but we
speak the general feelings of swimmers, when we say, that the same person
who would relish a draught from a stream, when sitting dressed upon its
bank, would feel the greatest disgust at taking a mouthful of the same
water, when swimming in it.
After the pupil has ventured out of his depth, and feels satisfied with
the success of his attempt, he grows emboldened, and increases his dis-
tances daily.
TO TREAD WATER.
All that is necessary for treading water, is to let your legs drop in the
water until you are upright; then keep yourself afloat in that position by
treading downward with your feet, alternately; and, if necessary, paddling
with your palms at your hips.
TO SWIM ON THE SIDE.
Lower your left side, and at the same time elevate your right; strike
forward with your left hand, and sideway with your right; the back of the
latter being in front instead of upward, the thumb side of the hand down-
ward, so as to serve precisely as an oar. You will thus, by giving your
hody an additional impetus, advance much more speedily than in the com-
mon way; it will also relieve you considerably when you feel tired of
striking out forward. You may also turn on the right side, strike out
with the right hand, and use the left as an oar. In either case, the action
of the legs is the same as usual.
TO SWIM LIKE A DOG.
Strike with each hand and foot alternately; that is, begin with the right
hand and foot, draw the hand toward the chin, and the foot toward the body
at the same time; and then simultaneously kick backward with the foot
and strike out in a right line with the hand; then do the like with the left
and and foot, and so on. The hands are not to be carried backward as in
the ordinary way of swimming, but merely thrust out with the palms down-

SWIMMING.
89
ward, a little way below the surface, in front only; as they are brought back
to tie breast again, they should be rather hollowed, and the water grasped
or pulled toward the swimmer. Much progress cannot be made by swim-
ming in this manner, but still it is worth learning, as every change of method,
in going a distance, recruits the swimmer's strength
THE PORPOISE.
This is a very pleasant and most advantageous change of action. The
ight arm is lifted entirely out of the water, the shoulder thrust forward,
and the swimmer, while striking out with his legs, reaches forward with
his hand, as far as possible. At the utmost stretch of the arm the hand
falls, a little hollowed, into the water, which it grasps or pulls toward the
swimmer in its return to the body, in a transverse direction, toward the
other armpit. While it is passing through the water in this manner, the
legs are drawn up for another effort, and the left arm and shoulder elevated
and thrust forward as above directed for the right. This is the greatest
advancing relief in swimming, except swimming on the back; floating on
the back rests the whole of the body as well as the limbs, but while float-
ing, no progress is made; whereas, during the time a person swims in the
manner above directed, he will not only relieve himself considerably, but
also make as great an advance in the water, as if he were proceeding in
the ordinary way.
TO SWIM AND FLOAT ON THE BACK.
To do this, you must turn yourself on your back as gently as possible,
elevate your breast above the surface, put your head back, so that your
eyes, nose, mouth and chin only
are above water. By keeping
in this position with the legs
and arms extended, and pad-
dling the hands gently by the
side of the hips, you will float.
If you wish to swim, you must
strike out with the legs, taking
care not to lift your knees too
high, nor sink your hips and sides too low; but keeping in as straight a line
as possible. You may lay the arms across the breast; keep them motionless
at the sides; or, if you wish, strike out with them to help you on.
To swun with your feet forward, while on your back, lift up your legs one
after another, let them fall into the water, and draw them back with all the
force you can, toward your hams; thus you will swim feet forward, and re-
urn to the place whence you came.

90
SWIMMING.
To turn from your breast to your back, raise your legs forward, and throw
your head backward, until your body is in a right position: to change from
the back to the breast, drop your legs, and throw your body forward on
vour breast.
TO TURN WHEN SWIMMING.
If you wish to turn while on your back, keep one leg still, and embrace
the water beside you with the other; thus, you will find yourself turn fo
that side on which your leg by its motion embraces the water, and you will
turn either to the right or left, according to which leg you use in this manner.
To turn while swimming in the ordinary way requires no further effort
than to incline your head and body to the side you would turn to; and, at
the same time, move and turn your legs, in the same manner as you would
do, to turn the same way on land.
TO SHOW THE FEET.
While on your back, bend the small of it downward; support yourself
by moving your hands to and fro just above your breast, and stretch your
feet above the water.
TO BEAT THE WATER, &c.
When swimming on your back, lift your legs out of the water one
after another, and strike the water with them alternately. Those who are
most expert at this, bring their chins toward their breasts at each stroke
of the legs.
There is a variety of similar feats performed by expert swimmers, such
as treading water with both hands raised over the head; floating on the
back with the arms above the surface; taking the left leg in the right hand,
out of the water, when swimming on the back; pulling the right heel
by the right hand, toward the back, when swimming in the common way;
throwing somersets in the water, backward and forward, &c. &c., foi
which no particular directions are necessary, as the pupil, when he has
grown expert in the various modes of swimming which we have described,
will be able to do these things, and any tricks which his fancy may suggest,
without difficulty.
DIVING.
Diving, by practice, may be carried to astonishing perfection. Pearls are
brought up from the bottom of the sea by divers who are trained to remain a
considerable time under water. In ancient times, divers were employed in
war to destroy the ships of the enemy; and many instances are related, by
respectable authors, of men diving after, and fetching up nails and pine o

SWIMMING.
91
money drown into the sea, and even overtaking the nail or coin before it
has reached the bottom.
Diving may be performed from the surface of the water when swim
ining, by merely turning the head downward, and striking upward with
the legs. It is, howev-
er, much better to leap
in, with the hands closed
above the head, and
head foremost, from a
pier, boat or raised
bank. By merely strik-
ing with the feet, and
keeping his head toward
the bottom, the diver
may drive himself a con-
siderable distance be-
neath the surface. If
he reach the bottom, he has only to turn his head upward, spring from the
ground with his feet, and he will soon arrive at the surface. If desirous of
making a more rapid ascent, he should strike downward with his feet, pull-
ing the water above him toward his head with one hand, and striking it
downward by his side with the other. In diving, the eyes should be open;
you must, therefore, take care that you do not close them, as they reach the
surface, when you commence your descent. It is almost needless to add,
that the breathi should be held, the whole time that you are ander water.
SWIMMING UNDER WATER.
Swimming between top and bottom may be accomplished by the ordinary
stroke, if you take care to keep your head a little downward, and strike a
little higher with your feet than when swimming on the surface; or, you
may turn your thumbs downward, and perform the stroke with the hands
in that position, instead of keeping them flat.
THE CRAMP.
Our practical directions in the art of swimming would be incomplete
were we to omit saying a few words as to the cramp. Those who are at
all liable to it, ought, perhaps, to abandon all idea of swimming; men of the
greatest skill, as swimmers, and of presence of mind in danger, having fal-
len victims to this, which has been well enough called, "the bathers' bane."
The cramp may, however, seize a person for the first time in his life, when
at a distance from land; we have frequently known this to occur; and in
every case that has come within our personal knowledge, with one excep

92
SWIMMING.
tion, the sufferer has saved himself by acting as we are about to advise om
young reader, if ever he should be seized with this terrible contraction
Be assured that there is no danger, if you are only a tolerable swimmer
and do not flurry yourself The moment you feel the cramp in your leg
or foot, strike out the limb with all your strength, thrusting the heel out, and
drawing the toes upward as forcibly as possible, totally regardless of the mo-
mentary pain it may occasion. If two or three efforts of this nature do not
succeed, throw yourself on your back, and endeavour to keep yourself afloat
with your hands until assistance reach you; or, if there be no hope of that,
try to paddle ashore with your palms. Should you be unable to float on
your back, put yourself in the position directed for treading water, anem
may keep your head above the surface by merely striking the water dow"-
ward with your hands at your hips, without any assistance from your legs.
In case you have the cramp in both legs, you may also endeavour to make
some progress in this manner, should no help be at hand. If you have one
leg only attacked, you may drive yourself forward with the other. In
order to endow you with confidence in a moment of danger from an attack
of the cramp, occasionally try to swim with one leg, or a leg and a hand, or
the two hands only, and you will find that it is by no means difficult.
We feel rather astonished that none of the treatises on swimming,
which have fallen into our hands, recommend the practice of boys attempt-
ing to carry one another
in the water; when both
can swim, this is an excel-
lent and safe method of
learning how to support
another who is in danger
on account of cramp
weakness, ignorance of
swimming, or other caus-
es. In the annexed
sketch, the foremost fig-
ure is in the act of swim-
ming, and carrying with
him another person, who
is borne up, simply by
applying one hand to
each hip of his compan
ion. A person, it is said, had the pleasure of saving a friend from drown-
ing, by these means: it is attended, however, with considerable risk, espr
cially if the person you venture to rescue should lose his presence of min
which is too often the case with those who are in danger of being drowned
It will surprise any swimmer, who first tries the experiment, to find with

SWIMMING.
9.
what ease he can support a person attached to him in this manner. The
person, who rests upon the hips of his companion, is represented as passive,
as he is supposed to be unable to swim; but two swimmers, performing this
experiment, may strike out together with their legs.
TIMES AND PLACES FOR SWIMMING.
Of all places to swim in, the sea is best, running waters next, and pon is
the worst. The best time for swimming is in the months of May, June, July.
and August. There are, however, some years, wherein it is not healthy to
go into the water during these months; as when the weather, and conse-
quently the water, is colder than ordinary for the season. One ought not to
go into the water when it rains; for the rain, if it last any time, chills the
water, and endangers catching cold, by wetting one's clothes. The night
is also improper for this exercise. Beware of weeds, as although you have
company with you, yet, you may be lost beyond the possibility of help, if
your feet get entangled among them. The bottom ought to be of gravel, or
smooth stones, so that you may stand thereon as firmly as on the earth, and
be neither in danger of sinking in the mud, nor wounding the feet: care
ought also to be taken that it be even, and without holes; and, above all,
that you know the depth, especially when you begin to learn; for as it is
then easy to tire one's self when struggling and making the first efforts, you
should, therefore, be sure that the bottom is not out of your depth, when you
have occasion to rest, and take breath. It is impossible to be too cautious
when you are alone, or have no one in company that knows the pond or
stream. When you have found out a place fit to learn in, do not venture any-
where else till you are considerably advanced in the art; and, till then,
it will be the best way to exercise with some one who is already expert in
swimming.
CONCLUDING REMARKS.
In entering the water, the head should be wetted first, either by plunging
in head foremost, or pouring water on it. Before you adopt the first method,
ascertain if the water be sufficient deep to allow you to dive without
touching the bottom, otherwise you may injure yourself against it. Do not
remain in the water too long, but come out as soon as you feel tired, chilly
or numbed. It is a good plan to make a plunge, so as to wet the body all
over, to return to shore immediately, and an instant afterward enter the
water at your ease, and take your lesson or your swim. You do not feel o
chilly if you do this, as if you dash in and swim off at once. Never be alarm-
ed at having a few mouthfuls of water, when learning to swim; be not dis-
couraged at difficulties, but bear in mind, that millions have done what you
are attempting to do. Beware of banks which have holes in them, and ven
ture out of your depth only by degrees.

94
SWIMMING.
If one of your companions be in danger of drowning, be sure that, in en
deavouring to save him, you make your approaches in such a manner, as
will prevent him from grappling with you; if he once get a hold of
imbs, you both will almost inevitably be lost.
your
Although it has been said, that the weight of one's clothes will make but
little difference in the water, yet we strongly advise the young swimmer,
when he has become expert in the art, and confident of his own prowess, to
swim occasionally with his clothes on; for this purpose, of course he need
only use an old worn-out suit: by so doing, he will be satisfied that dress does
not make so much difference as he night imagine, and thus he will have
more courage and presence of mind if he should at any time afterward fall
into the water, or leap in to save another.
This is the purest exercise of health,
The kind refresher of the summer heats."
THOMSON

[
Scientific
Recreations.


ARITHMETICAL AMUSEMENTS
Cocker and Dilworth, Walsingame and Vyse,
In their own sphere, by BIDDER were outshone:
They, or with pen or pencil, problems solved,-
He, with no aid but wond'rous memory;
They, when of years mature, acquired their fame,-
He, lisped in numbers, for the numbers came."
..
THE delightful and valuable science of Arithmetic first arrived at any
degree of perfection in Europe, among the Greeks, who made use of he
letters of the alphabet to express their numbers. A similar mode was
followed by the Romans, who, besides characters for each rank of classes,
introduced others for five, fifty, and five hundred, which are still used for
chapters of books, and some other purposes. The common arithmetic, in
which the ten Arabic figures, 1, 2, 3, 4, 5, 6, 7, 8, 9, 0, are used, was un-
known to the Greeks and Romans, and came into Europe, by way of Spain,
from the Arabians, who are said to have received it from the Indians
It is supposed to have taken its origin from the ten fingers of the hand,
which were made use of in computations, before arithmetic was brought
into an art.
The Indians are very expert at computing without pen or ink; and the

16
ARITHMETICAL AMUSEMENTS.
natives of Peru, in South America, who do all by the arrangement of graina
of maize, excel the European, with the aid of all his rules and implements
for writing. But the dexterity of those people cannot for a moment be com-
pared with the feats of mental arithmetic exhibited by GEORGE Bidder,
the youth, whose portrait stands at the head of this article. This astonish-
ing boy, at a very early age, and without education, was capable of solving
very intricate questions in arithmetic, without the use of pen, pencil, or
writing implements of any sort, but entirely in his own mind, as correctly
and quickly as the most expert person could in the common way. We
have, personally, witnessed his ability in this respect, and among many other
complicated questions, which were put to him, we recollect the following:-
Supposing the sun to be 95 millions of miles from the earth, and that it were
possible for an insect, whose pace should be 7½ inches per minute, to travel
that pace
how long would it take to reach the sun? This he mentally solved
in a very short time.
Several other mental arithmeticians have appeared within these few
years; among the rest, JEDIDIAH BUXTON, an illiterate peasant, who
was never taught to read or write, appears to have been eminent. Several
of the questions answered by this man have been recorded; among others,
we recollect the following:-How many times will a coach-wheel, whose
circumference is 6 yards, turn in going 204 miles? In thirteen minutes,
BUXTON answered,-59,840 times. Then he was asked:-And, supposing
sound travels at the rate of 1142 feet per second, how long will it be before
the report of a cannon is heard 5 miles off? His answer was,-23 seconds,
7 thirds, and 46 remain. On being required to multiply 456 by 378, he gave
the product in a very short time; and, when requested to work the question
audibly, so that his method might be known, he multiplied 456 first by 5,
which produced 2280; this he again multiplied by 20, and found the product
45,600, which was the multiplicand multiplied by 100; this product he again
multipled by 3, which produced 136,800, the product of the multiplicand
by 300; it remained, therefore, to multiply this by 78, which he effected
by multiplying 2280, (or the product of the multiplicand multiplied by 5,)
by 15, as 5 times 15 are 75. This product, being 34,200, he added to
136,800, which was the multiplicand "multiplied by 300, and this produced
171,000 which was 375 times 456. To complete his operation, therefore, be
multiplied 456 by 3, which produced 1368, and having added this number to
171,000, he found the product of 456 multiplied by 378, to be 172,368. By
this it appears, that he was so little acquainted with the common rules, as to
multiply 456 first by 5, and the product by 20, to find what sum it would
produce, multiplied by 100; whereas, had he added two ciphers to the
figures, he would have obtained the product at once.

ARITHMETICAL AMUSEMENTS
97
TO TELL ANY NUMBER THOUGHT
Desire any person to think of a number, say a cert. number of
shillings; tell him to borrow that sum of some one in the company, and
add the number borrowed to the amount thought of. It will here be pro-
per to name the person who lends him the shillings, and to beg the one,
who makes the calculation, to do it with great care, as he may readily fall
into an error, especially the first time. Then, say to the person,- I do
not lend you, but give you 10, add them to the former sum.' Continue
in this manner :- Give the half to the poor, and retain in your memory
the other half.' Then add :- Return to the gentleman, or lady, what
you borrowed, and remember that the sum lent you, was exactly equal
to the number thought of. Ask the person if he knows exactly what
remains; he will answer 'Yes.' You must then say,- And I know also
the number that remains; it is equal to what I am going to conceal in my
hand.' Put into one of your hands 5 pieces of money, and desire the
person to tell how many you have got He will answer 5; upon which,
open your hand, and show him the 5 pieces. You may then say, I well
knew that your result was 5; but if you had thought of a very large
number, for example, two or three millions, the result would have been
much greater, but my hand would not have held a number of pieces equal
to the remainder.' The person then supposing that the result of the cal-
culation must be different, according to the difference of the number thought.
of, will imagine that it is necessary to know the last number in order to guess
the result: but this idea is false; for, in the case which we have here sup-
posed, whatever be the number thought of, the remainder must always be 5.
The reason of this is as follows:-The sum, the half of which is given to
the poor, is nothing else than twice the number thought of, plus 10; and
when the poor have received their part, there remains only the number
thought of, plus 5; but the number thought of is cut off when the sum bor-
rowed is returned, and, consequently, there remain only 5.
It may be hence seen, that the result may be easily known, since it
will be the half of the number given in the third part of the operation;
for example, whatever be the number thought of, the remainder will be
36, or 25 according as 72 or 50 have been given. If this trick be per-
formed several times successively, the number given in the third part of
the operation must be always different; for if the result were several times
the same, the deception might be discovered. When the five first parts of
the calculation for obtaining a result are finished, it will be best not to name
it at first, but to continue the operation, to render it more complex, by say-
ing, for example:- Double the remainder, deduct two, add three, take the
fourth part,' &c.; and the different steps of the calculation may be kept in

98
ARITHMETICAL AMUSEMENTS.
mind, in order to know how much the first result has been increased of
diminished. This irregular process never fails to confound those who at
empt to follow it.
A SECOND METHOD.
Bid the person take 1 from the number thought of, and then double the
remainder; desire him to take 1 from this double, and to add to it the nan-
ber thought of; in the last place, ask him the number arising from this ad-
dition, and, if you add 3 to it, the third of the sun will be the number
thought of. The application of this rule is so easy, that it is needless to
illustrate it by an example.
A THIRD METHOD.
Desire the person to add 1 to the triple of the number thought of, and
to multiply the sum by 3; then bid him add to this product the number
thought of, and the result will be a sum, from which if 3 be subtracted, the
remainder will be ten times of the number required; and if the cipher on
the right be cut off from the remainder, the other figure will indicate the
number sought.
Example: Let the number thought of be 6, the triple of which is 18;
and if 1 be added, it makes 19; the triple of this last number is 57, and if
6 be added, it makes 63, from which if 3 he subtracted, the remainder will
be 60: now, if the cipher on the right be cut off, the remaining figure, 6,
he the number required.
A FOURTH METHOD.
Bid the person multiply the number thought of by itself; then desire him
to add 1 to the number thought of, and to multiply it also by itself; in the
fast place, ask him to tell the difference of these two products, which will
certainly be an odd number, and the least half of it will be the number
required.
Let the number thought of, for example, be 10; which, multiplied by
itself, gives 100; in the next place, 10 increased by 1 is 11, which, multi-
plied by itself, makes 121; and the difference of these two squares is 21,
the least half of which, being 10, is the number thought of.
This operation might be varied by desiring the person to multiply the
second number by itself, after it has been diminished by 1. In this case,
the number thought of will be equal to the greater half of the difference of
the two squares.
Thus, in the preceding example, the square of the number thought of is
100, and that of the same number, less 1, is 81; the difference of these is
19: the greater half of which, or 10, is the number thought of.

ARITHMETICAL AMUSEMENTS
99
TO TELL TWO OR MORE NUMBERS THOUGHT OF.
If one or more of the numbers thought of be greater than 9, we must dis-
tinguish two cases; that in which the number of the numbers thought of is
odd, and that in which it is even.
In the first case, ask the sum of the first and second; of the second and
third; the third and fourth; and so on to the last; and then the sum of the
first and the last. Having written down all these sums in order, add to-
gether all those, the places of which are odd, as the first, the third, the fifth,
&c.; make another sum of all those, the places of which are even, as the
second, the fourth, the sixth, &c.; subtract this sum from the former, and
the remainder will be the double of the first number. Let us suppose, for
example, that the five following numbers are thought of, 3, 7, 13, 17, 20,
which when added two and two as above, give 10, 20, 30, 37, 23: the sum
of the first, third, and fifth is 63, and that of the second and fourth is 57; if
57 be subtracted from 63, the remainder, 6, will be the double of the first
number, 3. Now, if 3 be taken from 10, the first of the sums, the remainder,
7, will be the second number; and by proceeding in this manner, we may
find all the rest.
In the second case, that is to say, if the number of the numbers thought of
be even, you must ask and write down, as above, the sum of the first and the
second; that of the second and third; and so on, as before: but instead of
the sum of the first and the last, you must take that of the second and last;
then add together those which stand in the even places, and form them into
a new sum apart; add also those in the odd places, the first excepted, and
subtract this sum from the former, the remainder will be the double of the
second number; and if the second number, thus found, be subtracted from
the sum of the first and second, you will have the first number; if it be
taken from that of the second and third, it will give the third; and so of the
rest. Let the numbers thought of be, for example, 3, 7, 13, 17: the sums
formed as above are 10, 20, 30, 24; the sum of the second and fourth is 44,
from which if 30, the third, be subtracted, the remainder will be 14, the
double of 7, the second number. The first, therefore, is 3, the third 13, and
the fourth 17.
When each of the numbers thought of does not exceed 9, they may be
casily found in the following manner :-
Having made the person add 1 to the double of the first number thought
of, desire him to multiply the whole by 5, and to add to the product the
second number. If there be a third, make him double this first sum, and add
1 to it, after which, desire him to multiply the new sum by 5, and to add to
it the third number. If there be a fourth, proceed in the same manner,
desiring him to double the preceding sum; to add to it 1; to multiply by 5;
to add the fourth number; and so on.

100
ARITHMETICAL AMUSEMENTS.
Then, ask the number arising from the addition of the last number
thought of, and if there were two numbers, subtract 5 from it; if there
were three, 55; if there were four, 555; and so on; for the remainder
will be composed of figures, of which the first on the left will be the first
number thought of, the next the second, and so on.
Suppose the number thought of to be 3, 4, 6; by adding 1 to 6, the double
of the first, we shall have 7, which, being multiplied by 5, will give 35;
4, the second number thought of, be then added, we shall have 39, which
doubled, gives 78; and, if we add 1, and multiply 79, the sum, by 5, the
result will be 395. In the last place, if we add 6, the number thought of, the
sum will be 401; and if 55 be deducted from it, we shall have, for remain-
der, 346, the figures of which, 3, 4, 6, indicate in order the three numbers.
thought of.
THE MONEY GAME.
A person having in one hand a piece of gold, and in the other a piece of
silver, you may tell in which hand he has the gold, and in which the silver,
by the following method:-Some value, represented by an even number,
such as 8, must be assigned to the gold, and a value represented by an odd
number, such as 3, must be assigned to the silver; after which, desire the
person to multiply the number in the right hand by any even number what-
ever, such as 2; and that in the left by an odd number, as 3; then bid him
add together the two products, and if the whole sum be odd, the gold will be
in the right hand, and the silver in the left; if the sum be even, the contrary
will be the case.
To conceal the artifice better, it will be sufficient to ask whether the sum
of the two products can be halved without a remainder; for in that case the
total will be even, and in the contrary case odd.
It may be readily seen, that the pieces, instead of being in the two hands
of the same person, may be supposed to be in the hands of two persons,
one of whom has the even number, or piece of gold, and the other the odd
number, or piece of silver. The same operations may then be performed
in regard to these two persons, as are performed in regard to the two
hands of the same person, calling the one privately the right and the other
the left.
THE GAME OF THE RING.
This game is an application of one of the methods employed to tell several
numbers thought of, and ought to be performed in a company not exceeding
nine, in order that it may be less complex. Desire any one of the company
to take a ring, and put it on any joint of whatever finger he may think pro-
per. The question then is, to tell what person has the ring, and on what
hand what finger, and on what joint.

ARITHMETICAL AMUSEMENTS.
101
For this purpose, you must call the first person 1, the second 2, the
third 3, and so on. You must also denote the ten fingers of the two
hands, by the following numbers of the natural progression, 1, 2, 3, 4, 5
&c. beginning at the thumb of the right hand, and ending at that of the
left, that by this order of the number of the finger may, at the same time
indicate the hand. In the last place, the joints must be denoted by 1, 2
3, beginning at the points of the fingers.
To render the solution of this problem more explicit, let us suppose
that the fourth person in the company has the ring on the sixth finger,
that is to say, on the little finger of the left hand, and on the second joint
of that finger.
Desire some one to double the number expressing the person, which,
in this case, will give 8; bid him add 5 to this double, and multiply the
sum by 5, which will make 65; then tell him to add to this product the
number denoting the finger, that is to say, 6, by which means you will
have 71; and, in the last place, desire him to multiply the last number by
10, and to add to the product the number of the joint, 2; the last result
will be 712; if from this number you deduct 250, the remainder will be
462; the first figure of which, on the left, will denote the person; the
next, the finger, and consequently, the hand; and the last, the joint.
It must here be observed, that when the last result contains a cipher,
which would have happened in the present example, had the number of the
finger been 10, you must privately subtract from the figure preceding the
cipher, and assign the value of 10 to the cipher itself.
THE GAME OF THE BAG.
To let a person select several numbers out of a bag, and to tell him the
number which shall exactly divide the sum of those he has chosen :-Pro-
vide a small bag, divided into two parts into one of which put several
tickets, numbered 6, 9, 15, 36, 63, 120, 213, 309, &c. ; and in the other part
put as many other tickets, marked No. 3 only, Draw a handful of tickets
from the first part, and, after showing them to the company, put them into
the bag again, and, having opened it a second time, desire any one to take
out as many tickets as he thinks proper; when he has done that, you
open privately the other part of the bag, and tell him to take out of it one
ticket only. You may safely pronounce that the ticket shall contain the
number by which the amount of the other numbers is divisible; for, as eacn
of these numbers can be multiplied by 3, their sum total must, evidently,
be divisible by that number. An ingenious mind may easily diversify this
exercise, by marking the tickets in one part of the bag, with any numbers
that are divisible by 9 only, the properties of both 9 and 3 being the same;
and it should never be exhibited to the same company twice without being
varied
K

102
ARITHMETICAL AMUSEMENTS.
THE NUMBER NINE (See opposite page.)
1
9..9
2
18..1+8=9
3
27..2+7=9
4
36..3+6=9
5
45.4+3—9
6
54..54-9
7
63..63=9
8
72..7-2-9
9
81..8+1=9

ARITHMETICAL AMUSEMENTS.
103
THE NUMBER NINE. (See opposite page.)
The following discovery of remarkable properties of the number 9 waz
accidentally made, more than forty years since, though, we believe, it is not
generally known:-
The component figures of the product made by the multiplication of every
digit into the number 9, when added together, make NINE.
The order of these component figures is reversed, after the said number
has been multiplied by 5.
The component figures of the amount of the multipliers, (viz. 45) when
added together, make NINE.
The amount of the several products, or multiples of 9, (viz. 405) when
divided by 9, gives, for a quotient, 45; that is, 45-NINE.
The amount of the first product, (viz. 9) when added to the other product,
whose respective component figures make 9, is 81; which is the square
of NINE.
The said number 81, when added to the above-mentioned amount of the
several products, or multiples of 9 (viz. 405) makes 486; which, if divided
by 9, gives, for a quotient, 54: that is, 54-NINE.
It is also observable, that the number of changes that may be rung on
nine bells, is 362,880; which figures, added together, make 27; that is,
24-7 NINE.
And the quotient of 362,880, divided by 9, will be 40,320; that is
4+0+3+2+0=NINE.
To add a figure to any given number, which shall render it divisible by
Nine-Add the figures together in your mind, which compose the number
named; and the figure which must be added to the sum produced, in order
to render it divisible by 9, is the one required. Thus-
Suppose the given number to be 7521:-
Add those together, and 15 will be produced; now 15 requires 3 to ren-
der it divisible by 9; and that number, 3, being added to 7521, causes the
same divisibility:-
7521
3
9)7524(836
This exercise may be diversified by your specifying, before the sum 18
named, the particular place where the figure shall be inserted, to make
the number divisible by 9; for it is exactly the same thing, whether
the figure be put at the head of the number, or between any two of its
digits.

104
ARITHMETICAL AMUSEMENTS
THE CERTAIN GAME.
T'wo persons agree to take, alternately, numbers less than a given numm
ver, for example, 11, and to add them together till one of them has reached
a certain sum, such as 100. By what means can one of them infallibly
attain to that number before the other?
The whole artifice in this, consists in immediately making choice of the
numbers, 1, 12, 23, 34, and so on, or of a series which continually increases
by 11, up to 100. Let us suppose, that the first person, who knows the
game, makes choice of 1; it is evident that his adversary, as he must count
less than 11, can, at most, reach 11, by adding 10 to it. The first will tnen
take 1, which will make 12: and whatever number the second may add, the
first will certainly win, provided he continually add the number which forms
the complement of that of his adversary, to 11; that is to say, if the latter
take 8, he must take 3; if 9, he must take 2; and so on. By following
this method, he will infallibly attain to 89; and it will then be impossible
for the second to prevent him from getting first to 100; for whatever number
the second takes, he can attain only to 99; after which the first may say-
" and 1 makes 100." If the second take 1 after 89, it would make 90, and
his adversary would finish by saying-" and 10 make 100." Between two
persons who are equally acquainted with the game, he who begins must
necessarily win.
MAGICAL CENTURY.
If the number 11 be multiplied by any one of the nine digits, the two
figures of the product will always be alike, as appears in the following
example:-
11 11 11 11 11 11 11
1 2 3 4 5 6
11 11
7
8 9
11 22 33 44 55 66 77 88 99
Now, if another person and yourself have fifty counters apiece, and
agree never to stake more than ten at a time, you may tell him, that if he
permit you to stake first, you will always complete the even century
before him.
In order to succeed, you must first stake 1, and remembering the order of
the above series, constantly add to what he stakes as many as will make one
more than the numbers 11, 22, 33, &c. of which it is composed, till you
rome to 89; after which your opponent cannot possibly reach the even
century himself, or prevent you from reaching it.

ARITHMETICAL AMUSEMENTS.
105
If your opponent have no knowledge of numbers, you may stake any
other number first, under 10, provided you subsequently take care to secure
one of the last terms, 56, 67, 78, &c. ; or you may even let him stake first, if
you take care afterward to secure one of these numbers.
This exercise may be performed with other numbers; but, in order to
sacceed, you must divide the number to be attained, by a number which
is a unit greater than what you can stake each time; and the remainder
will then be the number you must first stake. Suppose, for example, the
number to be attained be 52, (making use of a pack of cards instead of
counters,) and that you are never to add more than 6; then, dividing 52
by 7, the remainder, which is 3, will be the number which you must first
stake; and whatever your opponent stakes, you must add as much to it
as will make it equal to 7, the number by which you divided, and so in
continuation.
THE CANCELLED FIGURE GUESSED.
To tell the figure a person has struck out of the sum of two given
numbers:-Arbitrarily command those numbers only, that are divisible
by 9; such, for instance, as 36, 63, 81, 117, 126, 162, 261, 360, 315,
and 432.
Then let a person choose any two of these numbers; and, after adding
them together in his mind, strike out from the sum any one of the figures
he pleases.
After he has so done, desire him to tell you the sum of the remaining
figures; and it follows, that the number which you are obliged to add to
this amount, in order to make it 9 or 18, is the one he struck out.
Thus:-
Suppose he chooses the numbers 162 and 261, making altogether 423,
and that he strike out the centre figure, the two other figures will, added
together, make 7, which, to make 9, requires 2, the number struck out
THE DICE GUESSED UNSEEN.
A pair of dice being thrown, to find the number of points on each die
without seeing them :-Tell the person, who cast the dice, to double the
number of points upon one of them, and add 5 to it; then, to multiply the
sum produced by 5, and to add to the product the number of points upon the
other die. This being done, desire him to tell you the amount, and, having
thrown out 25, the remainder will be a number consisting of two figures, the
first of which, to the left, is the number of points on the first die, and the
recond figure to the right, the number on the other. Thus :-
Suppose the number of points of the first die which comes up, to be 2,
aid that of the other 3; then, if to 4, the double of the points of the first

106
ARITHMETICAL AMUSEMENTS.
there be added 5, and the sun produced, 9, be multiplied by 5, the product
will be 45; to which, if 3, the number of points on the other die, be added,
48 will be produced, from which, if 25 be subtracted, 23 will remain; the
first figure of which is 2, the number of points on the first die, and the
second figure 3, the number on the other.
THE SOVEREIGN AND THE SAGE
A sovereign being desirous to confer a liberal reward on one of his
courtiers, who had performed some very important service, desired him
to ask whatever he thought proper, assuring him it should be granted. The
courtier, who was well acquainted with the science of numbers, only re-
quested that the monarch would give him a quantity of wheat equal to that
which would arise from one grain doubled sixty-three times successively
The value of the reward was immense; for it will be found, by calcu-
lation, that the sixty-fourth term of the double progression divided by
1:2:4: 8: 16: 32: &c., is 9223372036854775808. But the sum of
all the terms of a double progression, beginning with 1, may be
obtained by doubling the last term, and subtracting from it 1. The
number of the grains of wheat, therefore, in the present case, will be
18446744073709551615. Now, if a pint contain 9216 grains of wheat, a
gallon will contain 73728; and, as eight gallons make one bushel, if we
divide the above result by eight times 73728, we shall have 31274997411295
for the number of the bushels of wheat equal to the above number of grains :
a quantity greater than what the whole surface of the earth could produce
in several years, and which, in value, would exceed all the riches, perhaps,
on the globe.
THE HORSE-DEALER'S BARGAIN.
A gentleman, taking a fancy to a horse, which a horse-dealer wished to
dispose of at as high a price as he could; the latter, to induce the gentleman
to become a purchaser, offered to let him have the horse for the value of the
twenty-fourth nail in his shoes, reckoning one farthing for the first nail, two
for the second, four for the third, and so on to the twenty-fourth. The gen-
tleman, thinking he should have a good bargain, accepted the offer; the
price of the horse was, therefore, necessarily great.
By calculating as before, the twenty-fourth term of the progression,
1:2:4:8: &c., will be found to be 8388608, equal to the number of
farthings the purchaser gave for the horse; the price, therefore amounted
to £8738. 28. 8d.
THE DINNER PARTY.
A club of seven persons agreed to dine together every day successively
as long as they could sit down to table differently arranged. How many

ARITHMETICAL AMUSEMENTS.
107
dmners would be necessary for that purpose? It may be easily found, by
the rules already given, that the club must dine together 5040 times, before
they would exhaust all the arrangements possible, which would require
above thirteen years.
COMBINATIONS OF AN ANAGRAM.
If any word be proposed, for instance, AMOR, and it be required to
know how many different words could be formed of these four letters, which
will give all the possible anagrams of that word, we shall find by multiply-
ing together 1, 2, 3, and 4, that they are in number, 24, as represented in
the following table :-
AMOR
MORA
ORAM
RAMO
AMRO
MOAR
ORMA
RAOM
AOMR
MROA
OARM
RMAO
AORM
MRAO
OAMR
RMOA
ARMO
MAOR
OMRA
ROAM
AROM
MARO
OMAR
ROMA
THE BASKET AND THE STONES.
If a hundred stones be placed in a straight line, at the distance of a yard
from each other, the first being at the same distance from a basket, how
many yards must the person walk who engages to pick them up, one by one,
and put them into the basket? It is evident that, to pick up the first stone,
and put it into the basket, the person must walk two yards; for the second,
he must walk four; for the third, six; and so on, increasing by two, to the
hundredth.
The number of yards, therefore, which the person must walk, will be
equal to the sum of the progression, 2, 4, 6, &c. the last term of which is
200, (22.) But the sum of the progression is equal to 202, the sum of the
two extremes, multiplied by 50, or half the number of terms: that is to
say, 10,100 yards, which makes more than 5 miles.
THE ARITHMETICAL MOUSETRAP.
One of the best, and most simple mousetraps in use, may be con-
structed in the following manner :-Get a slip of smooth board, about the
eighth of an inch thick, a quarter of an inch broad, and of a sufficient
length to cut out the following parts of the trap. First, an upright piece,
three or four inches high, which must be square at the bottom., and a
small piece be cut off the top to fit the notch in No. 2, (see No. 1 in the
margin.) The second piece must be of the same length as the first, with a

108
ARITHMETICAL AMUSEMENTS.
notch cut across nearly at the top of it, to fit the top of No. 1, and the other
end of it trimmed to catch the notch in No. 3, (see No. 2.) The third piece
should be twice as long as either of the others; a notch, similar to that in
No. 2, must be cut in one end of it, to catch the lower end of No. 2. Having
2
3
proceeded thus far, you must put the
pieces together, in order to finish it, by
adding another notch in No. 3, the ex-
act situation of which you will discover
as follows-Place No. 1, as it is in
the cut, then put the notch of No. 2 on
the thinned top of No. 1 ; keep it in the
same inclination as in the cut; then
get a flat piece of wood, or slate, one
end of which must rest on the ground, and the centre of the edge of the
other on the top of No. 2. You will now find the thinned end of No. 2 ele-
vated by the weight of the flat piece of wood or slate; then put the thinned
end of it in the notch of No. 3, and draw No. 2 down by it, until the whole
forms a resemblance of a figure 4: at the exact place where No. 3 touches
the upright, cut a notch, which, by catching the end of No. 1, will keep
the trap together. You may now bait the end of No. 3 with a piece of
cheese; a mouse, by nibbling the bait, will pull down No. 3, the other pieces
immediately separate, and the slate or board falls upon the mouse.
have seen numbers of mice, rats, and birds, caught by this
Figure of 4 Trap.
We

OPTICAL AMUSEMENTS
What wonders may be brought to pass,
By the optician's magic glass!
A barley-corn of painted paper,
Illumin'd by a farthing taper,
Into a spacious plain extendeth,
Whereon Dan Sol his hot glance bendeth
The leech's paltry, dark green potion
Is magnified into an ocean :
His little, crabb'd, perspective scrawl,
Into th' hand-writing on the wall:
Look one way, and a blow-fly's nose
To elephant's proboscis grows :
Turn t'other end, hippopotamus
Becomes a gnat compared with a mouse.
organs
THE Science of optics affords an infinite variety of amusements, which
cannot fail to instruct the mind as well as delight the eye. By the aid of
optical instruments we are enabled to lessen the distance to our visual
between the globe we inhabit and "the wonders of the heavens above us;"
to observe the exquisite finish, and propriety of construction, which are to
be found in the most minute productions of the earth ;-to trace the path of
the planet in its course round the magnificent orb of day, and to detect this
pulsation of the blood, as it flows through the veins of an msect Three

110
OPTICAL. AMUSEMENTS.
are out a small portion of the powers which this science offers to man; to
enumerate them all would require a space equal to the body of our work:
neither do we propose to notice, in the following pages, the various instru
ments and experiments which are devoted solely, or rather, chiefly, to pur-
poses merely scientific; it being our intention merely to call the attention of
our juvenile readers to such things as combine a vast deal of amusement
with much instruction; to inform them as to the construction of the various
popular instruments; to show the manner of using them, and to explain
some of the most attractive experiments which the science affords. By
doing thus much, we hope to offer a sufficient inducement to push inquiry
much further than the information which a work of this nature will enable
us to afford.
THE CAMERA OBSCURA.
We give our young friends a brief description of this optical invention;
though very common, it is extremely amusing; almost every one has seen
B
01
L
N
M
it, but few persons know how to
construct it. A C represents a
box of about a foot and a half
square, shut on every side ex-
cept at D C; OP is a smaller
box, placed on the top of the
greater; M N is a double con-
vex lens, whose axis makes an
angle of forty-five degrees with
B L, a plane mirror, fixed in
the box, O P; the focal length
of the lens is nearly equal to
CS+S T, i. e, to the sum of
the distances of the lens from
the middle of the mirror, and
of the middle of the mirror from
the bottom of the large box.
The lens being turned toward
the prospect, would form a pic-
ture of it, nearly at its focus;
but the rays, being intercepted
by the mirror, will form the picture as far before the surface as the focus is
behind it, that is, at the bottom of the larger box; a communication being
made between the boxes by the vacant space, Q O. This instrument is
frequently used for the delineation of landscapes: for which purpose, the
draughtsinan, putting his head and hand into the box through the open side
T

OPTICAL AMUSEMENTS.
111
DC, and drawing a curtain round to prevent the admission of the light,
which would disturb the operation, can trace a distinct outline of the picture
that appears at the bottom of the box.
pro-
There is another kind of camera obscura, for the purposes of drawing,
constructed thus: in the extremity of the arm, P Q, that extends from the
side of a small square box, B L, is placed a double convex lens. whose axis
is inclined in an angle of forty-five degrees, to a plane mirror, BO; the focal
length of the lens is equal to its distance from the side of the box, OT; there-
fore, when the lens is turned toward the illuminated prospect, it would
ject the image on the side, O T, if the mirror were removed; but this will
reflect the image to the side,
M L, which is as far distant
from the middle of the mir-
ror as this is from the side,
OT. It is there received on
a piece of glass, rough at the
upper side, and smooth at the
lower, and appears in its
proper colors on the upper
side of the plate. It is evi-
dent that in each of these in-
struments the image is invert-
ed with respect to the object.
MS is a lid to prevent the
admission of light during the
delineation of the picture;
and others, for the same pur-
pose, are applied to the sides,
MR and N L.
T
O
N
P
B
M
you first
You may also construct the camera obscura in a room, thus
darken the room, by closing the shutters, and every place where the exter
nal light can be admitted. You then cut a circular hole in the shutter, or
a board placed against the window, in which you place a lens, or convex-
glass, the focus of which is at the distance of not less than four, nor v re
than fifteen or twenty feet: from six to twelve feet is the best distance At
this distance, also, place a pasteboard, covered with the whitest paper, ith
a black border, to prevent any of the side rays from disturbing the pic re;
let it be two feet and a half long, and eighteen or twenty inches high; end
the length of it inward, to the form of part of a circle, the diameter of aich
is equal to double the focal distance of the glass: then fix it on a frame the
zune figure, and place it upon a movable foot, that it may be easil, ixed
at that exact distance from the glass where the objects paint themselves to the
greatest perfection. When it is thus placed, all the objects which are in the

112
OPTICAL AMUSEMENTS.
ront of the window will be painted upon the paper, in an inverted position
with the greatest regularity, and in the most natural colors.
There is another method of making the camera obscura, by a scioptric
ball; that is, a ball of wood, through which a hole is made, in which hole a
lens is fixed: this ball is placed in a wooden frame, in which it turns freely
round; the frame is fixed to the hole in the shutter, and the ball, by turning
about, answers, in great part, the use of the mirror on the outside of the
window. If the hole in the window be not bigger than a pea, the objects
will be represented without any lens.
If you place a movable mirror without the window, by turning it more
or less, you will have upon the paper all the objects which are on each side
of the window.
The inverted position of the images may be deemed an imperfection, but
It is easily remedied; for, if you stand above the board, on which they are
received, and look down upon it, they will appear in their natural position.
or, if you stand before it, and, placing a common mirror against your breast,
in an oblique direction, look down in it, you will there see the images erect,
and they will receive an additional lustre from the reflection of the glass; or,
place two lenses in a tube that draws out; or, lastly, if you place a large
concave mirror at a proper distance before the picture, it will appear before
the mirror in the air, and in an erect position.
If, instead of putting the mirror without the window, you place it in the
room, and above the hole, (which must then be made near the top of the
shutter,) you may receive the representation on a paper placed horizontally
on a table, and draw all the objects that there appear painted.
THE MAGNIFYING CAMERA OBSCURA.
Let the rays of light that pass through the lens in the shutter be thrown on
a large concave mirror, properly fixed in a frame. Then take a slip or thin
plate of glass, and sticking any small object to it, hold it in the incident
rays, at a little more than the focal distance from the mirror, and you will
see, on the opposite wall, amidst the reflected rays, the image of that ob
ject, very large, and extremely clear and bright."
THE PRISMATIC CAMERA OBSCURA.
Make two holes, F, f, (Fig. 1,) in the shutter of a dark chamber, near to
each other; and against each hole, a prism, A B C, and a b c, in perpen.
dicular direction, that their spectrums, M N, may be cast on the paper in a
horizontal line, and coincide with each other; the red and violet of the one
seing in the same part with those of the other. The paper should be

OPTICAL AMUSEMENTS.
113
placed at such a distance from the prisms that the spectrum may be suffi
ciently dilated. Provide several papers nearly of the same dimensions with
the spectrum, cross these papers, and draw lines parallel to the divisions of
the colors in these divisions cut out such figures as you may find will have
an agreeable effect, as flowers, trees, animals, &c. When you have placed
one of these papers in its proper position, hang a black cloth or paper be-
hind it, that none of the rays that pass through may be reflected, and confuse
the phenomenon: the figure cut on the paper will then appear strongly
illuminated with all the original colors of nature.
И
Fig. 1.
C
F
B
A
D
M
m
n
Fig.2.
HE
If, while one of the prisms remains at rest, the other be revolved on its
axis, the continual alteration of the colors will afford a pleasing variety :
which may be further increased, by turning the prism round in different di-
rections. When the prisms are so placed that the two spectrums become
coincident in an inverted order of their colours, the red end of one falling on
the violet end of the other, if they be then viewed through a third prism,
DH, held parallel to their length, they will no longer appear coincident,
but in the forin of two distinct spectrums, p t and n m, (fig. 2,) crossing one
another in the middle, like the letter X. The red of one spectrum, and
the violet of the other, which were coincident at N M, being parted from
each other by a greater refraction of the violet to p and m, than that of the
red to n and t.
This recreation may be farther diversified by adding two other prisms,
that shall form a spectrum in the same line, and contiguous to the other; by
which not only the variety of figures, but the vicissitude of colors, will be
considerably augmented.

114
OPTICAL AMUSEMENTS.
CAMERA LUCIDA.
Opposite to the place or wall where the appearance is to be, make a hole
of at least a foot in diameter; or, if there be a high window with a casement
of that dimension in it, this will do much better, without such hole or case-
ment opened. At a convenient distance, to prevent its being perceived by
the company in the room, place the object or picture intended to be repre-
sented, but in an inverted situation. If the picture be transparent, reflect
the sun's rays by means of a looking-glass, so that they may pass through it
toward the place of representation; and, to prevent any rays from passing
aside it, let the picture be encompassed with some board or cloth. If the
object be a statue, or a living creature, it must be enlightened by casting the
sun's rays on it, either by reflection, refraction, or both. Between this ob-
ject and the place of representation put a broad convex glass, ground to
such a convexity as that it may represent the object distinctly in such place.
The nearer this is situated to the object, the more will the image be magni-
fied upon the wall, and the further, the less; such diversity depending on the
difference of the spheres of the glasses. If the object cannot be conve-
niently inverted, there must be two large glasses of proper spheres, situated
at suitable distances, easily found, by trial, to make the representation cor-
rect. This whole apparatus of object, glasses, &c. with 'he persons employ-
ed in the management of them, are to be placed without une window or hole,
so that they may not be perceived by the spectators in the room, and the
operation itself will be easily performed.
THE POLEMOSCOPE.
By a polemoscope you may see what passes in another place without
being seen from thence yourself: it may be made by fixing, in a common
opera-glass, a small mirror, inclined to an angle of forty-five degrees, and
adjusting a proper object-glass; by this, while appearing to look straight
forward, you may see what passes on one side of you. This instrument
may also be so constructed that the tube may turn round, and the mirror be
elevated or depressed, that you may see successively, and at pleasure, all
the objects that you would perceive, if you were at the top of the wall
against winch the instrument is placed.
THE KALEIDOSCOPE.
To construct this instrument procure a tube of tin, brass, pasteboard, or
any other material, eight or ten inches long, and one and a half or two
inches in diameter; place a cap upon one end, with a small hole in the

OPTICAL AMUSEMENTS.
115
centre, at the circumference of the circle, d, in the annexed figure, which is
a view of the right end of the instrument, from which the cap has been
removed. The circle is the edge of the tube, the lines, a c and b c, are
the edges of the two reflecting surfaces, which are nearly of the same
A
d
length as the tube: they may be made of
two pieces of looking-glass, or of plate-
glass or crown-glass, which have been
blackened on one side at e e, the surfaces
ff, being well polished. The blackening
may be effected with the smoke of a lamp
simply, or upon varnish, or with any other
black matter which effectually resists the
rays of light; and the two reflectors must
be kept apart at g, by means of a piece of
cork, or any other substance, placed at
each end of the tube. At c, where the
reflectors join, they should be straight, and
adapted to each other; or they may be
placed differently, or even parallel, as in
the figure following. At the other end of the tube, (the object end,) where
the two reflecting surfaces, a cb c, terminate, a circular piece of ground
glass is to be fitted into the tube, and retained there by means of a piece of
wire, which is to be bent to a circle, and placed upon the glass to keep it
steady. Over this end let another tube be fitted, an inch or two in length
e
f f
2
e
at least, capable of being turned round;
and, at its end, let another circular piece
of glass, smooth, be fitted in, similarly to
the preceding. Into this outer cap, or
tube, put the objects to be viewed, which
may consist of any semi-transparent col-
ored substances, as glass, beads, shells,
or pearls, and the like, but not too many
at a time. Place the cap on, and then,
advancing the tube to the eye, still keep-
ing the side, a b, upward, look through at
d, and you will have a brilliant symmet-
rical repetition of the objects which are
placed between the two glasses and visible
through the angular aperture, ab c. Turn
round the cap, more or less, in which the objects are so placed, and you
will perceive a change in the combinations of the images; new forms will
present themselves, entirely different from the former, sometimes arising
ent of the centre, at others vanishing there, and occasionally playing round
α
42
f
h

116
OPTICAL AMUSEMENTS,
it in double and opposite oscillations. Standing still, however, the draughts
man may copy off upon paper the shapes that present themselves, if he
cannot hope to equal the varied tints, which are developed in succession;
each new one delighting the eye by the perfection of its forms and the
brilliancy of its coloring, both of which depend upon previously managing
the objects to be viewed, and the angle at which the two reflectors, d c, and
b c, are fixed.
Instead of two reflectors, this instrument may be constructed with three
or more such planes, which may be arranged differently as regards each
other: but the perfection of the kaleidoscope is to be found in procuring the
reflection of distant natural objects, and in reducing them to the size proper
for pictorial representation. This may be accomplished by fixing upon the
object end a convex lens, fastened to the slider tube, which must then be near-
ly as long as the inner one, in order that the right focus may be found, which
is adapted to the particular object; so two or three lenses may be kept, of
several focal lengths, which should be always less than its greatest distance
from the sight-hole, and will be found, generally, at from one-fourth to a
third of that distance. A further variation, however, may be obtained, by
introducing two lenses; one fixed to the inner tube, the other to the slider;
and approaching to or receding from these, by means of the slider, the fo-
cus will be found.
As a matter of economy to those who may possess a telescope, it is sug-
gested, that the size of the kaleidoscope may be made to correspond with
that instrument, so that its glasses may be occasionally borrowed. A con-
cave glass, placed at the sight-hole, (d, fig. 2,) will throw the objects off, and
reduce their size by taking care that the focal length be equal to the length
of the reflectors.
Supposing the instrument to contain twenty small pieces of glass, &c. and
that you make ten changes in each minute, it will take the inconceivable
space of 462,880,899,576 years and 360 days, to go through the immense
variety of changes it is capable of producing, amounting (according to our
frail idea of the nature of things) to an eternity. Or, if you take only twelve
small pieces, and make ten changes in each minute, it will then require
33,264 days, or 91 years and 49 days, to exhaust its variations.
THE MAGIC LANTERN.
The object of this ingenious instrument is to represent, in a dark room,
on a white wall or cloth, a succession of enlarged figures, of remarkable,
natural, or grotesque objects. The figure in the next page is a representa-
tion of one. It consists of a tin box, with a funnel on the top, represented by
e, and a door on one side of it. This funnel, by being bent, as shown in the
figure, serves the double purpose of letting out the smoke, and keeping in

OPTICAL AMUSEMENTS.
117
the light. In the middle of the bottom of the box is placed a movable tin
amp, a, which must have two or three good lights, at the height of the
centre of the polished tin reflector, c. In the front of the box, opposite the
Reflector, is fixed a tin tube, m, in which there slides another tube, n. The
n
sliding tube has, at its
outer extremity, a convex
lens, of about two inches
diameter; the tube, m,
also has a convex lens fix-
ed in it, as shown in the
figure, of three inches di-
ameter. The focus of the
smaller of these lenses
may be about five inches
Between the tube, m, and
the lamp, there must be a
slit or opening, (as at ii)
to admit of the passage of
glass sliders, mounted in
paper or wooden frames,
such as are represented
below; upon which slid-
ers it is that the miniature figures are painted, which are intended to be
shown upon the wall. The distinctness of the enlarged figures depends not
only upon the goodness of the magnifying glass, but upon the clearness of the
light yielded by the lamp, a. It may be purchased ready made of any
optician.
To paint the glasses. Draw on a paper the subject you desire to paint.
Lay it on a table or any flat surface, and place the glass over it: then draw
the outlines, with a very fine pencil, in varnish mixed with black paint, and,
when dry, fill up the other parts in their proper colors. Transparent colors
must be used for this purpose, such as carinine, lake, Prussian blue, verdigris,
sulphate of iron, tincture of Brazil wood, gamboge, &c.; and these must be
tempered with a strong white varnish, to prevent their peeling off. Then
shade them with black, or with bistre, mixed with the same varnish.
To exhibit the Magic Lantern. The lamp being lighted, and the room
darkened, place the machine on the table, at some distance from the white
L

118
OPTICAL AMUSEMENTS.
wall or suspended sheet, and introduce into the slit, i i, one of the
sliders represented above, with the figures inverted. If the movable
tube, n, be then pushed in or drawn out, till the proper focus be ob-
tained, the figures on the slider will be reflected on the wall, in their
distinct colors and proportions, with the appearance of life itself,
and of any size, from six inches to seven feet, according to the dis-
tance of the lantern from the wall. Movements of the figures are
easily made by painting the subject on two glasses, and passing the
same through the groove.
To represent a tempest. Provide two plates of glass, whose frames
are so thin, that they may both pass freely through the groove of the
common magic lantern at the same time. On one of these paint the
appearance of the sea, from the slightest agitation to the most vio-
lent commotion; representing first, a calm; afterward a small agita-
tion, with some clouds; and so on to the end, which should exhibit
a furious storm.
These representations are not to be distinct, but run into each
other, that they may form a natural gradation; and great part of
the effect depends on the perfection of the painting, and the pictu-
resque appearance of the design.
On the other glass, paint vessels of different forms and dimensions,
and in different directions, together with the appearance of clouds in
the tempestuous parts.
Both glasses being done, pass the first slowly through the groove;
and when you come to that part where the storm begins, move it gen-
tly up and down, which will produce the appearance of a sea that be-
gins to be agitated, and so increase the motion till you come to the
height of the storm. At the same time introduce the other glass with
the ships, and, moving that in like manner, they will exhibit a natural
representation of the sea, and of ships in a calm and in a storm. As
the glasses are drawn slowly back, the tempest will seem to subside,
the sky grow clear, and the ships glide gently over the waves.

OPTICAL AMUSEMENTS.
119
By means of two glasses, disposed in the before-mentioned manner, num-
berless other subjects may be represented.
THE APPARITION.
Inclose a small magic lantern in a box large enough to contain a small
Ewing dressing-glass, which will reflect the light thrown on it by the lan-
tern in such a way, that it will pass out at the aperture made at the top of
the box, which aperture should be
oval, and of a size adapted to the
cone of light to pass through it.
There should be a flap with hinges,
to cover the opening, that the inside
of the box may not be seen. There
must be holes in that part of the
box which is over the lantern, to
let the smoke out; and over this
must be placed a chafing-dish, of an
oblong figure, large enough to hold
several lighted coals. This chafing-
dish, for the better carrying on the
deception, may be inclosed in a
painted tin box, about a foot high, with a hole at top, and should stand on
four feet, to let the smoke of the lantern escape. There must also be a glass
planned to move up and down in the groove, a b, and so managed by a cord
and pulley, c d e f, that it may be raised up and let down by the cord coming
through the outside of the box. On this glass, the spectre (or any other
figure you please) must be painted, in a contracted or squat form, as the
figure will reflect a greater length than it is drawn.
When you have lighted the lamp in the lantern, and placed the mirror
in a proper direction, put the box on a table, and, setting the chafing-dish
in it, throw some incense in powder on the coals. You then open the trap
door and let down the glass in the groove slowly, and when you perceive
the smoke diminish, draw up the glass that the figure may disappear, and
shut the trap door.
This exhibition will afford a deal of wonder: but observe, that all the lights
in the room must be extinguished; and the box should be placed on a high
table, that the aperture through which the light comes out may not be seen
THE NEBULOUS MAGIC LANTERN.
The ight of the magic lantern, and the color of images, may not only
be painted on a cloth, but also reflected by a cloud of smoke. Provide

120
OPTICAL AMUSEMENTS.
Dox of wood or pasteboard, about four feet high, and seven or eight inches
square at bottoni, put diminishing as it ascends, so that its aperture at top
e but six inches long, and half an inch wide. At the bottom of this box
there must be a door that shuts quite close, by which you are to place in
the box a chafing-dish with hot coals, on which is to be thrown incense,
whose smoke goes out in a cloud at the top of the box: on this cloud, you
re to throw the light that comes out of the lantern, and which you bring
into a smaller compass by drawing out the movable tube. The common
figure will here serve.
It is remarkable in this representation, that the motion of the smoke
does not at all change the figures; which appear so conspicuous that the
spectator thinks he can grasp them with his hand. In the experiment,
some of the rays passing through the smoke, the representation will be
much less vivid than on the cloth; and if care be not taken to reduce the
light to its smallest focus, it will be still more imperfect.
THE PHANTASMAGORIA.
In the exhibition of the common magic lantern, the spectators see a
round circle of light with the figures in the middle of it ; but, in the Phantas-
magoria, they see the figures only, without any circle of light. The exhi-
bition is produced by a magic lantern, placed on that side of a half-trans-
parent screen which is opposite to that on which the spectators are, instead
of being on the same side, as in the ordinary exhibition of the magic.
lantern. To favor the deception, the sliders are made perfectly opaque,
except in those places that contain the figures to be exhibited, and in these
light parts the glass is covered with a more or less transparent tint, accord-
ing to the effect required. The easiest way is to draw the figures with
water colors on thin paper, and afterward varnish them. To imitate the
natural motions of the objects represented, several pieces of glass, placed
behind each other, are occasionally employed. By removing the lantern
to different distances, and, at the same time, altering, more or less, the
position of the lens, the images are made to increase and diminish, and to
become more or less distinct at the pleasure of the exhibitor; so that, to
a person unacquainted with the effect of optical instruments, these figures
appear actually to advance and recede.
To make transparent screens for the Phantasmagoria. Transparent
screens are prepared by spreading white wax, dissolved in spirits of wine
or oil of turpentine, over thin muslin: a screen so prepared may be rolled
up without injury. A clearer screen may be produced, by having the
muslin always strained upon a rectangular frame, and preparing it with
turpentine, instead of wax: but such a screen is not always convenient,
and cannot be rolled without cracking, and becoming, in a short time,
seless; therefore, nothing can be better for the purpose than the former.

OPTICAL AMUSEMENTS.
121
SOLAR MICROSCOPE.
The solar microscope is constructed in the following manner. In the in-
side of a tube is placed a convex lens, A B, and at a distance a little greater
than its focal length, but less than double of it, is fixed some transparent
colored object, QP, at the focus conjugate to the place of the object
A
Q
P
B
D
A broad lens, CD, is placed before the object, to collect the solar rays,
for the purpose of illuminating it more strongly, and, consequently, making
the image more distinct and vivid.
TO CONSTRUCT A LANTERN WHICH WILL ENABLE A PERSON TO
READ BY NIGHT AT A GREAT DISTANCE.
Make a lantern of a cylindric form, or shaped like a small cask placed
lengthwise, so that its axis may be horizontal, and fix in one end of it a para-
bolic or spheric mirror, so that its focus may fall about the middle of the
axis of the cylinder. If a small lamp or taper be placed in this focus, the
light passing through the other end will be reflected to a great distance, and
will be so bright that the very small letters on a remote object may be read,
by looking at them with a good telescope. Those who see this light, if they
be in the direction of the axis of the lantern, will think they see a large fire.
THE CHINESE SHADOWS, (OMBRES CHINOISES.)
Make an aperture in a partition wall, of any size; for example, fom feet
in length and two in breadth, so that the lower edge may be about five feet
from the floor, and cover it with white Italian gauze, varnished with gum-
copal. Provide several frames of the same size as the aperture, covered
with the same kind of gauze, and delineate upon the gauze different figures,
such as landscapes and buildings, analogous to the scenes which you intend
to exhibit by means of small figures representing men and animals.
These figures are formed of pasteboard, and their different parts are made
movable, according to the effect intended to be produced by their shadows,
when moved backward and forward behind the frames, and at a small dis-
tance from them. To make them act with more facility, small wires, fixed
to their movable parts, are bent backward, and made to terminate in rings,
through which the fingers of the hand are put, while the figure is supported
by the left, by means of another iron wire. In this manner they inay be

122
OPTICAL AMUSEMENTS.
made to advance or recede, and to gesticulate, without the spectators ob
serving the mechanism by which they are moved; and, as the shadow of
these figures is not observed on the paintings till they are opposite those parts
which are not strongly shaded, they may thus be concealed, and made to
appear at the proper moments, and others may be occasionally substituted
in their stead.
It is necessary, when the figures are made to act, to keep up a sort of
dialogue, suited to their gestures, and even to imitate the noise occasioned
by different circumstances. The paintings must be illuminated from behind,
by means of a reverberating lamp, placed opposite to the centre of the
painting, and distant from it about four or five feet. Various amusing scenes
may be represented in this manner, by employing small figures of men and
animals, and making them move in as natural a way as possible, which will
depend on the address and practice of the person who exhibits them.
THE MARVELLOUS MIRROR.
In the wainscot of a room make two openings, of a foot high, and ten
inches wide, and about a foot distant from each other: let them be at the
common height of a man's head; and, in each of them, place a transparent
glass, surrounded with a frame, like a common mirror. Behind this partition
place two mirrors, one on the outward side of each opening, inclined to the
wainscot in an angle of forty-five degrees; let them be both eighteen inches
square; let all the space between them be enclosed by boards or pasteboard,
painted black, and well closed, that no light may enter; let there be also
two curtains to cover them, which may be drawn aside at pleasure. When
a person looks into one of these supposed mirrors, instead of seeing his own
face he will perceive the object that is i the front of the other; so that, if
two persons present themselves at the same time before these mirrors, instead
of each one seeing himself they will reciprocally see each other. There
should be a sconce with a candle or lamp placed on each side of the two
glasses in the wainscot, to enlighten the faces of the persons who look in
them, otherwise this experiment will have no remarkable effect.
This recreation may be considerably improved by placing the two glasses
in the wainscot, in adjoining rooms, and a number of persons being pre-
viously placed in one room, when a stranger enters the other, you may tell
him his face is dirty, and desire him to look in the glass, which he will natur-
ally do; and on seeing a strange face he will draw back; but returning to
it, and seeing another, another, and another, like the phantom kings in
Macbeth, what his surprise will be is more easy to conceive than express.
After this, a real mirror may be privately let down on the back of the glass,
and if he can be prevailed on to look in it once more, he will then, to his
farther astonishment, see his own face; and may be told, perhaps persuaded,
that all he thought he saw before was mere imagination

OPTICAL AMUSEMENTS.
129
When a man looks in a mirror that is placed perpendicularly to another,
nis face will appear entirely deformed. If the mirror be a little inclined, so
as to make an angle of eighty degrees, (that is, one-ninth part from the
perpendicular,) he will then see all the parts of his face, except the nose and
forehead: if it be inclined to sixty degrees, (that is, one-third part,) he will
appear with three noses and six eyes: in short, the apparent deformity will
vary at each degree of inclination; and when the glass comes to forty-five
degrees, (that is, half-way down,) the face will vanish. If, instead of placing
the two mirrors in this situation, they are so disposed that their junction
may be vertical, their different inclinations will produce other effects; as
the situation of the object relative to these mirrors is quite different.
INGENIOUS ANAMORPHOSIS.
This recreation shows how to draw, on a flat surface, an irregular figure,
which shall appear, when seen from a proper point of view, not only regu-
lar, but elevated. Provide a thin board, about two feet long and one foot
wide, as A B C D, and place thereon a circular piece of card or stiff
drawing paper, on which a distorted figure is to be drawn, that, being
viewed from the point, H, shall appear regular, and exactly resembling
that which is placed at M F.
D
M
FN
A
E
B
Fix, at the end of the board, an upright piece, I, of thin wood or tin, at
dhe top of which is a sight-hole, H, of two-tenths of an inch in diameter.
Prepare a lamp, or candlestick, the light of which may be raised or low-
ered at pleasure, and to which is fixed a brass arm, bearing a sort of coni-
cal funnel, D, and whose opening at the end next the light is not more
dan three or four tenths of an inch in diameter.
Draw the subject you would represent on a piece of glass of equal height
with the space, MF, with a very light stroke, and with any color that is
quite opaque. Then remove the upright piece, I, and place the lamp, sc
prepared, in such a manner that the light may be exactly where the sight-
inle, H, was. Its rays then passing through the glass at M F, will en

124
OPTICAL AMUSEMENTS.
В
D
aghten the surface of your paper, and there show, in a distorted form, the
subject that is painted on the glass. Then draw, with a pencil, all the strokes
of the shadow as they appear, and, taking away
the light, replace the upright side-piece, I, and
see if what you have drawn correspond with the
subject on the glass, correcting_what_imperfec-
tions there may happen to be. In the last place,
color the subject, so traced, with the utmost at-
tention, inspecting your work, from time to time,
from the point of view, before you give it the
finishing stroke. When the figure, that is drawn
and painted on your paper, is viewed from the
sight, H, it appears to be at the same point where
the glass, M F, was placed, and in the same form
that it was painted on the glass. It appears to
the eye even elevated above the surface of the
board on which the drawing is placed, and there-
A
by receives a remarkable and pleasing illusion.
SINGULAR ILLUSION.
Affix to a dark wall a round piece of paper an inch or two in diameter;
and, a little lower, at the distance of two feet on each side, make two marks ;
then place yourself directly opposite to the paper, and hold the end of your
finger before your face in such a manner, that when the right eye is open,
it shall conceal the mark on the left, and, when the left eye is open, the
mark on the right; if you then look with both eyes to the end of your fin-
ger, the paper, which is not at all concealed by it from either of your
eyes, will, nevertheless, disappear.
ANOTHER.
Fix, at the height of the eye, on a dark ground, a small round piece of
white paper, and a little lower, at the distance of two feet to the right, fix
up another, of about three inches in diameter; then place yourself opposite
to the first piece of paper, and, having shut the left eye, retire backward,
Keeping your eye still fixed on the first object: when you are at the distance
of nine or ten feet, the second will entirely disappear from your sight.
THE MULTIPLIED MONEY.
Take a large drinking-glass, of a conical form, that is, small at bottom,
and wide at top, and, having put into it a shilling, let it be half filled with
water; then place a plate upon the top of the glass, and turn it quickly
ɔver, that the water may not get out: a piece of silver as large as half-a
crown will immediately appear on the plate, and, somewhat higher u
another piece of the size of a shilling.

CHEMICAL AMUSEMENTS
They play such merry pranks, that some would think
They entertained an imp to conjure for them.
Yet 'tis not so ;-their few hours of pastime,
These young disciples of the Alchymist
Adorn with feats, which, to the unlearned eye,
Show oft like magic :-but grandam Wisdom
Knows them as recreations of young Science,
In sportive mood, upon a holyday.
CHEMISTRY has been called, by its votaries, a fascinating science, and
with some truth, for it certainly affords more recreation than any other.
that it is the most useful of all sciences cannot be denied, nor can there
be a doubt that it has a tendency almost to enchant those who devote their
attention to it. Its powers are almost infinite, and, in some instances, pro-
duce effects which appear magical: a great number of those conjuring
tricks, which have astonished our cotemporaries as much as our forefathers,
have been effected solely by its agency. It is not, of course, our intention
to teach our readers chemistry in all its branches, but merely to direct the
M
ご
​
126
CHEMICAL AMUSEMENTS.
inquiring mind of youth to skim lightly and agreeably over its surface: for
this purpose, we have selected a series of experiments for their amusement,
not doubting but that they will consider the time profitably spent in perusing
them, and we flatter ourselves that they will be an inducement to carry
heir inquiries much further than our limits will afford. For those who wish
to be instructed as well as amused, we have added some explanations of the
decompositions, or chemical changes, which take place, in order to show
that, although almost magical in appearance, they are dependent upon some
fixed and unerring law of nature. Without any further prefatory observa-
tions, we shall now commence our Chemical Recreations.
CRYSTALLIZATION OF SALTS.
1. Dissolve one ounce of sulphate of soda (Glauber's salts) m two ounces
of boiling water; pour it while hot, into a phial, and cork it close. In this
state it will not crystallize when cold; but if the cork be removed, the crystal-
lization will commence and proceed rapidly.
The presence of atmospheric air is necessary in the process of crysta.-
lization; the experiment will occasionally fail when under unfavorable cir-
cumstances: should this be the case, drop into the fluid a crystal of Glauber's
salt, and the whole will immediately commence shooting into beautiful
crystals.
2. Repeat the above experiment with a small thermometer immersed in
the solution, and corked up with it. When cold, remove the cork, and the
thermometer will be seen to rise. This experiment shows that heat is given
out in the act of crystallization.
3. Take half an ounce of caustic soda, (common soda,) and dissolve it in
about its own weight of water; then pour into the solution half an ounce of
sulphuric acid (oil of vitriol :) when the mixture is cold, crystals of sulphate
of soda will be found in the liquor.
4. Take caustic soda, and pour upon it muriatic acid: this will produce
muriate of soda, our common table salt.
5. Take of carbonate of ammonia, (the common volatile smelling salts,)
and pour upon it muriatic acid until the effervescence cease. The produce
will be a solid salt, viz. muriate of ammonia, or crude salammoniac of the
shops. Caustic substances corrode matter in consequence of thei: tendency
to unite with it; they continue to act upon it until they are saturated by the
combination.
6. Mix two ounces of semi-vitrified oxyd of lead (litharge) with three
Jr hins of muriate of ammonia, and submit the whole to a strong heat in
ucible. The heat will drive off the ammonia, and the muriatic acid

CHEMICAL AMUSEMENTS.
127
will combine with the lead, forming a muriate of lead. When the operation
is comp.ete, pour the ingredients into a metallic vessel to cool and crystal
live. This is the patent yellow used by painters.
In this experiment, the lead is dissolved by the muriatic acid, which has
neen disengaged by the heat driving off the ammonia with which it was
previously combined.
SYMPATHETIC INKS.
1. Write with a diluted solution of muriate or nitrate of cobalt, and the
writing will be invisible; but, upon being held to the fire, it will appear
perfectly distinct, and of a blue color: if the cobalt should be adulterated
with iron, the writing will appear of a green color. When taken from the
fire, the writing will again disappear. If a landscape be drawn and all
finished with common colors, except the leaves of the trees, the grass and
the sky, and the latter be finished with this sympathetic ink, and the two
former with the adulterated solution just mentioned, the drawing will seem
to be unfinished, and have a wintry appearance; but, upon being held to
the fire, the grass and the trees will become green, the sky blue, and the
whole assume a rich and beautiful appearance.
2. Write with a diluted solution of muriate of copper, and the writing
will be invisible when cold; but, on being held to the fire, it will appear of
a yellow color. A landscape may be drawn and finished, as in the last ex-
periment, and, in addition to the sympathetic inks there used, corn fields
may be painted or finished with this sympathetic ink. The whole will
have a very drear and bleak aspect till held before a fire, when it will in-"
stantly assume a cheerful and lively appearance, as if by magic. If human
beings be drawn in common colors, as if in the act of reaping, the whole
will appear more curious and interesting. These landscapes will, at any
time, exhibit the same appearance.
3. Write with a weak solution of alum in lemon-juice, and the charac-
ters will remain invisible until wetted with water, which renders them of
a grayish color, and quite transparent. A letter written with a solution
of rock-alum alone, being dried, and having a small quantity of water
poured over it, will appear of a whiter color than the paper.
4. Write with a weak solution of sulphate of iron, (green vitriol;)
when dry it will appear invisible; but if wetted over with a brush, dipped
in tincture of galls, or a strong decoction of oak bark, the writing will be
restored, and appear black.
5. Write with the above solution; when dry, wash it over with a so-
ution of prussiate of potash, and the writing will be restored to a beauti
ful blue

128
CHEMICAL AMUSEMENTS.
In all secret or sympathetic writing, as it is called, there is a chem ca
decomposition: this is more particularly striking in the two last experi
ments; in the former of which, the gallic acid unites with the iron, forming
a black; and in the latter, the prussic acid unites with the iron, forming
a blue, or prussiate of iron.
HEAT AND COLD.
1. Take one ounce of muriate of ammonia, the same quantity of nitrate
of potash, (saltpetre,) and two ounces of sulphate of soda : reduce these
salts separately into powder, and mix them gradually with four ounces of
water; the result will be, that as the salts dissolve, cold will be produced.
A thermometer, immersed in the mixture, will sink at or below the freez-
ing point. If a test tube be filled with water, and immersed in the mix-
ture, the water will soon be frozen.
The above mixture is frequently used at the tables of the great, to cool
wine when ice cannot be procured.
2. Put a small quantity of sulphuric acid (oil of vitriol) into a glass or
cup, and pour upon it about half its quantity of cold water; upon stirring
it, the temperature will rise to many degrees above boiling water In mix-
ing sulphuric acid with water, great care should be taken not to do it too
suddenly, as the vessel may break from the increased heat, and the acid be
spilled on the hands, clothes, &c; the greatest caution is necessary in using
it, as it will burn almost anything it touches.
3. Dissolve a little lime in muriatic or nitric acid, then pour some of
the liquid into a glass, and add to it a few drops of sulphuric acid; the
whole will become nearly a solid mass, and, at the same time, give out a
strong heat.
4. Set a quart pot upon a stool, on which a little water has been pre-
viously thrown, before the fire; put a handful of snow into the pot, and also
a handful of common salt. Hold the pot fast with one hand, and with a
short stick stir the contents with the other, as if you were churning butter;
in a few minutes the pot will freeze so hard to the stool, that with both
hands you can scarcely disengage it.
5. The most powerful of all freezing mixtures is a mixture of muriate
of lime and snow: to produce the greatest effect by this mixture, equal
weights of the salt, finely powdered, and newly-fallen snow, must be
quickly mixed together. This is the mixture that is employed to freeze
quicksilver.
Whenever substances become more condensed by mixture, heat is given
out; when they expand, cold is produced: or perhaps, it would be more
proper to say, the compound has more or less capacity for heat ‘han the
Reparate ingredients

CHEMICAL AMUSEMENTS
129
6. Fill a common thermometer tube with cold water, and suspend it in
the air by a string: if the tube be continually sprinkled with ether, the water
will presently become ice.
All liquids require a great portion of heat to convert them into vapour, an 1
all evaporation produces cold. The quick evaporation of ether, in the above
experiment, carries away the heat from the water, and converts it into ice.
An animal might be frozen to death in the midst of summer, by being re-
peatedly sprinkled with ether.
COMBUSTION AND EXPLOSION.
1. Bruise, and slightly moisten with water, a few crystals of nitrate of
copper; then roll them up quickly in a piece of tin-foil: in about a minute
the tin-foil will begin to smoke, and soon after, take fire and explode with a
slight crackling noise.
2. Throw a few grains of chlorate of potash, (oxmuriate of potash,) and
a very small bit or two of phosphorus, into a cup containing a little sulphuric
acid, the phosphorus will instantly burst into flame.
3. Take five parts of nitrate of potash, (saltpetre,) three of sub-carbonate
of potash, (salt of tartar,) and one of sulphur, all quite dry, and mix them to-
gether in a warm mortar: if a little of this powder be placed upon a shovel,
over a hot fire, it first begins to blacken, and, at last, melts and explodes
with a loud report. A small quantity only should be used; for although
there is no danger in the mixture, yet some nervous persons may be alarmed
at the loudness of the report.
4. Put a small quantity of calcined or pure magnesia into a cup, and
pour over it a sufficient quantity of sulphuric acid to cover it: almost imme-
diately combustion will commence, and sparks will be thrown out in all
directions.
5. Put a little dry pulverized charcoal into a warm tea-cup, and pour
over it some nitric acid, when combustion will take place, as in the prece
ding experiment.
6. Pour a table-spoonful of oil of turpentine into a cup, and place it in
the open air; then put about half the quantity of nitric acid, mixed with a
few drops of sulphuric, into a phial, fastened to the end of a long stick ; pow
it upon the oil, and it will immediately burst into flames, and continue to
give out much light and heat.
7. Rub a few grains of chlorate of potash, and about half the quantity
of sulphur, together in a mortar, and a crackling detonation will be pro-
duced, accompanied with flashes of light. If a small quantity of the same

130
CHEMICAL AMUSEMENTS.
mixture be wrapped in paper, laid upon an anvil, and smartly struck with
a hammer, a report will be produced, which will be loud in proportion to
the quantity used.
8. Take a little of the composition mentioned in the last experiment, on
the point of a knife, and drop it into a wine glass containing sulphuric acids;
a beautiful column of flame will be the consequence immediately it comes in
contact with the acid.
9. Mix a few grains of chlorate of potash with twice their quantity of loaf
Figar reduced to powder; place this mixture upon a plate, dip a piece of
wire in sulphuric acid, and let a single drop fall from its end upon the mix-
ture; it will immediately burst into flame, and continue to burn till the whole
is consumed.
10. Take a metal button, and rub it for a short time against a piece of
wood or stone, then touch a small piece of phosphorus with it, the latter will
immediately take fire and burn.
11. Hold the end of a rod of glass to a grindstone while it is revolving;
in a very short time it will become so hot, that phosphorus, gunpowder, and
other combustible bodies, may be inflamed by it. Wood rubbed against
wood will also produce great heat. The natives of New Holland light their
fires by these means.
12. Put a small piece of German tinder into the lower end of a syringe,
then draw up the piston and force it suddenly down by giving it a smart
blow against a wall or table, when the tinder will be ignited, either from
the sudden condensation of the air, or the friction occasioned by the move-
ment of the piston. Syringes for this purpose are sold in London at about
half-a-guinea each
13. Take two pieces of common bonnet cane and rub them strongly
against each other in the dark, and a considerable quantity of light will
be produced. Two pieces of borax have the same property in a more emi-
nent degree. In this, and the three preceding experiments, the effects de-
scribed being produced by friction, they ought, iu strict propriety, perhaps,
to be called electrical rather than chemical experiments.
14. Combustion by concentrating the sun's rays. Hold a double
convex glass, of about two inches diameter, to the sun, about mid-day when
shining very bright, at its focal distance from a piece of coin, which will
soon become so hot that it cannot be touched with the finger. The inten-
sity of the heat produced will depend upon the size and convexity of the
glass, and also on the season of the year. Gunpowder, phosphorus, &c
may be set on fire in this manner; and, with a very powerful glass, most
of the metals may be melted.

CHEMICAL AMUSEMENTS.
131
15. Put a small quantity of spirits of wine into a glass with a halfpenny
za shilling, then direct the rays of the sun, by means of a glass, upon the
soin, and, in a short time, it will become so hot as to inflame the spirits.
COMBUSTION IN AND UNDER WATER.
1. Mix one grain of phosphorus with three or four grains of chlorate
of potash, and put this mixture into a glass with a narrow bottom; then put
the small end of a funnel into the glass, in contact with the mixture, and
fill the glass nearly full of water, but not by means of the funnel; then pour
a few drops of sulphuric acid down the funnel, and the combustion of the
phosphorus will immediately commence, and continue till the whole is con-
sumed.
2. The Well of Fire. Add, gradually, one ounce, by measure, of sul-
phuric acid to five or six ounces of water, contained in an earthenware
basin; throw in an ounce of granulated zinc, and a small bit or two of
phosphorus, when phosphuretted hydrogen gas will be produced, which
takes fire immediately it comes in contact with atmospheric air; so that, in
a short time, the whole surface will become luminous, and continue so long
as gas is generated, which may be seen darting from the bottom through
the fluid with great rapidity.
3. Fill a saucer with water, and let fall into it a grain or two of potas-
sium; the potassium will instantly burst into flame with a slight explosion,
and burn vividly on the surface of the water, darting, at the same time,
from one side of the vessel to the other, with great violence, in the form of a
beautiful red-hot fire ball.
4. Will-o'-the-wisp. Take a glass tumbler three parts filled with water,
and drop into it two or three lumps of phosphuret of lime; a decomposition
will take place, and phosphuretted hydrogen gas be produced, bubbles of
which will rise through the water, and take fire immediately they burst
through the surface, terminating in beautiful ringlets of smoke, which will
continue until the phosphuret of lime is exhausted.
This gas is generated at the bottom of stagnant shallow pools, in marshes
and boggy places, and is frequently seen hovering over the surface of burial
grounds; it is what we call the ignis fatuus or Will-o'-the-wisp.
5. Green Fire under Water. Put into a glass tumbler two ounces of
water, and add, first, a piece or two of phosphorus about the size of a pea,
then thirty or forty grains of chlorate of potash; then pour upon the mass,
by means of a fuel with a long neck reaching to the bottom of the glass,
five or six drachms of sulphuric acid As soon as the acid comes in con-
tact with the inedients, flashes of fire begin to dart from under the surface
732

32
CHEMICAL AMUSEMENTS.
of the fluid. When this takes place, drop into the mixture a few pieces of
phosphuret of lime; this will immediately illumine the bottom of the vessel,
and cause a stream of fire, of an emerald green color, to pass through the
fluid.
The effects produced in the foregoing experiments, are occasioned by the
sudden chemical decomposition which takes place; and here it may be ne-
cessary to cantion our young friends not to exceed the quantities we have
directed to be used; for although we have avoided everything that is dan
gerous, yet an excess of quantity, in some cases, might be attended with in-
convenience, and create alarm from the sudden effects that are produced.
When phosphorus is used, it should be handled with great care, lest any
portion of it get under the finger nails, a small bit of which would occasion
considerable pain for sometime.
LUMINOUS WRITING IN THE DARK.
Fix a small piece of solid phosphorus in a quill, and write with it upon
paper; if the paper be then removed to a dark room, the writing will ap-
pear beautifully luminous.
GREEN FIRE.
Put a small quantity of highly-rectified spirits of wine, mixed with a little
boracic acid, into an earthenware vessel, and set them on fire, when a very
beautiful green flame will be produced.
RED FIRE.
Proceed as in the last experiment, using nitrate or muriate of strontites,
instead of boracic acid, and a beautiful red flame will be produced.
YELLOW FIRE.
Proceed as above, mixing nitrate or muriate of barytes with the spirits,
and a brilliant yellow flame will be produced.
The above methods have been used in our theatres to heighten the effect
of some of those horrifying spectacles with which the city has been treated,
such as Der Freyschutz, &c.
METALLIC DISSOLVENTS.
Gold. Pour a small quantity of nitro-muriatic acid upon a small piece of
gold, or gold leaf, and, in a short time, it will completely disappear, and the
solution will have a beautiful yellow color.
Silver. Pour a little nitric acid upon a small piece of pure suver,
silver leaf, and it will be dissolved in a few minutes.

CHEMICAL AMUSEMENTS.
133
Copper. Pour a little diluted nitric acid upon a small piece of copper,
and, in a short time, the copper will be dissolved, and the solution will
have a beautiful blue color.
Lead. Pour a little diluted nitric acid upon a small piece or two of
lead, which will first convert it into a white powder, and then dissolve it
Iron. Pour some sulphuric acid, diluted with about four times its bulk
of water, upon a few iron filings; a violent effervescence will ensue, and,
in a little time, the filings will be dissolved.
These experiments are intended to show how easily we can dissolve
metals when we submit them to a proper menstruum.
METALLIC VEGETATION.
Mix together equal parts of saturated solutions of silver and mercury, di-
luted with distilled water: in this mixture suspend five or six drachms of
pure mercury in a piece of fine linen rag doubled. The metallic solutions
will soon shoot into beautiful needle-shaped crystals, and attach themselves,
and adhere strongly, to the bag containing the mercury. When the arbori-
zation ceases to increase, the bag, loaded with beautiful crystals, may be
taken out of the vessel where it was formed, by means of the thread by
which it is suspended, and hung under a glass jar, where it may be preserv-
ed as long as may be thought proper.
THE LEAD TREE.
Put into a common wine decanter about half an ounce of super-acetate
of lead, (sugar of lead,) and fill it to the bottom of the neck with distilled
or rain water; then suspend, by a bit of silk, or thread, fastened also to
the cork or stopper, a piece of zinc wire, two or three inches long, so that
it may hang as nearly in the centre as possible; then place the decanter
where it may not be disturbed. The zinc will very soon be covered with
beautiful crystals of lead which are precipitated from the solution, and
this will continue until the whole becomes attached to the zinc, assuming
the form of a tree or bush, whose leaves or branches are laminal, or in
plates of metallic lustre.
THE TIN TREE.
Into the same, or a similar vessel, to that used for the lead tree, pour
distilled or rain water, as before, and put in three drachms of muriate of
tin, and about ten drops of nitric acid. When the salt is dissolved, sus end
a piece of zinc wire, as in the last experiment, and set the whole aside to
precipitate without disturbance. In a few hours the effect will be similar
to that produced by the leal, only that the tree of tin will have more lustre
In these experiments it is wonderful to see the lamina, or thin piates, shoo
ont, as it were, from nothing.

134
CHEMICAL AMUSEMENTS.
THE SILVER TREE.
Put into a decanter four drachms of nitrate of silver, and fill up the de
santer with distilled or rain water; then drop in about an ounce of mercury,
and place the vessel where it
may not be disturbed: in a short
time the silver will be precipi-
tated in the most beautiful arbo-
rescent form, resembling real
vegetation.
The above experiments show
the precipitation of one metal
by another, owing to the affinity
that exists between them. The
metal in solution having a
greater affinity for the pure
metal suspended in it, precipi-
tates itself from the solution,
and becomes firmly attached
thereto. The Silver Tree, pro-
duced as above described, is
fisquently called Arbor Dianæ, or the Tree of Diana.
TRANSMUTATION OF COLORS.
To produce a blue by mixing two colorless fluids. Pour a little of
the solution of sulphate of iron into a glass, then add to it a few drops of
a solution of prussiate of potash, and the whole will assume a beautiful
blue color.
In this experiment a decomposition takes place; the sulphuric acid leav-
ing the iron to unite with the potash, and the prussic acid leaving the pot-
ash to unite with the iron, forming prussiate of iron, and sulphate of potash ;
the sulphate of potash remaining in solution, while the prussiate of iron is
slowly precipitated, falling to the bottom in the state of a fine powder.
This is the prussian blue of the shops.
To produce a yellow from two colorless fluids. Pour a little of the
solution of nitrate of bismuth into a glass, then add to it a small quantity
of solution of prussiate of potash, and a yellow color will be immediately
produced.
In this experiment, as in the last, we have a decomposition; nitrate of
potash and prussiate of Lismuth are formed, the prussiate of bismuth giving
it the yellow color.
To produce a brown from two colorless fluids. Peur a little of the

CHEMICAL AMUSEMENTS.
16
solution of sulphate of copper into a glass, then add to it a small quantity of
a solution of prussiate of potash, and a reddish brown will be produced
In this experiment we have a sulphate of potash and a prussiate of cop-
per, which gives the brown color, according to the principle just laid down.
To make black ink from two colorless fluids. Put into a glass a
quantity of water, and add to it some tincture of galls; then put in a small
quantity of a solution of sulphate of iron, and the whole will immediately
become black.
Here, as in the preceding experiments, a decomposition is effected; the
gallic acid uniting with the iron, forms our common writing ink.
A blue color produced from two colorless fluids. Put into a glass a
quantity of water, and dissolve therein a few crystals of sulphate of copper,
then pour in a small quantity of liquid ammonia, and the whole will imme-
diately be changed to a beautiful blue.
In this experiment the ammonia unites to the copper, forming ammoniate
of copper, which is of a beautiful blue, approaching to violet.
Another way. Take any chalybeate water, (that is, water containing
iron in solution,) and add to it a little of the solution of prussiate of potash,
which will change it to a blue color, as in a previous experiment.
Prussiate of potash is one of the best tests for iron that we are acquainted
with, and will detect its pressure, however minute the quality.
To change a blue liquid to a red. Pour a little of the infusion of lit-
mus, or blue cabbage, into a wine glass, and add to it a drop or two of ni-
tric or sulphuric acid, which will immediately change it to a red color.
One of the characteristics of acid is that it changes most of the vegetable
colors to red. This experiment is an instance.
To change a blue liquid to green. Pour a little of the infusion of vi-
olets into a wine glass, and add to it a few drops of a solution of potash or
soda, when it will be changed to a beautiful green; to which, indeed, al-
kalies change most of the vegetable colors.
To change a red liquid into various colors. Put a little of the infu-
sion of red cabbage into three different glasses; to the first, add a little mu-
riatic or nitric acid; to the second, a little of the solution of potash; and
to the third, a little of the solution of sulphate of alumin and potash,
(alum.) The liquid in the first glass will be converted to a fine crimson,
that in the second to a beautiful green, and that in the third to a purple.
In this experiment the changes take place as in the preceding ones. and
may be explained on the same principles of decomposition.

136
CHEMICAL AMUSEMENTS.
THE MAGIC SHRUB.
Place a sprig of rosemary, or any other garden herb, in a glass jar, so that
when it is inverted, the stem may be downward, and supported by the sides.
of the vessel; then put some benzoin acid upon a piece of hot iron, so hot
that the acid may be sublimed, which will rise in form of a thick white
vapour. Invert the jar over the iron, and leave the whole untouched
until the sprig be covered by the sublimed acid in the form of a beautiful
hoar frost.
Sublimation is the same as distillation, only we call it sublimation when
the product is collected in a solid form; the term distillation is applied to
liquids. In the above experiment we have a beautiful instance of sublima-
tion, the fumes of the acid rise and are condensed on the cold leaves of the
plant.
A LAMP WITHOUT FLAME.
Procure six or eight inches of platinum wire, about the hundredth part of
an inch in thickness; coil it round a small cylinder ten or twelve times, then
drop it on the flame of a spirit lamp, so that part may touch the wick and
part remam above it. Light the lamp, and when it has burned a minute or
two, put it out; the wire will then be ignited, and continue so long as any
spirit remains in the lamp.
Lamps manufactured on this principle are sold by some of the chemists in
London
THE EXPLODING TAPER.
If the light of a taper be blown out, and the taper be let down into a jar of
oxygen gas while the snuff (which should be a thick one) remains red hot, it
rekindles instantly with an explosion. When the taper is relighted, it con-
tinues to burn with a rapidity, a brilliancy of flame, and an evolution of light
truly wonderful.
THE GLOW-WORM IN GAS
Piace a glow-worm within a jar of oxygen gas, in a dark room; the insect
will become more active, and shine with greater brilliancy, than it does i
common air. Oxygen gas communicates a stimulus to the animal system;
and it is, probably, owing to this, that the glow-worm becomes more beauti-
ful in consequence of its being more active, as its luminous appearance is
supposed to depend entirely on the will of the animal.
THE CANDLE INVISIBLY EXTINGUISHY.D.
Place a lighted candle in the bottom of a jar which has its open part upper
most, (the jar being filled with atmospheric or common air,) then take a jau

CHEMICAL AMUSEMENTS.
137
filled with carbonic acid gas, and invert it over the jar in which the can-
dle is placed; th effect is very striking; the invisible fluid, being heavier
than atmospheric air, descends like water, and extinguishes the flame
The whole, to spectators who have no idea of substance without sensible
matter, having the appearance of magic.
TO MAKE WATER BOIL BY COLD AND CEASE TO BOIL BY HEAT
Half fill a Florence flask with water, place it over a lamp, and let it boil
for a few minutes, then cork the mouth of the flask as expeditiously as pos-
sible, and tie a slip of moist bladder over the cork to exclude the air. The
water being now removed from the lamp, the ebullition will cease, but may
be renewed by pouring cold water gradually upon the upper part of the
flask; but, if hot water be applied, the boiling instantly ceases. In this
manner the ebullition may be renewed, and again made to cease, alternate-
ly, by the mere application of hot and cold water.
We shall, in this place, be more elaborate than usual, and give our young
friends the theory of what causes the above phenomenon. Be it known, then,
to all who are not previously acquainted with the fact, that water boils at 212
degrees under the common pressure of our atmosphere: now, if the atmos-
phere, or a part of it, were removed, the pressure on the surface would be
less, and the consequence would be that water would boil at a much lower
temperature; and this leads us to an explanation of what takes place in the
foregoing experiment. We fill a flask half full of water, and boil it for a few
minutes over a lamp, the steam which rises forces out the atmospheric air,
and occupies its place; we then remove the lamp, and secure the flask so
as to prevent the readmission of atmospheric air. If cold water be now
poured over that part of the flask occupied by the steam, the cold will con-
dense the steam, which will trickle down the sides of the flask, and mix with
the liquor below; the steam being thus condensed, a vacuum is formed
above the surface. The water, having then no pressure of atmospheric air
or steam, commences boiling afresh; but if hot water be now poured upon
it, the steam again occupies the surface, and the boiling ceases.
A LIQUID PRODUCED FROM TWO SOLIDS.
Mix equal portions of sulphate of soda and acetate of lead, both in fine
powder: let them be well rubbed together in a mortar, when the two solida
will operate upon each other, and a fluid will be produced.
A SOLID PRODUCED FROM TWO LIQUIDS.
If a saturated solution of muriate of lime be mixed with a saturated solu
on of carbonate of potash, (both transparent liquids,) the result is the forma

138
CHEMICAL AMUSEMENTS.
ion of an opaque and almost solid mass. If a little nitric acid be added to
the product, the solid mass will be changed to a transparent fluid.
These two last experiments were formerly called chemical miracles, but
the present scientific age no longer consider them so, it being now well
ascertained that the changes which take place are occasioned by chemica
decomposition, or the action of one salt upon another.
THE LITTLE GAS-FACTOR.
Put a le coal into the bowl of a common tobacco-pipe, stop the mouth
of it up with clay, and place the bowl in a fire; as soon as the coal becomes
heated, a small stream of gas will issue from the top of the pipe. If he put
a candle to it, the gas will light and burn for sometime, sufficiently brilliant
to illummate the study of
The little Gas-factor.

ההון.
SKATING.
"O'er the ice as o'er pleasure, you lightly should glide,
Both have gulfs, which their flattering surfaces hide.”
SKATING is by no means a modern pastime, and probably the in-
vention proceeded rather from necessity than the desire for amuse-
ment. It was the boast of a northern chieftain, that he could traverse
the snow upon skates of wood. Some traces of Skating are found in
the thirteenth century, at which period it was customary in the winter,
when the ice would bear them, for the young citizens of London to
fasten the leg bones of animals under the soles of their feet, by tying
them to their ankles, and then taking a pole shod with iron into their
hands, they pushed themselves forward by striking it against the ice,
and moved with celerity, equal, says an old author, "to a bird flying
through the air, or an arrow from a cross-bow"; but some allowance,
we presume, must be made for the poetical figure.

140
SKATING.
The wooden Skates, shod with iron or steel, which are bound about
the feet and ankles like the talares of the Greeks and Romans, were
most probably brought into England from Holland, where they are said
to have originated, and where, it is well known, they are almost uni-
versally used by persons of both sexes, when the season permits. In
the Encyclopedia Britannica, it is asserted that Edinboro' has produced
more instances of elegant skaters than perhaps any other country
whatever; and the institution of a Skating Club there has contributed
not a little to the improvement of this amusement. Strut, in noticing
this, observes, that when the Serpentine river in Hyde park was frozen
over, he saw four gentlemen there dance, if the expression may be al-
lowed, a double minuet, in skates, with as much ease, and perhaps
more elegance, than in a ball-room; others again, by turning and win-
ding with much adroitness, have readily in succession described upon
the ice all the letters of the alphabet.
THE SKATE.
Skates are of various forms, and differ in their make, according to
the several countries in which they are used. In England, where they
are intended for amusement only, a much lighter description is made
than in Holland or Russia, where, in the winter, they form one of the
principal modes of travelling, even for great distances. The shape of
the Iron gives the peculiar feature to the skate. In the northern coun-
tries it is made to project six or eight inches beyond the wood, and
curl upwards at the extremity, to nearly the height of the knee. In
Lapland the iron projects nearly two feet. The reason for this is very
clear, it enables the skater to glide easily over the hillocks of ice or
snow, which invariably collect on the rivers in those climates ; were
the irons not made so, the inhabitants could not travel on the ice with
safety to themselves, or to the various artieles which they sometimes
carry it being a common oceurrence for women to skate to market,
carrying on their heads a basket full of eggs.
Skates are made fluted or plain. For young beginners the former
are preferable, as regards safety; but with the latter only can velocity
and elegance of movement be acquired. The blade of the skate should
not project much beyond the wood, or, when the skater bears forward,
the hind part of the foot will be raised too much from the ice, the back
of the leg liable to become cramped, and the power of striking out
greatly decreased. A quarter of an inch in thickness, and about three-
quarters of an inch in height, are proportionate dimensions for the blades
of skates. High bladed skates are dangerous for heginners, and re-
quire considerable exertion of the muscles to keep the ankle stiff.
while the nearer the feet are brought to the ice, without risking their
contact, the less will be that strain, and the greater the facility of mov-

SKATING.
141
ing in all directions. The blades should be slightly curved at the bot-
tom, as this form assists the skater in turning either heel or toe out-
wards or inwards with rapidity. Previously to going on the ice, the
learner should practise, both walking about with his skates on,
balancing himself on either feet.
and
FASTENING THE SKATES. The old-fashioned broad ankle strap,
with two large rings, is now but little used. It pressed so much on
the back part of the ankle, as to prevent the play of the foot, and fre-
quently gave much pain. Having bored a hole in the heel of each boot
just large enough to receive the pegs, fold your handkerchief up into
a pad, on which kneel with your right knee, and put on the left skate
first. Then kneel on the left knee while adjusting the right skate.-
The long single strap, passed twice through the skate and crossed on
the foot, is found to be sufficient, provided the skate be well fastened
into the heel of the boot; a back-strap however may be used by be-
ginners. The best mode is to have the skate well screwed to the sole
of a lace-up boot, this is the method adopted by the members of the
Skating Club in London. The spring skate, in which there is no
wood, is preferred by some to all others.
HOW TO START OFF, AND TO STop.
When your skates are strapt, rise up, stand on your heels, and stamp
them on the ice to fix the foot firmly; then strike out, at first slowly,
with the right foot, leaning on the inside edge of the skate, and bend-
Fig. 1.
Fig. 2.
Fig. 3.
N
C

142
SKATING.
ing slightly forward. When you have slid about two yards on thai
fout, put the other on the ice, and gently throw your weight upon it.
striking out in the same manner upon the inside edge, and so on with
each foot alternately. Fig. 1 represents the attitude of a learner at
first starting off. When you wish to stop, raise the toes from the ice,
and rest on your heels as in Fig. 2. Bend the body forwards gradually.
and do not attempt to lean backwards, the certain consequence of which
would be a severe fall. A stick is used by some beginners to steady
themselves, but we do not advise it. It is better, at first, to have the
support of a companion who can skate, (Fig. 3.) and by degrees he
may leave you to your own exertions; above all things, do not be dis-
heartened by a few falls.
HOW TO PERFORM THE VARIOUS EVOLUTIONS.
Before the skater attempts to cut figures and other devices, he must
be able to skate on the outside edge of the skate, to skate backwards,
and to turn round. The outside edge' implies what it is by its
name ; when acquired, it sends you exactly in opposite directions, on
both sides, to what the inside edge' does: In explanation :-Suppose
that you are skating on the right foot, it is easy to turn to the left, but
not so to the right, to effect which you must use the outside edge, by
striking out upon it either foot, inclining at the same time the skate,
Fig 4.
(
Fig. 5.
the leg, the body, and the head, toward which
ever side you are skating, holding the other
foot raised up behind, and rounding the arms.
The right hand
should be raised
towards the head
in skating on the
left outside edge,
and the left hand
when skaking on
the right outside
edge, as in Fig. 4.
The most difficult
forward movement
is the cross outside
edge,which is done
by passing one leg
across the other,
and striking out with the foot as it comes
down on the ice. As the foot on which you
first rested disengages itself (which it will
do as you proceed) from the crossed-leg po-

SKATING.
143
sition, throw that leg over the other, and, by continuing this, you will
soon learn to sweep round on either side with ease. Fig. 5. This is
called the Mercury Figure.
The salute in a right line is not easy of execution. Having first
struck out, you must place the feet in a horizontal line, elevating and
rounding the arms. Continue the movement as long as you can, or
think fit to do so. This attitude, though difficult, is frequently practi-
sed by good skaters.
The salute in a curved line is much easier. Having started, you
put your feet in the position you would adopt to describe the salute
in a right line, (see Fig. 6.) only less horizontally. The head and
Fig. 6.
body must be upright, the arms rounded, the
hands placed on the haunches; in this posi-
tion you describe a circle. You then draw
yourself up, the knees having become slightly
bent, and, raising the right or left foot, pre-
pare for another evolution; as either striking
out straight forward, or towards one side.
To describe circles and curves will be found
the most graceful and useful of evolutions.
To describe a curve on the outside edge for-
wards, fix on some point as a centre, and
take a run proportioned to the number of curves
you propose describing. Strike out on the
outward edge, turning in a curve round the
centre fixed up-
on. Your eyes
Fig. 7.
.nust look towards the shoulder opposite
that which directs the general move-
ment of the side on which you turn ;
your arms must be extended; the one
directing the movement should be rais-
ed above the head, and the other held
downwards, in the direction of the leg
describing the curve. (Fig. 7.) The
hips must be kept in, and the leg on
which you are propelled bent slightly at
the knee-joint. The opposite leg must
also be bent, and thrown backwards, to
modify by its weight and position the
impulse forward, and to insure your e-
quilibrium.
To describe a curve or circle on the
inside edge forwards, you must select a
t
3

144
SKATING.
Fig. 8.
small piece of cork, or any other
light body, as a centre, take a suf-
ficient run, and strike out on the
inward edge. Your head and body
must be in the position described
for outward curves, only the leg on
which you skate must not be hent.
The opposite leg should be almost
stiff, and the foot about 18 inches
from the one you rest upon. Fig. 8.
Curves on the inside edge are ter-
minated by stopping in the usual
manner; but if you desire to pi-
rouette, or turn round, you throw
the foot on which you do not skate
over that on which you do, and,
from the impulse given to your bo-
dy in order to describe the curve,
you spin round on the middle of
the skate as on a pivot. After hav-
ing done this a few times, you bring down the foot you are not revolv-
ing on, and proceed to other evolutions.
To skate backwards, you must incline the head and body slightly for-
ward, in order not to lose the centre of gravity. Strike out behind on
each foot alternately, and raise the heel of the skate slightly up from
the ice (Fig. 9.) By this operation each foot will describe an are or
segment of a circle. Should you feel to be losing your equilibrium,
bring both skates together on the ice.
This evolution is performed sometimes on
one foot, sometimes on the other, and occa-
sionally on both together, by the help of a
slight motion of the hips.
Retrograde or backward curves differ from
ordinary curves by their direction only and
at first sight appear difficult, because a per-
son cannot move backwards with the same
facility that he can go forward. When how-
ever you are nsed to this manner of skating,
it will appear natural and tolerably easy of
execution. The backward curve is of equal
importance with the ordinary curve on the
outside edge, and constitutes the base of all
retrograde or backward figures. In this ev-
olution the position of the arins and head is
Fig. 9.
ધી

SKATING.
145
WW
Fig. 10.
not the same as for the ordinary curve on the
outside edge. When executing the outward re-
trograde curve, your face must be turned towards
the left shoulder, and the right hand raised towards
the head. Fig. 10. The reverse takes place for
the movement to the left, and the inverse generally
when the motion is forward instead of hackward.
The backward curve may be extended to circles,
spiral rings, as shown by Figs. 11 and 12, and be
finally concluded by the pirouette.
The oblique stop is the most proper to adopt
when you are skating backwards. In order to
perform it, when engaged in a retrograde move-
ment, you bring down on the ice in an oblique
and transverse position the skate on which you
are not resting, stiffening at the same time the
the leg you thus bring down. See Fig. 13 on the
next page. The effect of this manœuvre is prompt and certain, and
the only variation it admits of is, that it can be performed on either
foot.
To turn round, bring either heel behind the other, and you turn
as a matter of course.
By carefully attending to the above directions, with practice, you
will be able to cut the numerical figures, or any device that you may
wish. The Figure 8 is the best practice, and is described by com-
Fig. 11.
Fig. 12.

146
SKATING.
Fig. 13.
pleting the circle on the outside edge for-
ward. This is performed by crossing the
legs, and striking from the outside instead
of the inside edge. To cross the legs, the
skater, as he draws to the close of the stroke
on his right leg, must throw the left quite
across it, which will cause him to press
hard on the outside of the right skate, from
which he must immediately strike, throwing
back the left arm, and looking simultane-
ously over the left shoulder, so as to bring
him well upon the outside edge of the left
skate. The 8 is formed by completing a
perfect circle, in the manner described, on
each leg, before changing the foot. The fig-
ure 3, which is performed on the inside edge
backwards, may next be practised.
CONCLUDING OBSERVATIONS.
The young skater should avoid both very rough and very smooth
ice. He must be fearless, but not too violent in his motions, and
should never be in a hurry. He must avoid looking downwards to see
how his feet act, and should recover his balance between each stroke.
For safety his body may be bent. slightly forward during his first es-
says, but when he has acquired sufficient confidence, he should bear
himself erect, carry his head well up, and always turn his face in the
direction of the line he purposes describing.
He should wear flannel next his chest to absorb the perspiration
caused by the exercise, and avoid skating against the wind, if of a del-
icate constitution. When unexpected danger arises, he should strive
to be perfectly collected. If surrounded by rotten ice he must crawl on
his hands and knees, that the support of his weight may be distribu-
ted. If he fall upon rotten ice at full length, he must roll away from
it towards firmer ice; and should he be so unlucky as to get into a
hole, he must extend both arms outwards in opposite directions upon
the surface of the ice, and tread water until assistance come. A plank
or ladder offer the best means of extrication, either being easily pushed
along the ice'; or a rope may be thrown to the person immersed ; but
we hope our young readers by prudence and caution will avoid the ne-
tessity of their application.
3B

The Conjurer.


LEGERDEMAIN.
We cannot, if our
fife depended on it, remember where we first saw the greatest author of the
day, nor when, within three or four years, we first shook the " great
captam of the age" by the hand; but the memory of that moment, which
revealed to our delighted young gaze the mountebank in all his glory of
grimace, is as fresh within us, nay, more so, than if it were only a fruition of
the last past hour. The recollection of an event, one of the most weighty
and influential, perhaps, of our whole life, which took place some ten years
ago, or thereabout, has almost departed from us; we cannot, mentally, and
without a blunder, con it over fact by fact in regular order, as we often da
the first exhibition of Legerdemain that we ever witnessed ;--we see only
disjointed portions of it huddled confusedly together-the shadow of the
event, vague and indistinct as the morning vapor, flits occasionally before
О

150
LEGERDEMAIN.
our mind's eye,
but the substance itself is almost buried in oblivion ;-while
every feature of that seeming magician, who swallowed fire-kept it alive
and brilliant below the surface of water,-enacted other feats of apparent
dominion over the e.ements,-caused dumb figures to give proper answers
to all sorts of questions, padlocked an urchin's cheek, and in a hundred
ways cheated our eyes, before we had well worn out our second suit of boy's
clothes, is as well remembered, as though we had never ceased to look
upon him. He has long since been dead -his body is no more; but in an
instant we can conjure up his image, as he stood before us, smiling conten-
tedly, while bathing his hands in molten lead! The very order of the won-
ders he performed has not yet escaped us, and we doubt not, but that should
we live to be gray-headed, we shall ever be able to tell the color of his eyes,
-the precise position of a mole which he had on his face,-the first, second,
third, fourth, and so on, up to the twentieth feat which he exhibited. He
was an itinerant quack doctor's Jack Pudding,-a mountebank, as we after-
wards ascertained; but, at that time, we had not the least idea of who or
what he could be. It was evident, to our unpractised eye, that he was not
a mere mortal; for, no man, as we thought, innocent as we were, could by
any possibility conjure a shilling, which we held fast in our hand, into one of
our little school-fellows' pockets, or make a haberdasher's shop of his mouth,
and draw from it dozens upon dozens of yards of ribbons of all colors, and
at the option of those around him; we could not conceive that human flesh
could withstand red-hot iron, or that any power short of witchcraft could re-
move a thing from before our eyes, which were all the time earnestly fixed
on it, without our seeing its motion. What virtue was there, we reasoned
thus, in "Hiccus doctius!" when uttered by the lips of another? But no
sooner did he pronounce those mysterious words, than money danced about
as if it possessed life. Would "Crinkum Bovis, Domine Jovis !?' restore a
chicken to life after its head was cut off, were the phrase to come from any
but him? It was clearly impossible. What could he be then? Certainly
not a mere mortal; and if not-what was he? Here we were as much
involved and puzzled in conjecture, as a grave philosopher upon some learn-
ed and abstruse problem. The feat which mystified us most was this:-
He apparently devoured a piece of raw meat, and then actually, as it
seemed to us, swallowed a quantity of fire, as he said, to dress it-thus
making his stomach its own cook, and his inside, a kitchen!
Remembering, as we do, the delight we felt at this, our first glance at
Legerdemain, and the pleasure which we afterwards derived on sundry
occasions during the youthful period of our life, from similar, but still more
astonishing and scientific exhibitions, as well as the gratification it frequently
afforded us, when a boy, to play off certain feats of conjuring, which we had
earned from a highly-talented professor; and knowing, as we wel do, that
the youthful mind is, as ours once was, fond of this sort of recreations, we
3

LEGERDEMAIN.
15.
shall bestow even more than our usual pains in making this article as rich
and complete as can be consistent with the nature of our work. We thmk
that it would be by no means rash in us to pledge ourselves, that there is no
superior treatise on Legerdemain to be obtained; it is true, that there are a
few more bulky ones, but they contain so much useless matter, and accounts
of tricks which it is impossible to perform at all, or, at any rate, by
the rude, antiquated instructions which they afford, that one half of them is
useless. The following pages will, we trust, be found to contain everything
that is valuable in this art, unencumbered with dross. We have brought a
tolerable share of knowledge on this matter, to the preparation of "Feats of
Legerdemain ;" we have also gleaned the cream of several old and scarce
works, and translated many choice recreations from foreign publications on
this subject. Several friendly contributions have been afforded to us ; and
what is of the greatest value, we have been favored with the assistance of
some eminent and highly popular professors of the art; so that, we are en-
abled to present to our young readers a collection of conjuring tricks, which is
at once copious and select. Our object has been, not only to facilitate the
acquisition of such a variety of amusing feats, as will render him, who is
enabled to exhibit them, a parlor magician, but also to instruct our young
readers in the mode of performing several master-pieces of Legerdemain,
which require considerable agility, and expensive apparatus, so that they
may understand the means of effecting the apparent wonders displayed by
the public professors of the art. In addition to the Feats of Legerdemain,
we have devoted several of our pages to descriptions of various Automata
and Androides, which have been exhibited to the public. The Marion-
nettes, or figures, whose motions are governed by strings, are too simple for
a lengthened notice: it is true, that, among the ancients, they were deemed
of importance sufficient to be exhibited in their public shows, but they are
now mere toys, of which every lad knows the construction; for there are
few who have not at one time or other possessed, played with, and dissected
a pasteboard harlequin, or a bleeding nun. An improvement has lately
been made on these juvenile Marionettes, which, while we are on this.
subject, is perhaps deserving of notice. The limbs, body, and head of a
comic figure, are drawn and colored on a piece of paper, cut out, and
gummed separately to a piece of card of similar dimensions; they are then
united by bits of thread, which, acting as hinges, suffer them to play loosely,
and in various directions, when the body is moved. A piece of dark twine
is fastened, by its middle, to the back of the body; the ends are tied, by a
boy, just below his two knees; he sits, on a low stool, in a dark place, with
a light on the ground, a little in front of him-the spectators standing at
some distance from the light. By moving his knees quickly to and from
each other, a variety of grotesque motions is given to the Marionnette, which
dances, apparently, without assistance.

152
LEGERDEMAIN.
We doubt not but that this part of the work will be a favorite amuse
ment with our readers, and that it will afford much innocent annusement
during the long evenings of winter, around the comfortable parlor fire,
to many a little social circle. Such is our end and intent; and we assure
those who amuse themselves, whether alone or in society, with these Feats
of Legerdemain, that they are indulging only in what is often instructive,
generally agreeable, and always innocent.
We must detain our readers from the practical instructions, to make a
few more observations, which are necessary, as well on our own behalf as
for their benefit. We wish it to be remembered, that in addition to the
matter contained under this title, many excellent scientific recreations, which
will be accounted capital conjuring tricks, are to be found in the preceding
pages, among the Chemical, Arithmetical, and Optical Amusements, and
elsewhere in the work; where they are more properly placed than they
would be here; and to these we take leave to refer those who have an in-
clination to become " Magiciens de Societe."
THE POISED PENNY.
Place a smooth card on the tip of the middle finger of your left hand, and
on it, nicely balanced, and with its centre exactly over your finger's point, a
penny-piece. Then, by a smart fillip with the middle finger of your right
hand, you may strike away the card from under the penny, leaving the lat-
ter poised on the tip of your finger. A very little practice will enable you
to do this trick without ever failing. The card must be carefully struck,
so as to drive it straight off the finger; if you fillip it upward, it will, of
course, take the penny with it. (Vide cut at head.)
WATER BEWITCHED.
Pour some water into a plate, light a bit of loosely-crumpled paper, and
throw it into a glass; then turn the glass upside down, with the burning
paper in it, in the plate, and the water will gradually rise from the plate
into the glass, until the latter becomes half full, so that the surface of the
water it contains is much higher than that of what is left in the plate
FIRE UNDER WATER.
Fasten a small bit of wood across the mouth of a glass, stick therem a
piece of candle lighted, and, with a steady hand, convey the mouth to the
surface of the water; then push it carefully down, and the candle will burn
under the water; you may even bring the candle up again lighted. In the
same mammer, you may put a handkerchief, rolled tightly together, and it
will not be wet.

LEGERDEMAIN
153
The principal art in performing this trick, consists in the nicety of
bringing the mouth of the glass exactly level with the surface of the water;
for, if you put it in the least on one side, the water will rush in, and con-
sequently put out the candle, or, in the other case, wet the handkerchief;
so that a nice eye and steady hand are necessarily requisite for this per-
formance.
THE SENTINEL EGG.
Lay a looking-glass upon an even table; take a fresh egg, and shake 11
for sometime, so that the yolk may be broken and mixed up with the white.
You may then, with a steady hand, balance it on its point, and make it
stand on the glass. This it would be impossible to do while the egg was
in its natural state.
THE BRIDGE OF KNIVES.
To erect the bridge of knives, you must first place three glasses, or
small cups at the corners of a supposed triangle, and about the length of
2
3
one of the knives you use distant from
each other, upon a table, the floor, or
any even surface. Then take three
knives, and arrange them upon the
glasses in the manner represented by
the cut. The blade of No. 1 (as you
may perceive by inspecting the engrav-
ing) goes over that of No. 2, and the
blade of No.2 passes across that of No.
3, which rests on that of No. 1. The
knives being placed in this position, their blades will support each other.
EATABLE CANDLE-ENDS.
Peel some large apples that are rather of a yellow tint; cut severa!
pieces out of them in the shape of a candle-end, round, of course, at the
bottom, and square at the top; in fact, as much as possible, like a candle
that has burnt down within an inch or so. Then, cut some slips out of
the insides of sweet almonds, fashion them as much in the shape of sperma-
ceti wicks as you can, stick them into your mock candles, light them for ar
instant, so as to make their tops black, blow them out again, and they are
ready for use. When you produce them, light them, (the almond will
readily take fire, and flame for a few moments,) put them into your mouth,
shew and swallow them one after another. This may well be called the
juggler's dessert.

154
LEGERDEMAIN.
THE LITTLE FLOATING BEACON.
Fasten a piece of lead to the end of a candle which has been half bucnt;
place it very gently in the water, so that it may find its proper equilibrium;
then light it, and it will burn to the end without sinking.
THE RINGS AND RIBBONS.
Take two pieces of ribbon, precisely alike in length, breadth, and color;
double each of them, separately, so that their ends meet; then tie them to-
gether very neatly, with a bit of silk of their own color, by the middle, or
crease made in doubling them. This must all be done beforehand. When
you are going to exhibit this trick, pass some rings on the doubled ribbons,
and give the two ends of one ribbon to one person to hold, and the two
ends of the other to another. Do not let them pull hard, or the silk will
break, and your trick be discovered by the rings falling on the ground,
on account of the separation of the ribbons. Request the two persons to
approach each other, and take one end from each of them, and without
their perceiving it, return to each of them the end which the other had
previously held. By now giving the rings, which appeared strung on
the ribbon, a slight pull, you may break the silk, and they will fall into
your hand.
b
THE THUMB-STRING.
This is a very simple trick, but by performing it quickly, you may
surprise and puzzle a spectator very considerably. Wind a piece of string
round your thumb, thus :-Let one end of it (a)
drop between the thumb and fore-finger of your
left hand; then wind the other part, which you
retain in your right hand, two or three times
round your thumb; next, make a little loop (b)
with the same end, which hold between your
finger and thumb. Now let go the end, (c) and
take hold of the end, (a) which you must have
left about six or eight inches long, and you may
make a spectator fancy you pass it through the
loop, and take hold of it again, when so passed
through, in the twinkling of an eye. To increase the surprise, you may
make the loop as small as possible. This apparent piece of manual dex-
terity is performed by passing that end of the string marked a, as quickly as
possible round the top of the thumb, so as to come between the fore-finger
and thumb: it will thus get into the loop, and you will seem to have passed
the end through it.
α

LEGERDEMAIN.
155
400
WINE UPON WATER.
Half fil a glass with water, throw a bit of the crumb of a loaf into it,
about the size of a nut, pour some wine lightly on the bread, and you will
see the water at the bottom of the glass, and the wine floating at the top
of it.
THE CONJUROR'S JOKE.
Take a ball n each hand, and stretch your hands as far as you can, one
from the other; then state that you will contrive to make both the balls
come into either hand, without bringing the hands near each other. If any
one dispute your power of doing this, you have no more to do, than to lay
one ball down upon the table, turn yourself, and take it up with
hand. Thus both the balls will be in one of your hands, without their ap-
your other
proaching each other.
THE PERILOUS GOBLET.
To fill a glass with water, so that no one may touch it without spilling all
the water. Fill a common wine-glass or goblet with water, and place upon
it a bit of paper, so as to cover the water and edge of the glass; put the
palm of your hand on the paper, and taking hold of the glass with the other,
suddenly invert it on a very smooth table, and gently draw out the paper;
the water will remain suspended in the glass, and it will be impossible to
move the glass, without spilling all the water.
THE ENCHANTED COCK.
Bring a cock into a room with both your hands close to his wings, and
hold them tight; put him on a table, and point his beak down as straight as
possible; then let any one draw a line, with a piece of chalk, directly from
its beak, and all the noise you can possibly make will not disturb him, for
some time, from the seeming lethargy, which that position you have laid
him in has effected.
TO LIGHT A CANDLE BY SMOKE.
When a candle is burnt so long as to leave a tolerably large wick, blow
it out; a dense smoke, which is composed of hydrogen and carbon, will
immediately arise. Then, if another candle, or lighted taper, be applied to
the utmost verge of this smoke, a very strange phenomenon will take place;
the flame of the lighted candle will be conveyed to that just blown out, as if
it were borne on a cloud, or, rather, it will seem like a mimic flash of light
wing proceeding at a slow rate.

156
LEGERDEMAIN.
THE WONDERFUL RE-ILLUMINATION.
After having exhibited the trick of lighting a candle by smoke, privately
put a bit of paper between your fingers, and retire to one corner of the
જોગ
room with a single candle, and pass the
hand, in which you hold the paper,
several times slowly over the candle,
until the paper takes fire; then imme-
diately blow the candle out, and pre-
sently, pass your hand over the snuff,
and relight it with the paper
You
may then crumple the paper, at the
same time extinguishing the flame, by
squeezing it suddenly, without burning
yourself. If this trick be performed
dexterously, it is a very good one. It
is not necessary for the performance
of this trick that all the other lights
in the room should be extinguished; in fact, the trick is more liable to a
discovery in a dark room, than in one where the candles are burning, on
account of the light thrown out by the paper while it is burning, previous
to the re-illumination.
TO SUSPEND A RING BY A BURNT THREAD.
The thread having been previously soaked two or three times in common
salt and water, tie it to a ring, not larger than a wedding ring. When you
apply the flame of a candle to it, though the thread burn to ashes, it will
yet sustain the ring.
THE ANIMATED SIXPENCE.
To make a sixpence leap out of a pot. This is done by means of a long
black horse-hair, fastened to the rim of a sixpence, by a small hole driver
through it. This feat should be done by night, with a candle placed be-
tween the spectators and the operator, their eyes being thereby hindered
from discerning the deception.
THE FASCINATED BIRD.
Take any bird, and lay it on a table; then wave a small feather over
its eyes, and it will appear as dead, but taking the feather away, it will re-
vive again. Let it lay hold of the stem part of the feather, and it will
twist and turn like a parrot; you may likewise roll it about, on the table,
just as you please

LEGERDEMAIN
157
TO LIFT A BOTTLE WITH A STRAW.
Take a straw, and having bent the thicker end of it in a sharp angle,
as the figure subjoined, put this curved end into a bottle, so that the bent
to support the bottle.
part may rest against its side; you may
then take the other end and lift up the bot-
tle by it, without breaking the straw, and
this will be the more readily accomplished
as the angular part of the straw approaches
nearer to that which comes out of the bottle
It is necessary, in order to succeed in this
feat to be particularly careful in choosing a
stout straw, which is neither broken nor
bruised; if it have been previously bent or
damaged, it is unfit for the purpose
of performing this trick, as it will be too
weak in the part so bent, or damaged,
THE MOVING PYRAMID.
Roll up a piece of paper, or other light substance, and privately put into
it any small insect, such as a lady-bird, or beetle; then, as the creature will
naturally endeavour to free itself from captivity, it will move its covering
towards the edge of the table, and when it comes there, will immediately
return, for fear of falling; and thus, by moving backward and forward, will
excite much diversion to those who are ignorant of the cause.
THE PAPER FURNACE.
Enclose a bullet in paper, as smoothly as possible, and suspend it above
the flame of a lamp or candle; you will soon see it begin to melt and fall,
drop by drop, through a hole which it will make in the paper; but the pa-
per, except the hole mentioned, will not be burnt. The art of performing
this trick consists in using a smooth round bullet, and enclosing it in the
paper with but few folds or uneven places.
THE BOTTLE EJECTMENT.
Fill a small white glass bottle, with a very narrow neck, full of wine;
place it in a glass vase, which must previously have sufficient water in it to
rise above the mouth of the bottle. Immediately, you will perceive the wine
rise, in the form of a little column, toward the surface of the water, and the
water will, in the meantime, begin to take the place of the wine at the bot-
tom of the bottle. The cause of this is, that the water is heavier than the
vine, which it displaces, and forces to rise toward the surface.

158
LEGERDEMAIN.
THE BALANCED STICK,
Procure a piece of wood about the length of your hand, half an inch
hick, and twice as broad; within a short distance of one end of this piece,
thrust in the points of the blades of
two penknives of equal weight, in
such a manner, that one of them
may mcline to one side, the second
to the other, as represented by the
cut in the margin. If its other ex-
tremity be placed on the tip of the
finger, the stick will keep itself up-
right without falling; and if it be
made to incline, it will raise itself
again and recover its former situ-
ation. This is a very pretty per-
formance, and, if properly man-
aged, cannot fail to excite some
surprise in the minds of those who
behold it for the first time, as the
knives, instead of appearing to balance the stick, which they in fact do,
will rather appear to increase the difficulty of the feat.
STORM AND CALM.
Pour water into a glass until it is nearly three parts full; then almost fill
it up with oil; but, be sure to leave a little space between the oil and the
top of the glass. Tie a bit of string round the glass, and fasten the two ends
of another piece of string to it, one on each side, so that, when you take hold
of the middle of it to lift up the glass, it may be about a foot from your hand.
Now swing the glass to and fro, and the oil will be smooth and unruffled,
while the surface of the water beneath it will be violently agitated.
THE TRAVELLING EGG.
Take a goose's egg, and, after opening and cleansing it, put a bat into
the shell; glue it fast on the top, and the bat will cause the egg to move
about in a manner that will excite much astonishment.
THE DOUBLED COIN.
Half fill a glass of water, and put a shilling or a sixpence into it; cover
the g ass with a plate, upon which, place one hand, while you hold the
glass with the other; turn the glass upside down, so that none of the water
may escape; place it on a table, and you will see the coin, at the bottom,
larger than it is in reality, and another will appear, of the natural size, a
ittle above it.

LEGERDEMAIN.
159
THE TOPER'S TRIPOD.
A trick similar to the Bridge of Knives may be performed by three
tobacco-pipes, in the following manner :-Procure three common tobacco-
1
pipes; place the hollow part of
the bowl of one of them on the
table, as No. 1, and let its stem
be supported by another, placed
at No. 2; then put the other
pipe across Nos. 1 and 2, (as
No. 3,) so that its bowl end may
support the stem of No. 2, and
its own stem rest on the bowl
end of No. 3. This little tripod,
although constructed of such
brittle materials, will, if careful-
ly put together, support a jug
of foaming October. When
used to show that it will support a weight, the three bowls should be brought
considerably closer together than as represented in the marginal cut, so that
the bottom of the jug may rest upon all three of the stems.
3
THE KNOTTED THREAD.
Considerable amusement, not unmixed with wonder, may be occasioned
among a party of ladies, by a clever performance of this trick. It is most
frequently performed by a female, but the effect of it is considerably increas-
ed when it is displayed by a boy. A piece of calico, muslin, or linen, is
taken in the left hand, a needle is threaded in the presence of the spectators,
and the usual, or even a double or treble knot made at the extremity of one
of the ends of it. The operator commences his work by drawing the needle
and the thread in it quite through the linen, notwithstanding the knot, and
continues to make several stitches in like manner successively.
The mode of performing this seeming wonder, is as follows: a bit of
thread, about a quarter of a yard long, is turned once round the top of the
middle finger of the right hand, upon which a thimble is then placed to keep
it secure. This must be done privately and the thread kept concealed,
while a needle is threaded with a bit of thread of a similar length. The
thread in the needle must have one of its ends drawn up nearly close, and be
concealed between the fore-finger and thumb; the other should hang down
nearly as long as, and by the side of the thread, which is fastened under the
thimble, so that these two may appear to be the two ends of the thread
The end of the piece that is fastened under the thimble is then knotted, and
the performer begins to sew, by moving his hand quickly after he has ta-
ken up the stitch. It will appear as though he actually passed the knotted
thread through the cloth.

160
LEGERDEMAIN.
THE BOTTLE IMPS.
Get three little hollow figures of glass, an inch and a half high, representing
imps, or Harlequin, Co-
lumbine, and Pantaloon,
which may be obtained at
the glass-blowers, with a
small hole in each of their
legs. Immerge them into.
water contained in a glass
bottle, which should be
about fifteen inches high,
and covered with a blad
der tied fast over the top.
A small quantity of air
must be left between the
bladder and the surface of
the water. When you
think fit to command the
figures to go down, press
your hand hard upon the
top, and they will imme-
diately sink; when you
would have them rise to
the top, take your hand
away, and they will float
up. By these means, you may make them dance in the middle of the glass
at your pleasure.
THE BIRD IN THE BOX.
Get a box made with a false lid, on which glue some bird-seed; privately
put a bird into it, under the false lid; then show it, and it will seem to be
full of seed. Put on the true lid, and say,-"I will command all the seed
out of this box, and order a living bird to appear." Then, take off the
covers together, and the bird will be seen.
THE MULTIPLYING MIRROR.
This feat must be performed with a looking-glass made on purpose; the
manner of making it is this :-First, make a hoop, or fillet of wood or horn,
about the size of a half-crown piece in circumference, and about a quarter
of an inch in thickness. In the middle, fasten a bottom of wood or brass, and
bore in it several small holes, about the size of peas; then open one side of
this bottom, set in a piece of crystal-glass, and fasten it in the hoop close to

LEGERDEMAIN.
161
the bottom. Take a quantity of quicksilver, and put as much into the hoop
as will cover the bottom; then let into it another piece of crystal-glass, fitted
to it; cement the sides, that the quicksilver may not run out, and the appa-
ratus is complete. One side will reflect the beholder's face as a common
looking-glass; in the other it will be multiplied according to the number
of holes in the wood or brass.
THE BOGLE BODKIN.
Take a hollow bodkin, (or, if you prefer it, a dagger,) so that the blade
may slip into the handle as soon as the point is held upward. Seem to thrust
it into your forehead, (or, if a dagger, into your bosom,) then, after showing
some appearance of pain, pull away your hand suddenly, holding the point
downward, and it will fall out, and appear not to have been thrust into the
haft; but, immediately afterward, throw the bodkin, or dagger, into your
lap or pocket, and pull out another plain one like it, which will completely
deceive the spectators.
THE PRANCING DRAGOON.
Cut out the figure of a Dragoon, mounted, in wood; let the horse be in
a prancing position: put the hind-
legs on the edge of a table, and it
will, of course, fall off; but you can
prevent it from so doing, by adding
to its weight. For this purpose,
you must have a little hole made
in the centre of its belly, into which
run one end of a piece of wire, so
bent backward, that the other end
of it, to which a weight is fixed,
may be under the table The
Dragoon will not only stand sate,
but you may put him in motion,
and he will prance up and down,
without there being the least dan-
ger of his falling. The wire should
be considerably longer in propor-
tion to the size of the horse than is
represented in the engraving in
the margin, if you wish the figure
to come much below the edge of the table when prancing. If it he no longer
than that shown in the cut, the horse's fore-legs can only descend to a
distance equal to that between the weight at the end of the wire, and the

162
LEGERDEMAIN.
bottom of the table on which the figure is set. In fact, the Dragoon nay
be made to descend lower, and rise higher, in proportion to the length of
the wire, if it be properly curved and fixed in the figure.
THE MYSTERIOUS BOTTLE.
Pierce a few holes, with a glazier's diamond, in a common black bottle;
place it in a vase or jug of water, so that the neck only is above the surface.
Then, with a funnel, fill the bottle, and cork it well, while it is in the jug
or vase. Take it out, and notwithstanding the holes in the bottom, it will
not leak; wipe it dry, and give it to some person to uncork. The moment
the cork is drawn, to the party's astonishment, the water will begin to run
out of the bottom of the bottle.
THE HALF-CROWN UPHELD.
Privately cut the rim of the edge which is raised to protect the face of a
half-crown, so that a little bit of the silver may stick up; take the coin in your
right hand, and by pressing it with your thumb against a door or wainscot,
the bit that sticks up will enter the wood, and thus support the half-crown.
THE BOWING BEAU.
Make a figure, resembling a man, of any substance, exceedingly light,
such as the pith of the alder tree, which is
soft, and can easily be cut into any form:
then provide for it an hemispherical base, of
some very heavy substance, such as the half
of a leaden bullet, made very smooth on the
convex part. Cement the figure to the plane
part of the hemisphere; and, in whatever
position it is placed, when left to itself, it will
rise upright. In this manner were construct-
ed those small figures, called Prussians, sola
at Paris: they were formed into battalions,
and being made to fall down, by drawing a
rod over them, they immediately started up
again as soon as it was removed. We think,
that the figure of a beau, or master of the
ceremonies, is much more appropriate for
this trick, than that of a soldier; as the latte:
seldom hows, while, by the former, the most
profound inclinations are often performed
By moving it once downward a succession of bows may be produced.

LEGERDEMAIN.
163
THE WONDERFUL WAFERS.
On each side of a table-knife, place, in the presence of your company,
hree wafers. Take the knife by the handle, and turn it over two or three
times, to show that the wafers are all on. Desire some person to take off
one wafer from one side of the blade; turn the knife two or three times
again, and there will appear only two wafers on each side; remove another
wafer, turn the knife as before, and there will appear only one wafer on
each side; take the third wafer away, turn the knife as before twice or
thrice, and there will appear to be no wafer on either side. After a mo-
mentary pause, turn the knife again two or three times, and three wafers
will appear on each side.
The secret of this capital trick consists in using wafers of the same size
and color, and turning the knife, so that the same side is constantly pre-
sented to the view, and the wafers are taken off that side, one by one. The
three wafers will thus remain untouched on the other side, so that when you
have first made it appear that there are no wafers on either side, you may,
apparently, show three on each, by the same means. The way to turn the
knife is as follows; when you lift it up, turn it in your hand, with your finger
and thumb, completely round, until the side that was uppermost when you
lifted it, comes uppermost again. This is done in an instant, and is not
perceptible, if adroitly managed.
THE COUNTER CHANGED.
Take two papers, three inches square each, divided into two folds, of
three equal parts on each side, so as each folded paper remain one inch
square; then glue the back part of the two together, as they are folded, and
not as they are opened, so that both papers seem to be but one, and which
side soever you open, it may appear to be the same; if you have a sixpence
in one hand, and a counter in the other, show one, and you may, by turn-
ing the paper, seem to change it.
THE CUT LACE JOINED.
Conceal a piece of lace in your hand; then produce another piece of the
same pattern; double the latter, and put the fold between your fore-finger
and thumb, with the piece which you have previously concealed, doubled in
the same manner; pull out a little of the latter, so as to make a loop, and
desire one of the company to cut it asunder. If you have conveyed the con
cealed piece of lace so dexterously as to be undetected, with the other be-
tween your Jumb and fore-finger, the spectators will, naturally enough,
lunk you have really cut the latter; which you may seem to make whole

164
LEGERDEMAIN
again, while repeating some conjuring words, and putting away the two
ends of the piece that is actually cut.
THE WIZARD'S CHARiot.
This trick will call your mechanical abilities into play. First, get a piece
of board, planed quite smooth; fasten a cross-piece under it, to support it in
the position indicated by
the cut. At the upper
edge of the slanted piece,
fix two little pulleys, the
use of which may, at a
glance, be seen by the
engraving. Next, con-
struct two little coaches,
carts, or classical trium-
phal chariots; let the
wheels of one of them be
considerably larger than
those of the other; they
must, however, be pre-
cisely the same weight,
or,
if
not, you must load
one with shot to make it
equal, in this respect, to
the other. Do your
work so neatly, that the wheels of each may run equally well on their respec-
tive axles. Next provide two lumps of lead, which must tally with each other
to a scruple, and be sufficiently heavy to pull the chariots up the plane. Fix
a piece of thread to the front of each of the chariots; pass these threads
through the pulleys, and fasten one of your weights to each of them. The
threads, be it remarked, should be long enough only to reach from the
chariots, when placed at the foot of the inclined board, through the pulleys to
the leads; and the board should be so inclined, that the distance from the
pulleys to the ground be precisely the same as that of the chariots to the pul-
leys. Your apparatus being thus ready, weigh the chariots together, and
afterwards the leads in the presence of the spectators, that they may be
satisfied they are equal, and let them inspect your apparatus, to see that all
is fair then start your chariots, and, notwithstanding the equality of their
weights, and the equality of those of the leads, one of them will considerably
outstrip the other; the chariot with the highest wheels will always be the
winner of the race. This mechanical truth is unknown to many, and may
if properly managed, produce much surprise.

LEGERDEMAIN.
165
THE SIMPLE DECEPTION.
Stick a little wax upon your thumb, take a by-stander by the fingers, show
nn a sixpence, and tell him you will put the same into his hand; then wring
is down hard with your waxed thumb, and, using many words, look him in
the face; suddenly take away your thumb, and the coin will adhere to it;
then close nis hand it will seem to him that the sixpence remains; now tell
him to open his hand, and, if you perform the feat cleverly, to his great
astonishment, he will find nothing in it.
PHILOSOPHY CHEATED.
This feat is really an excellent one, and has astonished crowds of specta-
tors in London, and different parts of the United Kingdom. It was one of
the favorites of a late popular professor, and is now first promulgated.
Before you perform it in public, you must practice it, until you are quite
perfect, in private, for it would be a pity to spoil its effect by making a blun-
der in it. Begin by stating very seriously, what is a well-known fact, that if
a bucket full of water be hurled round his head by a man, who is sufficiently
strong, none of the water will fall out. If this be at all discredited, be pre-
pared not only to support your assertion, but to carry the point still further,
by placing a tumbler full of any liquid in the inside of a broad hoop, which
you hold in your hand by a small piece of string fixed to it, and twirling it
round at your side. If you do this with velocity, although the tumbler, in
the circles made by the hoop, is frequently quite bottom upward, it will
neither fall from the hoop, nor will any of the water be spilt. To do this,
however, requires even more practice than the trick which it prefaces; as,
although there is no difficulty in it while the hoop is m rapid motion,
yet there is some danger until you are rendered expert by practice,
of the tumbler's falling, when you begin to put the hoop in motion, and
when you wish to stop it. If, therefore, you are not perfectly capable
P

166
LEGERDEMAIN.
of doing it, state the fact only, which some or other of your auditors will
most probably support, as it is pretty generally known. You now go on to
say, that the air, under the water in the glass, when it is topsy-turvy, keeps
it in: and that, upon the same principle, if you can turn your hand, upon
which you place a piece of thin wood, (about one inch broad, and six inches
long,) sufficiently quick, although the back be uppermost, the air will actually
keep the wood up against the palm of your hand, without any support.
This they will be readily inclined to believe; the more philosophical the
party is, the more easy may you lead
them to credit your assertion. They
will, however, doubt your being pos-
sessed of sufficient manual dexterity
to perform it quick enough.
you
We must now tell how it is to be
done :-Lay the piece of wood across
the palm of your left hand, which keep
wide open, with the thumb and all the
fingers far apart, lest you be suspected
of supporting the wood with them.
Next, take your left wrist in your right
hand, and grasp it tightly, for the pur-
pose, as you state, of giving the hand
more steadiness. Now, suddenly turn
the back of your left hand uppermost, and, as your wrist moves in your right
nand, stretch out the fore-finger of your right hand, and as soon as the wood
comes undermost, support it with such fore-finger. You may now shake
the hand, and, after a moment or two,
suffer the wood to drop. It is two to
one but the spectators will admit it to be
produced by the action of the air, as you
had previously stated, and try to do it
themselves; but, of course, they must,
unless you have performed the feat so
awkwardly as to be discovered, fail in its
performance. If you have no objection
to reveal the secret, you can do it again,
and, while they are gravely philosophi-
zing upon it suddenly lift up your hand,
(vide cut,) and expose the trick. This
will, doubtless, create much amusement.
Observe that in doing this feat, you must
keep your fingers so low, that no one
can see the palm of your left hand; and

LEGERDEMAIN.
167
meve your finger so carefully, that its action may not be detected; and if it
be not, you may rest satisfied that its absence from round the wrist of the
left hand will not be discovered, some of the fingers being naturally sup
posed to be under the coat; so that, if the spectators only see two or ever
one, they will imagine the others are beneath the cuff. There is one other
observation necessary before we conclude; it is this, when you have turned
your hand over, do not keep the stick too long upheld, lest the spectators
should take hold of your hands, and discover the trick; before their aston-
ishment has ceased, adroitly remove your fore-finger, and suffer the stick
to fall to the ground.
THE LOCKED JAW.
A lock is made for the purpose, similar to the cut; that side of its bow
B
C
E
D
A
marked A, must be fix-
ed; the other, B, must
be pinned to the body of
the lock, at E; so that it
may play to and fro with
ease. This side of the
bow should have a leg,
with two notches filed
on the inner side, which
must be so contrived,
that one may lock or
hold the two sides of the
bow as close together
as possible, and the oth-
er notch hold them a
proportionable distance
asunder, so that when
locked upon the cheek
they may neither pinch
too hard nor yet hold it
so slightly that it may
be drawn off. Let there
be a key, D, to it; and,
lastly, let the bow have
several notches filed in
it, so that the place of
the partition, when the
lock is shut, may not be
suspected. You must get a person to hold a shilling between his teeth; then
take another, and, with your left hand, offer to set it edge-wise between a

168
LEGERDEMAIN.
second person's teeth, pretending that your intent is to turn both into which
of their mouths they please. This will afford you a fair opportunity of put-
ting on your lock.
THE RESTORED THREAD.
Take two pieces of thread, one foot in length each; roll one of them round
like a small pea, which put between your left fore-finger and thumb. Now,
hold the other out at length, between the fore-finger and thumb of each
hand; then let some one cut the same asunder in the middle; when that is
done, put the tops of your two thumbs together, so that you may, with less
suspicion, receive the thread which you hold in your right hand into your
left, without opening your left finger and thumb. Then, holding these two
pieces as you did before, let them be cut asunder in the middle also, and
conveyed again as before, until they be very short; then roll all the ends
together, and keep that ball of thread before the other in the left hand, and
with a knife, thrust the same into a candle, where you may hold it until it
be burnt to ashes; pull back the knife with your right hand, and leave the
ashes, with the other ball, between your fore-finger and thumb of your left
hand, and with the two thumbs and fore-fingers together, rub the ashes,
and at length, draw out that thread which has been all this time between
your fore-finger and thumb.
THE LONG PUDDING.
The following is a famous feat among those mountebanks who travel the
country with quack doctors. This pudding must be made of twelve or thir-
teen little tin hoops, so as to fall one through another, and little holes should
54
321
be made at the
biggest end, so that
it may not hurt
your mouth: hold
it privately in your
left hand, with the
whole end upper-
most, and, with your right hand, take a ball out of your pocket, and say,
"if there be any old lady that is out of conceit with herself, because her
neighbours deem her not so young as she would be thought, let her come to
me, for this ball is a certain remedy; then seem to put the ball into your
left hand, but let it slip into your lap, and clap your pudding into your mouth,
which will be thought to be the ball that you showed them; then decline
your head, open your mouth, and the pudding will slip down at its full length,
with your right hand, you may strike it into your mouth again: after having
done this three or four times, you may discharge it into your hand, and put

LEGERDEMAIN.
169
into your pocket without any suspicion, by making three or four wry faces
after it, as though it had been too large for your throat.
THE EGG-BOX.
B
The egg-box is made in the shape of two bee-hives, placed together, as
A: the inner shell B, is covered with half the shell of a real egg; the upper
shell C, is of the same shape, but larger, being, in fact, the lid or upper part
of the box, of which D is the lower. Place C, which is the outward
shell, upon B, and both upon D, which arrangement puts all in readiness
for the performance of the trick. Now call for an egg, and bid all the
oystanders look at it, to see that it is a real one. Then take off the
upper part, B C, with your fore-
finger and thunb, and placing the
egg in the box, say, "Ladies and
gentlemen, you see it fairly in the
box;" and, uncovering it again, say,
"You shall see me fairly take it
out;" putting it into your pocket
in their sight. Now open your
box again, and say, "There's
nothing;" close your hand about
the middle of the box, and taking C off without B, say, "There is the egg
again ;" which will appear to the spectators to be the same that you put in
your pocket; then, put C on again, and taking C, together with the inner
shell, B, off again, say, "It is gone again ;" and such will appear to
be the fact.
THE OBEDIENT WATCH.
Borrow a watch from any person in company, and request the whole to
stand round you. Hold the watch up to the ear of the first in the circle,
and command it to go; then demand his testimony to the fact. Remove
it to the ear of the next, and enjoin it to stop; make the same request to that
person, and so on throughout the entire party.
Explanation. You must take care, in borrowing the watch, that it be
a good one, and goes well. Conceal in your hand a piece of loadstone,
which, so soon as you apply it to the watch, will occasion a suspension of
the movements, which a subsequent shaking and withdrawing of the magnet
will restore. For this purpose, keep the magnet in one hand, and shift the
watch alternately from one hand to the other.
P

170
LEGERDEMAIN.
THE FLIGHT OF THE RING.
You may cause a rug to shift from one hand to another, and make it go
on any finger required & the ouer hand, while somebody holds both your
arms, in order to prevent communication between them, by attending to
these instructions :-Desire some lady in company to lend you a gold ring,
recommending her, at the same time, to make a mark on it, that she may
know it again. Have a gold ring of your own, which fasten by a small
piece of catgut-string to a watch-barrel, and sew it to the left sleeve of your
coat. Take the ring that is given you in your right hand; then putting,
with dexterity, the other ring fastened to the watch-barrel, near the entrance
of
your sleeve, draw it privately to the fingers' ends of your left hand.
During this operation, hide the ring that has been lent to you between the
fingers of your right hand, and fasten it dexterously on a little hook, sewed
for the purpose, on your waistcoat, and hidden by your coat. After that,
show your ring, which hold in your left hand; then ask the company on
which finger of the other hand they wish it to pass. During this interval,
and as soon as the answer has been given, put the before-mentioned finger
on the little hook, in order to slip the ring on it; at that moment let
go the
other ring, by opening your fingers. The spring which is in the watch-
barrel, being confined no longer, will contract, and make the ring slip under
the sleeve, without anybody perceiving it, not even those who hold your
arms; as their attention will be occupied to prevent your hands from com-
municating. After this operation, show the assembly that the ring is come
on the other hand; and make them remark that it is the same that had been
lent to you, or that the mark is right. Much dexterity in st be made use of
to succeed in this entertaining trick, that the deception m not be suspected
THE DEMI-AMPUTATION.
Provide yourself with two knives, a true and false one, (vide curad
when yo
this feat
true kn
your pocke
taking out
false one, pla
on your wrist undiscovered; then exhibit it, and you will appear to h
nearly severed your arm.
THE MUTILATED HANDKERCHIEF RESTORED.
W
into
This feat, strange as it appears, is very simple; the performer must have a
confederate who has two handkerchiefs of the same quality, and with the
38

LEGERDEMAIN.
171
same mark, one of which he throws upon the table, to perform the feat with.
The performer takes care to put this handkerchief uppermost in making a
bundle, though he affects to mix them together promiscuously. The person,
whom he desires to draw one of the handkerchiefs, naturally takes that
which comes first to hand. The performer then desires to shake them
again to embellish the operation; but in so doing, takes care to bring
the right handkerchief uppermost, and carefully fixes upon some sim-
pleton to draw; and if he find the person is not likely to take the first
that comes to hand, he prevents him from drawing by fixing upon another,
under pretence of his having a more sagacious look. When the hand-
kerchief is torn, and carefully folded up, it is put under a glass upon a
table placed near a partition. On that part of the table on which the hand-
kerchief is deposited, is a little trap, which opens and lets it fall into a
drawer. The confederate, concealed behind the curtain, passes his haud
under the table, opens the trap, and substitutes the second handkerchief
for the first. He then shuts the trap, which so exactly fits the hole it
closes, as to deceive the eyes of the most incredulous. If the performer
be not possessed of such a table, he must have a second handkerchief in
his pocket, and change it by slight of hand.
THE DOUBLE FUNNEL.
Get two funnels soldered one within
the other, so as to appear like one; pour
a little wine into the smaller end of the
outside funnel, turn it up, and keep the
wine in by placing your thumb_at_the
bottom of the funnel; this must be done
privately. Then pour some more wine
into the broad part of the machine,
drink it off completely; turn the broad
end of the funnel downward, to show
that all is gone; and instantly turning
yourself about, pronounce some mystic
terms; then withdraw your finger from
the narrow end, so as to let the wine
between the funnels run out.
THE FIRE AND WINE BOTTLE.
Get a tin bottle made with a tube nearly as big as its neck, passing from
the bottom of the neck to the bottom of the bottle, in which there inust be a
hole of a size to correspond with it. Between the tube and the neck of the

172
LEGERDEMAIN.
bottle, let there be sufficient space to allow you to pour in some wine which
will remain in the bottle outside the tube. Begin the trick by pouring a
glass of wine out of the bottle; then place it on the table, over a concealed
hole, through which the confederate will thrust a burning fusee into the tube,
so that, at your command, fire is emitted from the mouth of the bottle. As
soon as the fire is extinguished, or withdrawn, you can take up the bottle
again, and pour out more wine.
THE GLOBE BOX.
This trick is not inferior to the best that is shown with boxes. It is done
with a box made of four pieces, and a ball as big as may conveniently be
L
P
M
contained therein; the ball serves, as
the egg does in the egg-box, only to
deceive the hand and eye of the spec-
tators. This ball, made of wood, or
ivory, is thrown out of the box upon
the table, for every one to see that it
is substantial; then put the ball into
the box, which close up with all the
pieces one within another; remove the
upper shell with your fore-finger and
thumb, and there will appear another
of a different color, red, blue, yellow,
or any other color you may fancy;
this will seem to be another ball,
though, in fact, it is no more than a
shell of wood, ingeniously turned, and
fitted to the box, as you may perceive
by the cuts in the margin. L is the
outer shell of the globe, taken off the
figure M, the top of which represents
the ball; N, is an inner shell; (), the
cover of the same; P, another inner
shell; Q, the cover of the same; R, a
third shell; S, that which covers it. These globes may be made with more
or less varieties, according to the desire of the practitioner.
N
R
S
22
THE HATCHED BIRD.
Separate an egg in the middle, as neatly as possible; empty it, and then
with a fine piece of paper and a little glue, join the two halves together,
having first put a live canary bird inside it, which will continue unhurt in
■ for sometine, provided you make a small pin-hole in the shell to supply

LEGERDEMAIN.
173.
the bird with air : have, also, a whole egg in readiness. Present the two
eggs for one to be chosen ; put the egg, which contains the bird, next to the
person who is to choose, and, for this purpose, be sure to select a lady: she
naturally chooses the nearest to her, because, having no idea of the trick to
be performed, there is no apparent reason to take the further one: at any
rate, if the wrong one be taken, you do not fail in the trick, for you break
the egg, and say " You see that this egg is fair and fresh, madam; so you
would have found the other, if you had chosen it. Now, do you choose to
find in it a mouse, or a canary-bird?" She naturally declares for the bird;
nevertheless, if she ask for the mouse, there are means to escape : you ask
the same question of several ladies, and gather the majority of votes, which,
in all probability, will be in favor of the bird, which you then produce.
THE PENETRATIVE SHILLING.
Provide a round tin box, of the size of a large snuff-box, and likewise
eight other boxes, which will go easily into each other, and let the least of
them be of a size to hold a shilling. Each of these boxes should shut with
a binge, and to the least of them there must be a small lock, fastened with
a spring, but which cannot be opened without a key; and observe, that all
these boxes must shut so freely, that they may all be closed at once. Place
these boxes in each other, with their tops open, in your pocket: then ask a
person for a shilling, and desire him to mark it, that it may not be changed:
take this piece in one hand, and in the other have another of the same ap-
pearance, and, putting your hand in your pocket, you slip the piece that is
marked into the least box, and, shutting them all at once, you take them out:
then, showing the piece you have in your hand, and which the company sup-
pose to be the same that was marked, you pretend to make it pass through
the box, but dexterously convey it away. You then present the box, for the
spectators do not know yet that there are more than one, to any person in
company, who, when he opens it, finds another, and another, till he come to
the last, but that he cannot open without the key, which you then give him;
and, retiring to a distant part of the room, you tell him to take out the shilling
himself and see if it be the one marked. This trick may be made more sur-
prising by putting the key into the snuff-box of one of the company; which
you may do by asking for a pinch of snuff; the key, being very small, will
lie concealed among the snuff: when the person, who opens the boxes, asks
for the key, tell him that one of his friends has it in his snuff-box.
THE MONEY BOX.
A piece of money, or a ring, is put into a box, in the presence of a person
who holds it; the operator stands at a distance, and bids him shake the box
gently, and the piece is heard to rattle inside; he is desired again to shake
Q

174
LEGERDEMAIN.
t, and then it is not heard to rattle; the third time, it is again beard, bu
the fourth time it is gone, and is found in the shoe of one of the company.
The box must be made on purpose, in such a manner that, in shaking it
gently up and down, the piece within is heard; on the contrary, shaking it
hard, horizontally, a little spring, which falls on the piece, prevents it from
being heard, which makes you imagine it is not within. He who performs
the trick, then touches the box, under pretence of showing how to shake it,
and, although it is locked, he easily gets out the piece by means of a secret
opening, availing himself of that minute to put in a false piece, and to leave
the box with the same person, whom he causes to believe that the piece is or
is not within, according to the manner the box is shaken at length, the
original piece is found in the shoe of one of the company, either by means
of the person being in confederacy, and having a similar piece, or by send-
ing another to slip it on the floor: in this last case, it is found on the floor,
and the person fixed on is persuaded that it fell from his shoe as he was
taking it off.
THE SALAMANDER.
An experiment to ascertain the degree of heat it is possible for a man to
bear, was made in the month of July, 1828, at the New Tivoli, at Paris, in
the presence of a company of about two hundred persons, amongst whom
were many professors, savans, and physiologists, who had been especially
invited to attend, by the physician Robertson, director of that establishment
The man on whom this experiment was made was a Spaniard of Andalusia,
named Martenez, aged forty-three. A cylindrical oven, constructed in the
shape of a dome, had been heated, for four hours, by a very powerful fire.
At ten minutes past eight, the Spaniard, having on large pantaloons of red
flannel, a thick cloak, also of flannel, and a large felt, after the fashion of a
straw hat, went into the oven, where he remained, seated on a foot-stool,
during fourteen minutes, exposed to a heat of from forty-five to fifty degrees
of a metallic thermometer, the gradation of which did not go higher than
fifty. He
sang a Spanish song while a fowl was roasted by his side. At
his coming out of the oven, the physicians found that his pulse beat one hun-
dred and thirty-four pulsations a minute, though it was but seventy-two at
his going in. The oven being heated anew for a second experiment, the
Spaniard re-entered and seated himself in the same attitude, at three-
quarters past eight, eat the fowl and drank a bottle of wine to the health of
the spectators. At coming out his pulse was a hundred and seventy-six, and
indicated a heat of one hundred and ten degrees of Reaumur. Finally, for
the third and last experiment, which almost immediately followed the second,
he was stretched on a plank, surrounded with lighted candles, and thus
into the oven, the mouth of which was this time closed: he was there nearly
five minutes, when all the spectators cried out "Enough, enough!" and
put

LEGERDEMAIN.
175
anxiously hastened to take him out. A noxious and suffocating vapor of
tallow filled the inside of the oven, and all the candles were extinguished
and melted. The Spaniard, whose pulse was two hundred at coming out
of this gulf of heat, immediately threw himself into a cold bath, and, in two
or luree minutes after, was on his feet, safe and sound.
About the year 1809, one Lionetto, also a Spaniard, astonished not only
the ignorant, but chemists and other men of science, in France, Germany,
Italy, and England, by his insensibility to the power of fire. He handled,
with impunity, red hot iron and molten lead, drank boiling oil, and per-
formed other feats equally miraculous. While he was at Naples, he at-
tracted the notice of Professor Sementeni, who narrowly watched all his
operations, and endeavoured to discover his secret. He observed, in the
first place, that when Lionetto applied a piece of red hot iron to his hair,
dense fumes immediately rose from it; that when he touched his foot with
the iron, similar vapors ascended, which affected both the organs
of sight
and smell. He also saw him place a rod of iron, nearly red hot, between
his teeth, without burning himself; drink the third of a table-spoonful of
boiling oil; and taking up molten lead with his fingers, place it on his
tongue without apparent inconvenience.
Anxious to discover the means used by Lionetto to render himself capable
of thus enduring the application of heat, Sementeni performed several exper-
iments upon himself, and made many important discoveries. He found, that
by friction with sulphuric acid diluted with water, the skin might be made
insensible to the action of the heat of red-hot iron: a solution of alun,
evaporated until it became spongy, appeared to be more effectual in these
frictions. After having rubbed the parts, which were thus rendered, in some
degree, incombustible, with hard soap, he discovered, on the application of
hot iron, that their insensibility was increased. He then determined on
again rubbing the parts with soap, and after this, found that the hot iron
not only occasioned no pain, but that it actually did not burn the hair.
Being thus far satisfied, the Professor applied hard soap to his tongue, until
it became insensible to the heat of the iron; and after having placed an
ointment, composed of soap mixed with a solution of alum, upon it, boiling
oil did not burn it while the oil remained on the tongue a slight hissing
was heard, similar to that of hot iron when thrust into water; the oil soon
cooled, and might then be swallowed without danger.
:
These are stated to be the results of the experiments performed by Pro-
fessor Sementeni, and they tend to explain the astonishing performances of
Lionetto. It is evident that he prepared his tongue and his skin in a similar
manner, previously to his exhibitions. With regard to his passing the hot
plate of iron over his hair, it seems pretty evident that the latter was first
saturated with a solution similar to that of the alum or sulphuric acid. His
swallowing the boiling oil ceases to become a phenomenon, when it is ob

176
LEGERDEMAIN.
served that, in order to show its high temperature, he threw pieces of lead
into it, which, in the process of melting, absorbed a quantity of the caloric,
or heat, of the oil; and that the small quantity of the latter which he pourea
upon his tongue, already prepared to receive it in the manner we have
stated, cooled before he swallowed it. It is clear that he might put the
molten lead upon his tongue with impunity, and suffer even less inconve-
nience from it, if possible, than from the oil, by the greater heat of which it
had been melted. It is, however, probable, that instead of lead, Lionetto
used a more fusible mixture; such, for instance, as that which will presently
be found described under the title of "The Magic Spoon.'
Several scientific men have successfully repeated the experiments of Pro-
fessor Sementeni ; and it is now no longer considered miraculous to behold
a man applying hot iron to his skin without suffering from its powers. But
we beg to caution our young readers very seriously against making any
similar experiments upon themselves: they are only fit for men of science
and profound chemical knowledge, and the least inaccuracy or omission
would be productive of serious consequences. The foregoing account of the
performances of the Fire-eaters and their secrets, we insert for the informa-
tion of our young friends only, without holding them up as experiments cal
culated for their capacities or fit for their performance. If, in the course of
this work, we should think fit to relate the mode of constructing wings to fly
from St. Paul's to the monument, or even across the Hellespont, it by no
means follows that the boys of England, for whose instruction and amuse-
ment we are, at this moment, "wasting the midnight oil," should make the
attempt. The French author to whom we are indebted for the foregoing
particulars, Monsieur Julia Fontenelle, President de la Société Linneenne
et des Sciences Physiques et Chimiques de Paris; Membre honoraire de
la Société Royale de Varsovie; de l'Académie Royale de Medecine, et de
celle des Sciences de Barcelonne; de la Société Royale Academique de
Sciences de Paris, et cætera-(we like to give a clever man his titles in
full)-states that, when the Spaniard, Lionetto, undertook the experiments
which we have above described, he was under apprehensions of having
something to do with the Inquisition, in consequence of his exploits.
TO MELT TWO METALLIC MIXTURES BY FRICTION.
Melt in one vessel, one part of mercury and two parts of bismuth; and in
another, one part of mercury and four of lead; when cold, they will be quite
solid by rubbing them against each other, they will soon melt, as though
each were rubbed separately against red hot iron.
THE HANDKERCHIEF HEARTH,
Cover the metal case of a watch with part of a bandkerchief, single only ;
bring the ends to that side where the glass is, and hold the handkerchief Ly

LEGERDEMAIN.
177
them there, so as to stretch it tightly over the metal. You may then place a
red hot coal, or piece of lighted paper, upon that part of the handkerchief
which is so strained over the metal, without burning it; the caloric mere-
ly passing through the handkerchief to fix in the metal.
THE INCOMBUSTIBLE THREAD.
Wind some linen thread tightly round a smooth pebble, secure the end,
and if you expose it to the flame of a lamp or candle it will not burn. The
caloric traverses, without fixing in it, and only attacks the stone which it
encases.
Asbestos, a species of stone thread, can be held in the flame of a lamp,
without being wound round a pebble, and will be equally incombustible.
SIMPLE AMALGAMATION AND SEPARATION.
Place a globule of mercury, about the size of a pea, on a piece of paper,
by the side of a globule of potassium, about half the size of the mercury;
fold up the paper so as to bring them into contact with each other; some
caloric will be immediately disengaged, and the amalgamation will be com-
plete in a few seconds. If it be then thrown into water, the mercury will
be disengaged and fall to the bottom; the potassium, on the contrary, will
decompose the water, absorb the oxygen, and the hydrogen being set at
liberty, will discharge itself with some noise. The potassium will be con-
verted into deutoxide of potassium, or potass, and dissolve in the water.
HIDEOUS METAMORPHOSIS.
Take a few nut-galls, bruise them to a very fine powder, which strew
nicely upon a towel; then put a little brown copperas into a basin of water ;
this will soon dissolve, and leave the water perfectly transparent. After any
person has washed in this water, and wiped with the towel on which the
galls have been strewed, his hands and face will immediately become black ;
but, in a few days, by washing with soap, they will again become clean.
This trick is too mischievous for performance.
TO MAKE A WET STONE PRODUCE FIRE.
Take quick-lime, salt-petre, tutia-Alexandrina__and calamine, (lapis
calaminaris,) of each, equal parts; live sulphur and camphor, of each, two
parts: beat and sift them through a fine sieve; then put the powder into a
fine linen cloth, tie it close, put it into a crucible, cover it with another cru-
cible, mouth to mouth; bind and lute thein well together; then set them in
the sun to dry. When dry, the powder will be yellow. Then put the cruci-
ble into a potter's furnace, and when cold, take it out again, and you will
find the powder altered into the substance of a stone.
When you have occasion to light a fire or candle, wet part of the stone
with a little water, and it will instantly flame; when lighted, blow it our
again, as you would a candle.

178
LEGERDEMAIN.
THE SUB-AQUEOUS VOLCANO.
Take one ounce of saltpetre; three ounces of powder; of sulplurvivum,
three ounces; beat, sift, and mix them well together; fill a pasteboard, or
paper mould, with the composition, and it will burn under the water til
quite spent. Few persons will believe that this can be done before they
have seen it tried.
THE CHEMICAL SAMSON.
To melt a rod of iron with a common fire. Heat a rod of iron, as thick
as your finger, in a fire, urged by a pair of bellows, until it is white hot;
draw it from the fire, and apply to the hot part a roll of brimstone, held by
a pair of tongs; a profusion of most brilliant sparks will be thrown out, and
the iron drop like melting sealing-wax. It is necessary to hold it over the
hearth, to avoid mischief. If the heated part be a few inches from the
end of the bar, a piece of it will be cut off.
THE MAGIC SPOON.
Put four ounces of bismuth- into a crucible, and when in a state of com-
plete fusion, throw in two ounces and a half of lead, and one ounce and a
half of tin; these metals will combine, and form an alloy fusible in boiling
water. Mould the alloy into bars, and take them to a silversmith to be made
into tea-spoons. Place one of them in a saucer, at a tea-table, and the
person who uses it will not be a little astonished to find it melt away as
soon as he puts it into the hot tea.
METAL MELTED ON PAPER OVER A CANDLE.
An alloy, which may be kept in a state of fusion by placing it upon a
piece of paper and holding it over a candle, may be made by melting to-
gether equal parts of bismuth, lead, and zinc.
THE WONDERFUL DYE.
Dissolve indigo in diluted sulphuric acid, and add to it an equal quantity
of solution of carbonate of potass. If a piece of white cloth be dipped in this
mixture, it will be changed to blue; yellow cloth, in the same mixture, may
be changed to green; red to purple; and blue litmus paper be turned to red
METALLIC TRANSMUTATION.
Dip a piece of polished iron, the blade of a knife, for instance, into a
solution either of nitrate or sulphate of copper, and it will assume the ap-
pearance of a piece of pure copper; this is occasioned by the sulphuric acid
seizing on the iron, and letting fall the copper.

LEGERDEMAIN
179
THE FADED ROSE RESTORED.
Take a rose that is quite faded, and throw some sulphur on a chafing-dish
of hot coals, then hold the rose over the fumes of the sulphur, and it will be-
come quite white ; in this state dip it into water, put it into a box or drawer
for three or four hours, and when taken out, it will be quite red again.
THE PROTEAN LIQUID.
To make a red liquor, which, when poured into different glasses, will be.
come yellow, blue, black, and violet. This phenomenon may be produced
by the following process :--Infuse a few shavings of log-wood in common
water, and when the liquor is red, pour it into a bottle; then take three
drinking glasses; rinse one of them with strong vinegar, throw into the
second a small quantity of pounded alum, which will not be observed if the
glass has been newly washed, and leave the third without any preparation.
If the red liquor in the bottle be poured into the first glass, it will assume a
straw color, somewhat similar to that of Madeira wine; if into the second,
it will pass gradually from bluish gray to black, provided it be stirred with
a bit of iron, which has been privately immersed in good vinegar: in the
third glass, the red liquor will assume a violet tint.
INCOMBUSTIBLE PAPER.
Dip a sheet of paper in strong alum-water, and when dry, repeat the
process; or, it will be better still, if you dip and dry it a third time. After
this, you may put it in the flame of a candle, and it will not burn.
THE MIMIC CONFLAGRATION.
Take half an ounce of sal-ammoniac, one ounce of camphor, and two
ounces of aqua-vitæ ; put them into an irou pot, narrowing towards the top,
and set fire to it. The effect will be immediate; a mimic conflagration will
ake place, which will be alarming, but not dangerous.
PORTRAITS VISIBLE AND INVISIBLE.
These are performed with French chalk, a natural production of the
earth, (sold in most oil-shops,) of a greasy, but extraordinary nature. It is
made use of to draw portraits upon looking-glasses; which may be made
visible and invisible, alternately, by breathing on and wiping off, and they
will continue for many months fit for exhibition. The lines will appear
very distinct where the glass is strongly breathed on, and disappear en-
tirely when it is wiped dry again.
PERPETUAL MOTION.
Put very small filings of iron into aqua-fortis, and let them remain until
the aqua-fortis is completely saturated with the iron, which will happen in

180
LEGERDEMAIN.
about two hours; pour off the solution, and put it into a phial an inch wide,
with a large mouth, with a lump of lapis calaminaris; then stop it close, and
the calamine stone will keep in perpetual motion.
THE DANCING EGG.
Boil an egg hard, and peel off a small piece of the shell at one end; then
thrust in a quill filled with quicksilver, and sealed at each end As long as
the egg remains warm, it will not cease to dance about.
THE EGG IN THE PHIAL.
You may make an egg enter a phial without breaking, by steeping it in
strong vinegar, for some time; the vinegar will so soften the shell, that it
will bend and extend lengthways without breaking; when put in cold water,
it will resume its former figure and hardness.
THE BLUE BOTTLE.
Expose an ounce of volatile alkali to the air, in a glass, for about a quarter
of an hour; then put it into a flask, with twenty-four grains of the sulphate
of copper, and the liquid will, by degrees, assume a beautiful blue color;
pour it carefully into another flask, so as to separate the liquid from the cop-
per. If you examine it a few days afterward, you will find that the blue
color has totally disappeared; but, if you take out the cork for a minute,
and replace it, you may see the blue re-appear on the surface of the liquid,
and descend gradually, until the whole of it is of the same hue as it was when
you laid it aside. In a few days, it will again become colorless, and you
can restore the blue by the same simple means. The experiment may be
performed a great number of times with the same liquid. Care must be
taken in making your preparation, that the volatile alkali be not suffered to
remain long enough in the first flask, to dissolve too much of the sulphate of
copper; for, if it receive too great a degree of color, the blue will not dis-
appear, when the liquid is deprived of air.
THE CANDLE OF ICE.
Cover a small portion of the upper end of a tallow candle with paper, ana
give the remainder of it a coat of fine coal and powdered sulphur, mixed
together; dip it in water, and expose it to the air during a hard frost, and a
slight coat of ice will form round it, which may be, subsequently, rendered
thicker, in proportion to the number of immersions and exposures to the air
which it receives. When it arrives at a sufficient consistency, take off the
vaper, light the upper end of the candle, and it will burn freely.

LEGERDEMAIN
181
TO DIP THE HAND IN WATER WITHOUT WETTING IT.
Powder the surface of a bowl of water with lycopodium; you may then
put your hand into it, and take out a piece of money, that had been previous-
ly placed at the bottom of the bowl, without wetting your skin; the lycopo-
dium so attaching itself to the latter, as to keep it entirely from coming in
direct contact with the water. After performing the experiment, a slight
shake of the hand will rid it of the powder.
TO REMOVE AND AFTERWARDS RESTORE THE COLOR OF A RIBBON.
Dip a rose-colored ribbon into nitric acid, diluted with eight or ten parts
of water, and as soon as the color disappears, which it will do in a short
time, take out the ribbon, and put it into a very weak alkaline solution; the
alkali will quickly neutralize the acid, and the color will then re-appear.
THE PAPER ORACLE.
Some amusement may be obtained among young people, by writing, with
common ink, a variety of questions, on different bits of paper, and adding a
pertinent reply to each, written with nitro-muriate of gold. The collection
is suffered to dry, and put aside until an opportunity offers for using them.
When produced, the answers will be invisible; you desire different persons
to select such questions as they may fancy, and take them home with them;
you then promise, that if they are placed near the fire, during the night,
answers will appear written beneath the questions in the morning; and such
will be the fact, if the papers be put in any dry, warm situation.
THE SIBYL'S CAVE.
Write several questions and answers, as directed in the preceding article:
for the answers, instead of nitro-muriate of gold, you may use the juice of a
citron, or an onion. Let any of the questions be chosen by a party, and
placed in a box, which may be called "The Sibyl's Cave." This box
must be furnished with a piece of hot iron, beneath a false bottom of tin;
when the paper is put in it, the heat will cause the answer to appear; you
then take it out, show it to the person who made choice of the question,
and, as soon as it is read, put it aside; the answer will vanish, when the
paper becomes cold again.
TO SEPARATE OIL FROM WATER.
Most of our young readers are, doubtless, aware, that oil is lighter than
water, and floats upon its surface. If a vessel of any convenient description
be half filled with water, and a portion of oil be then poured on it, the oil may
be easily separated from the water, by one end of a wick of cotton being

182
LEGERDEMAIN.
placed in it, the other end of which is carried into another vessel: the oil,
obedient to the laws of capillarity, will rise gradually into the cotton, and
fall, drop by drop, from the other extremity of it, into the vase or cup, which
is placed to receive it. We are told, that the process is much quicker, if
the cotton be previously dipped in oil.
TO MAKE A COLORLESS LIQUID BECOME BLUE, LILAC, PEACH-
COLORED, AND RED WITHOUT TOUCHING IT.
Put a drachm of powdered nitrate of cobalt into a phial, containing an
Junce of the solution of caustic potass: a decomposition of the salt, and pre
cipitation of a blue oxide of cobalt, takes place. Cork the phial, and the
liquid will now assume a blue color, from which it will pass to a lilac, after-
ward to a peach tint, and, finally, to a light red.
THE FOUR ELEMENTS.
Procure a glass tube, about the thickness of a man's finger, and securely
seal one end of it. Mark it, all round, with four equal divisions. Introduce
mercury, sufficient to fill the space below the first mark; a solution of sub-
carbonate of potass for the second division; white brandy, to which a blue
tint is imparted, for the third; and turpentine, colored red, for the fourth.
After these preparations are completed, close up and seal the mouth of the
tube, and you may then give a fanciful exhibition of chaos and the four ele-
ments. Shake the tube, and you will mix all the contents together, and this
mixture will represent chaos; in a short time, if the tube be not removed
all the ingredients will separate, and each go to its allotted division, plac-
ing itself according to its specific gravity, in comparison with the others
the contents of the upper division, which is red, will represent fire; the
next, which has a blue tint, air; the third, which is colorless, water; and
the lower one, earth.
THE MINERAL CHAMELEON.
We are indebted to Sheele for a composition, known by the above title,
which is prepared by mixing together, and exposing to a strong heat, in an
open crucible, for little more than a quarter of an hour, three parts of nitrate
of potass, and one of deutoxide of manganese, both in a finely powdered
state. The compound thus obtained, possesses the following singular pro-
perties-If a few grains of this preparation be put into a glass, and cold
water be then poured on it, the liquor will first turn green, and then pass
rapidly to purple, and finally, by beautiful gradations, to red. If hot water
be used, instead of cold, the liquid will assume a beautiful violet color.
The colors will be more or less intense, in proportion to the quantity of the
oxide used, for a more or less quantity of water; ten grains, in a very little

LEGERDEMAIN.
183
ater, will produce a beautiful green color, which will pass with rapidity
o a dark purple, and, subsequently, to red. If a small portion of the Cha
meleon Mineral be used for four ounces of water, the color will be a deep
green; by the addition of more water, it will turn rosy, and become color-
less in a few hours, giving in the process a yellowish precipitate. When
the liquid changes slowly, it is easy to discover other hues, which it takes
in the following order-green, blue, violet, indigo, purple and red.
It appears that the phenomena produced by the Chameleon Mineral, have
attracted the attention of several men of science, and it seems, from the result
of their experiments, that in those preparations of the Chameleon Mineral, in
which there is a greater proportion of potass than manganese, the g een re-
quires more time to change into the other colors, and the greater the pro-
portion of manganese, the more intense is the first color, and the quicker
does the liquid acquire the other tints. The effect of hot water in this ex-
periment, is much more powerful than that of cold.
PHOSPHORIC FISH, METEORS, &c.
Phosphorus was discovered by the alchymist Brandt, who sold the secret
to Krafft, with whom Kunkel associated himself for its purchase. He was,
however, deceived by Krafft, who never communicated the secret to him.
Kunkel immediately commenced a series of experiments, and in 1674, dis-
covered the mode of making it.
Phosphorus, in a state of purity, is solid, demi-transparent, and of a con-
sistence similar to wax; the solar light gives it a red color; it will unite
with almost all metallic substances. When it is taken in the hand, it should
never be held for more than a few seconds, for the heat thus applied, is suffi-
cient to inflame it, if continued ; and a burn from phosphorus is more painful
than any other kind of burn. A basin of cold water ought always to be at
hand, to dip the phosphorus in occasionally; and when it is cut to pieces, it
must be cut in water. Phosphorus can only be preserved by keeping it in
places where neither light nor heat has access. It is obtained from druggists
in rolls, about the thickness of a quill; these are put into a phial filled with
gold water; which has been boiled to expel air from it, and the phial is en-
closed in an opaque case. It does not exist in nature in a state of purity,
but as a salt; it is extracted from bones.
The light produced in the night time, by writing with a stick of phos-
phorus on a wall, owes its existence to a slight coat which the stick leaves
behind it on the parts over which it has passed; this, being combustible,
burns slowly, in absorbing the oxygen of the air.
It has been well-known, from time almost immemorial, that animal or
vegetable substances, in a state of putrefaction, often become luminous
The glow-worm has, doubtless, been seen by many of our readers, bearing
ts brilliant midnight lamp; several insects, and some fishes also, possess a

184
LEGERDEMAIN.
numinous property. In 1642, an old woman presented the Prince of Condé
with some meat, bought by her the preceding day in the market of Mont-
pelier, and which illuminated her room during the night. We have seen a
sole emit most brilliant and beautiful flashes of light on a dark night.
A great number of experiments have been performed by scientific men, to
ascertain the cause of the luminous aspect of the sea; it is attributed to those
putrid substances, which are found in the waters. The following experi-
ment, which has reference to this subject, is rather curious:-A little fresh
whiting was placed in a vase containing water. It produced no light, even
after having been agitated; that part of the fish only that was above the
water, and not the water itself, grew luminous during the night. On lifting
up the fish, by means of a stick, which was passed beneath it, and rested
against the opposite side of the vase, the water appeared luminous behind
it; on being much agitated, it became entirely luminous, and continued so
for some time after it was left undisturbed. The strongest emission of light
takes place after the fish has been about twenty hours in the water; after
three days, the water loses this property. About four drachms of the sub-
stance of a fresh herring were put into a solution of two drachms of sulphate
of magnesia, in two ounces of water. On the succeeding evening, the whole
of the liquor, upon shaking the phial, became beautifully luminous, and it
continued luminous till the fourth day.
There is a fish mentioned by Pliny, the naturalist, which renders such ob-
jects luminous as are touched by it. It differs from its fellow tenants of the
waters, which become phosphorescent only when in a state of putrefaction;
whereas, the fresher the pholas is, the more luminous does it appear. Bran-
dy extinguishes its light; when it becomes dry, a little pure or salt water
will revivify its lustre. When putrid, it loses its brilliancy, which it does
not recover until putrefaction has gone its full length, when, by agitating it
in water, the latter becomes luminous. Solutions of hydrochlorate of soda
and nitrate of potass, augment the brilliancy of the water; acids and wine
extinguish it. The water may be rendered still brighter by pouring it on
recently calcined sulphate of lime, on quartz, sugar, &c.
The phosphoric meteors, commonly called Will-o'-wisps, which are seen
in marshes, near rivers, in churchyards, and in low and humid places, in
different forms, are to be attributed to the combustion of some hydrogen gas,
principally phosphoric hydrogen gas, which, as is well known, has the pro-
perty of inflaming itself on coming into contact with oxygen gas or air
These meteors are more frequently seen in winter than in summer; in rainy
weather their light is more intense than when it is dry.
PHOSPHORIC WOOD.
Rotten wood often becomes luminous; many circumstances induce us te
ascribe its light to slow combustion; a fact in favor of this idea is, that if

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135
phosphorescent wood he placed in a pneumatic machine, and the air be
pumped out of it, the light disappears, and if the air be restored, the wood
again becomes luminous. The same experiments performed with a fish that
emitted light, produced the same results. The light of fish differs from that
of rotten wood in this respect,-namely, that water, alcohol, and several
saline solutions, destroy the light of the latter; while water does not dimin-
ish the brilliancy of the former, no more than it does that of the glow-worm.
If luminous wood be introduced to a tube of glass, and plunged into a freez-
ing mixture, the light will be extinguished.
Rods of wood may be rendered phosphorescent, by steeping them in a so-
lution of chlorate of lime, and then burning one of their ends in the flame
of a lamp or candle; after the combustion has taken place, if the stick be
withdrawn, a little white matter will be found at the extremity, which will
shed a brilliant light. The harder kinds of wood are most proper for this
experiment. The white remains of the combustion, it is said, are pure
lime; and that a similar luminous property might be given to the wood, by
plunging it into lime-water, or a solution of sulphate of magnesia.
PHOSPHORIC PLANTS.
Persons working in mines sometimes meet with phosphorescent plants;
the light is perceptible at the points of the plants, especially when they are
broken. This phosphorescence disappears in an atmosphere of hydrogen
gas, of chlora, or oxide of carbon.
The daughter of the celebrated Linnæus discovered that the tropeolum
majus is sometimes phosphorescent in the evening.
PHOSPHORIC OYSTER SHELLS.
Place some very thick oyster shells upon, and cover them with, some
burning coals; in half an hour take them carefully out of the fire, and it will
be only necessary to expose them to the light for a few minutes to be con
vinced that they have become phosphorescent. In fact, if put in a dark
place, they shed a light accompanied by the greater part of the prismatic
colors. If the calcination be made in a closed crucible, the colors will
be less brilliant. If the crucible be of lead, the parts that have come into
contact with it will yield a reddish light; if a few bits of steel he strewed
about the crucible, the phosphorescence will be more lively; bu if some
flat pieces of coal be used instead of steel, the colors will be more bea vul,
particularly the blue, red, and green. It seems that scientific men either do
not know positively, or are not agreed as to the cause of the phosphorescence
of certain bodies; according to some, it is owing to an accumulation of solar
light; while others say that it ought to be attributed to a light inherent in
the phosphoric substance.

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LEGERDEMAIN.
TO RENDER MILK LUMINOUS.
Milk may be rendered luminous by immersing a pholas in it. One of
these fishes is sufficient to communicate light to seven ounces of milk, which
as it becomes luminous, appears also to be turned transparent. Beccaria
felt convinced that air was necessary for the production of this light; for,
having filled a tube with milk made luminous in the foregoing manner, he
could only disengage the light from it by suffering the admission of air to
the tube The juice of this fish, reduced into a paste with meal, throws out
considerable light when plunged into hot water. If preserved in honey, the
fish will retain its luminous property for more than a year; and, in fact, by
plunging it into hot water, it will shed as much light as if it were quite fresh
IGNITION BY COMPRESSION.
By compressing a bit of phosphorus between two pieces of wood, it will
inflame. The same effect may be produced by the friction of one piece of
phosphorus against another.
THE MASK OF FLAME.
Take six parts of oil of olives and one of phosphorus, suffer them to digest
well together, and preserve the solution, which, in the dark, will become
luminous. An experiment that is considered amusing may be performed
by closing the eyes and lightly passing a sponge, dipped in this solution,
over the face and hands, which will then, in the dark, appear covered with
a light bluish flame. This trick, we are told, is not at all dangerous
THE MINIATURE RIVER ON FIRE.
Let fall a few drops of phosphorized ether on a lump of loaf sugar, place
the sugar in a glass of warm water, and a very beautiful appearance will be
instantly exhibited; the effect will be increased, if the surface of the water
by blowing gently with the breath, be made to undulate.
PHOSPHORESCENT SPAR.
Coarsely powder some fluor spar, and sprinkle it, in a dark room, on a
fire-shovel made hot, (but not to redness,) and it will emit a beautiful phos-
phorescent light for some time.
IGNITION BY PERCUSSION.
Put into the middle of some dry cotton, a piece of phosphorus the size of
a large pin's head, previously dried on blotting paper; strike it with a
hammer and it will inflame.

LEGERDEMAIN.
187
THE PHOSPHORIC STEAM BATH.
Lay a small piece of phosphorus upon a bit of glass, place the glass upon
the surface of hot water in a basin, and the phosphorus will inflame.
TO BURN BROWN PAPER BY PHOSPHORUS AND FRICTION.
Wrap a grain of phosphorus, dried on blotting paper, in a piece of brown
paper, rub it with some hard body, and it will set fire to the paper.
THE ILLUMINATOR AND EXTINGUISHER.
Make two little figures of wood or clay, or any other materials you please,
with a little hole in the mouth of each. Put in the mouth of one, a few
grains of bruised gunpowder, and a little bit of phosphorus in the other.
Then take a lighted wax candle, and present it to the mouth of the figure
with the gunpowder, which, taking fire, will put the candle out; then pre-
sent your candle, having the snuff quite hot, to the other figure, and it will
light again immediately.
TO LIGHT A CANDLE BY A GLASS OF WATER.
Take a little piece of phosphorus, of the size of a pin's head, and with a
piece of tallow, stick it on the edge of a drinking-glass. Then take a
lighted candle, and having blown it out, apply it to the glass, when it will
immediately be lighted. You may likewise write, with a bit of phosphorus,
on paper, some words, which will appear awful, when the candle is with-
drawn from the room.
AUTOMATA.
OUR object being to acquaint our young readers with the mode of per-
forming many pieces of astonishing deception, as well as to instruct them how
to do several pleasant tricks of a more simple nature, the most celebrated
Automata occur to us as being subjects which ought to occupy a conspicuous
station in our FEATS OF LEGERDEMAIN.
THE CHESS PLAYER.
The construction of machines capable of imitating the mechanical action
of the human body shows exquisite skill. This, however, has been done;
M. De Kempelen, a gentleman of Presburg, in Hungary, constructed an
Androides capable of playing at chess. Every one, who is in the least
acquainted with this game, must know that it is so far from being mechani-
sally performed, as to require a greater exertion of the judgment and rational

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LEGERDEMAIN.
faculties than is sufficient to accomplish matters of greater importance. Tha:
such a machine really was made, the public had ocular demonstration. The
inventor came over to Britain in 1785, and exhibited his automaton to public
inspection for more than a year. On his death, it was purchased by
M. Maelzel, who paid this country a visit in 1827, when the invention
created as much wonder as ever, notwithstanding the vast progress made in
mechanical science.
The room where it was exhibited had an inner apartment, within which
appeared the figure of a Turk, as large as life, dressed after the Turkish
fashion, sitting behind a chest of three feet and a half in length, two ſeet in
breadth, and two feet and a half in height, to which it was attached by the
wooden seat on which it sat. The chest was placed upon four castors, which,
together with the figure, might be moved to any part of the room.
On the plain surface formed by the top of the chest, in the centre, was
raised an immovable chess-board, of handsome dimensions, upon which the
figure had its eyes fixed, its right arm and hand being extended on the chest,
and its left arm somewhat raised, as if in the attitude of holding a Turkish
pipe, which was originally placed in its right hand.
The exhibitor proceeded by wheeling the chest to the entrance of the
apartment within which it stood, in front of the spectators. He then opened
certain doors contrived in the chest, two in the front and two in the back, at
the same time pulling out a long shallow drawer, made to contain the Chess-
men, a cushion for the arm of the figure to rest upon, and some counters;
two lesser drawers and a green cloth screen, contrived in the body of the
figure and its lower parts, were likewise opened, and the Turkish robe which
covered them was raised; so that the construction, both of the figure and
chest, intentionally was displayed, and the exhibitor introduced a lighted
candle into the body of the chest and figure, by which the interior of each
was, in a great measure, rendered transparent.
The chest was divided by a partition into two equal chainbers; that to
the right of the figure was the narrowest, and occupied scarcely one third
of the body of the chest; it was filled with little wheels, levers, cylinders,
and other machinery used in clock-work: that to the left contained two
wheels, some small barrels with springs, and two quarters of a circle, placed
horizontally. The body and lower parts of the figure contained certain
tubes, which appeared to be conductors to the machinery. After a sufficient
time, during which each spectator satisfied his scruples and curiosity, the ex-
hibitor closed the doors, made some arrangement in the body of the figure,
wound up the works with a key inserted into a small opening in the body of
the chest, and placed the cushion under the left arm of the figure, which then
rested upon it.
In playing a game, the automaton made choice of the white men; it like
wise gave the first move. It played with the left hand instead of the right,—

LEGERDEMAIN.
189
the right hand being constantly fixed on the chest. This slight incongruity
proceeded from inadvertence of the inventor, who did not discover his mis-
take until the machinery was too far completed to remedy the defect. At
the commencement of a game, the automaton made a motion of the head, as
if taking a view of the board; the same motion occurred at the close of the
game. In making a move it slowly raised its left arm from the cushion
placed under it, and directed it toward the square of the piece to be moved.
The arm then returned to its position on the cushion. Its hand and fingers
opened on touching the piece, which it took up and conveyed to any pro-
posed square. The motions were performed with perfect correctness, and
the anxiety with which the arm acted, especially in the delicate operation
of castling, seemed to be the result of spontaneous feeling; bending at the
shoulder, elbow, and knuckles, and cautiously avoiding to touch any other
piece than that which had been moved.
On giving check to the king, it moved its head as a signal. When a false
move was made by its antagonist, which frequently occurred through curi-
usity to observe in what manner the automaton would act,-as for instance,
if a knight had been moved like a castle,-the automaton smote impa-
tiently on the chest with its right hand, replaced the knight in its former
square, and would not permit its antagonist to recover his move, but pro-
ceeded immediately to move one of its own pieces, thus appearing to pun-
ish him for his inattention.
It was considered of importance that the person matched against the
automaton should be attentive in moving a piece exactly in the centre of a
square; otherwise, the figure, in attempting to lay hold of the piece, might
even sustain some injury in the delicate mechanism of the fingers. If its
antagonist hesitated for a considerable time to move a piece, it tapped
smartly on the chest with its right hand, as if testifying impatience at the
delay.
During the time the automaton was in motion, a low sound of clock work
was heard, as if running down, which ceased soon after the arm was reclin-
ed on the cushion. The works were wound up at intervals of ten or twelve
moves by the exhibitor, who was usually employed pacing up and down the
room; approaching the chest, however, from time to time, on its right side.
It was understood that the automaton could not play, unless M. De Kempe-
len, or his substitute, was near to direct its moves; but it is very certain
that the whole mystery lay in the chest, and that there could be no connex-
ion with the floor, as the inventor advertised his willingness to exhibit at
private houses.
To avoid the obstructions frequently occasioned by the inattention of
strange antagonists, in moving the pieces required exactly to the centre of
squares, a new arrangement was subsequently inade, by which the adversary
did not play at the same board with the automaton, but had a chess-board to
R

190
LEGERDEMAIN.
himself, on which he copied the automaton's moves, and made his own;
while a person who attended at the automaton's board, copied, with due
precision, for the automaton, the adversary's moves.
In concluding our account of this extraordinary machine, we must ob-
serve that it has been asserted, without contradiction, that, although it beat
numerous skilful chess players, in different countries, its moves were directed
by a boy concealed within the machinery; so that, in fact, whoever the boy
could beat at the game, was sure to be conquered by the automaton. This
will show that it is in the power of youth to attain such a mastery over chess,
as to render them capable of competing with capital players of a mature age.
THE FLUTE PLAYER.
The celebrated Vauconson invented an Automaton Flute-player, of which
there is a minute description in the Memoirs of the Royal Academy of
Sciences at Paris, by which it appears that the figure was about five feet
and a half high, and was placed upon a square pedestal, which concealed a
portion of the machinery. The air entered the body by three separate
pipes, into which it was conveyed by nine pairs of bellows, which expanded
and contracted in regular succession, by means of a steel axis turned by
clock-work. These bellows performed their functions without any noise,
which might have discovered the means of conveying the air into the ma-
chine. The three tubes that received the air from the bellows passed into
three small reservoirs in the trunk of the figure, where they united, and
ascending towards the throat, formed the cavity of the mouth, which ter-
minated in two small lips. Within this cavity was a small movable tongue,
which, by its motion, at proper intervals, admitted the air or intercepted it
in its passage to the flute. The fingers, lips, and tongue, derived their
appropriate movements from a steel cylinder, also turned by clock-work.
It was divided into fifteen equal parts, which, by means of pegs pressing
upon the ends of fifteen different levers, caused the other extremities to
ascend. Seven of these levers directed the fingers, having wires and chains
fixed to their ascending extremities, which being attached to the fingers,
caused them to ascend in proportion as the other extremity was pressed down
by the motion of the cylinder, and vice versa; thus the ascent or descent of
one end of a lever produced a similar ascent or descent in the corresponding
fingers, by which one of the holes of the flute was occasionally opened or
stopped, as it might have been by a living performer. Three of the levers
served to regulate the ingress of the air, being so contrived as to open and
shut the three reservoirs above mentioned, by means of valves, so that more
or less strength might be given, and a higher or lower note produced. The
ips were directed by four levers, one of which opened them to give the air a
freer passage; the other contracted them; the third drew them backward;

LEGERDEMAIN.
191
and the fourth pushed them forward: the lips were projected upon that part
of the flute which received the air, and by the different motions already
mentioned, properly modified the tune. The remaining lever was employed
in the direction of the tongue, which it easily moved, so as to open or shut
the mouth of the flute The just succession of the several motions performed
by the various parts of the machine, was regulated by the following simple
contrivance :-the extremity of the axis of the cylinder terminated, on the
right side, by an endless screw, consisting of twelve threads, each placed at
the distance of an eighth of an inch from the other. Above the screw was
fixed a piece of copper, and in it a steel pivot, which falling in between the
threads of the screw, obliged the cylinder to follow those threads; and thus,
instead of turning directly round, it was continually pushed on one side.
Hence, if a lever were moved by a peg placed on the cylinder, in any one
revolution, it could not be moved by the same peg in the succeeding revolu-
tion because the peg would be an eighth of an inch beyond it, by the lateral
motion of the cylinder. Thus, by an artificial disposition of these pegs in
different parts of the cylinder, the statue was made, by the successive
elevation of the proper levers, to exhibit all the different motions of a
flute-player.
THE INVISIBLE GIRL.
The operators have a communication, from the exhibition room to
another where the confederate is concealed, by tin pipes, which end in a
clear horn trumpet, inserted in an isolated glass chest or barrel, attached
to the ceiling by colored ribbons, twined round a small gilt chain. In the
inside of these pipes, at right angles, are placed small mirrors, which reflect
and contract every object in the exhibition room, so that the confederate,
who answers the questions put, can not only hear all that is said, but see
even the objects that are held in the hands of the visiters, such as watches,
money, miniatures, letters in a book, and every other thing that is un-
covered. The following curious dialogue took place between a traveller
from this country, and the Invisible Girl, at Siccard's Diversion Room, in
Paris:-"What age are you? Fourteen years of age. Where were you
born? At Marseilles. What is your name? Francoise. Are you pretty!
No. Are you good? Yes, though sometimes ill-natured. What is your
position? I am reclining. Do not all the questions that are put to you
disgust you? Never; but I am sometimes very much vexed. How is it
that you see everything that is presented to you; that you hear everything
that is said to you; and that no person can discover you? That is a secret
of those to whom I belong," &c. It is a matter of much complication, and
cannot be performed without a good confederate and considerable scientific
knowledge. We trust, however, we have said sufficient to render the
Invisible Girl no wonder.

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LEGERDEMAIN.
THE MAHOMETAN MAGICIAN.
The following description of the mechanical conjuring figure, so called,
as well as that of "The wise little Turk," will, doubtless, remind ou
readers of the Automaton Chess-player.
The Mahometan Magician is a figure of sixteen or eighteen inches high
and holds a little hammer in its hand. When exhibited, it is first taken of
the table on which it stands, and shown to the company, to convince them
that it is perfectly detached, and stands by itself: the exhibitor then having
replaced it on the table, asks if he will compliment his master? The little
Turk, by turning his head, expresses "No," He then asks if he will pay
his respects to the company? He bows his head to express "Yes." A
pack of cards is then presented to the spectators, who draw out one by
chance; without seeing the card, or approaching the automaton, his master
orders him to strike the number of strokes, necessary to describe the card,
with his hammer, on a bell :-the little Turk instantly obeys. He is then
asked if the card drawn be a heart, a diamond, club, or spade? And, as
the suits are mentioned, he moves his head, to give approbation or disap-
probation, and an answer conformably to truth. He then tells the number
thrown on dice; and also, before-hand, the number which a second throw
will produce. One of the company having hid a little figure in a box,
divided into several compartments, he tells in which of them, and at what
number, the little figure is to be found; and, to give a humorous termina-
tion to this trick, when he is asked which of the company is the most
amorous he points out some old gentleman with spectacles.
The table on which the little Turk is placed, is covered with a green
cloth, concealing three levers, which are put in motion by the aid of three
brass wires, passing through the feet of the table, and conducted behind
the partition: the person who is hid, and acts as the confederate, draws
these brass wires as he has occasion to act on the cranks concealed in the
pedestal of the automaton, which cranks terminate in the base. By these
means, the different motions are communicated to the machine the moment
they are required, in the same manner as a repeating watch is made to
strike by pushing the button of the case. The performer then holds in his
hand a pack of cards, arranged in such a manner that he understands their
sequence; that the spectators may not suspect this arrangement of the cards,
he apparently mixes them, but, in reality, he only cuts them, which does
not change the combination of the game; when he has had a card drawn,
he cuts them the last time in the place where the card has been chosen, by
which means, he passes to the bottom the card which was immediately over
the one drawn: then, looking adroitly at the bottom, he knows, without
seeing, the card which the spectator had drawn by chance. He then in-
terrogates the little Turk by a question, which is so composed, that either

LEGERDEMAIN.
193
the words, syllables, or vowels, communicate to the confederate the colox
and denomination of the card. By a similar stratagem, knowledge is con-
veyed to the confederate of the first number thrown on dice; the automa
ton can then very easily tell what number will come up on the second throw
of the dice, because fresh dice are introduced, and such are substituted as
have the same numbers on all their faces. As the person, to whom the dice
are given, might, by looking at them, perceive the imposition, to escape
detection, peculiar care is taken not only to recommend to him to hold the
dice carefully hidden in his hand until he throws them, but also to prevent
them being too long exposed to the sight; loaded dice might also be em-
ployed, which are so contrived, that the centre of gravity operates invariably.
As the person who has already thrown the dice may wish to throw again,
either accidentally or through suspicion, and as the return of the same points
might occasion the honesty of the dice to be suspected, all these incon-
veniences are removed by getting rid of them as soon as possible.
The box where the little figure has been concealed has a bottom of soft
leather, by which means, in handling beneath the compartment where the
little figure is, may be discovered by the hand of the operator; and the
figure is constructed of such dimensions as to press on the bottom of the box
when it is shut.
THE CANARY.
A Canary bird is shown, perched on a bottle, which sing any air re-
quired. He also sings equally well when changed to different bottles, and
on different tables: the breath from his bill blows out a candle, and lights it
afterward. The machinery and manner of working we shall now proceed
to describe.
Behind the curtain which covers part of the partition are placed two hol-
low cones of metal. These cones, which are unequal in size, serve as a
speaking trumpet to the confederate, and act as echoes, which conduct the
voice to different parts, as two mirrors, of different concavities, operate in
the reflection of objects at different distances. The confederate, imitating
the notes of a bird, executes the required air. The confederate employs
the two different echoes to convey the voice to different points, according
to the position of the table and the bottle on which the bird is perched. The
bird has in its body a little double bellows, and between its legs, a little
moving peg, which puts the bellows in motion; this peg, entering the neck
of the bottle, leans on a piece of wood which cannot be seen, as the bottle
is opaque. This piece of wood, being placed vertically on the movable
bottom of the bottle, easily moves the bellows, and is readily moved by the
levers which are under the cloth, when the confederate draws the brass
wire which is hidden in the feet of the table: by the same means, the bellows
are moved to blow out the candle, and it apparently proves to the spectators

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that the notes are really formed in the throat of the bird, because the air
comes through the bill. When the operator takes the bird in his hand he
puts the bellows in motion with his thumb, and the wind in the same manner
extinguishes the candle, and he persuades the company that the bird sings
without the aid of any machinery hidden in the table; the candle being
only a moment extinguished, and the wick still warm, is lighted instantly,
by the air through the bill of the bird, which, for that purpose, has been
furnished with a little flour of brimstone, and operates as a match.
:
Albertus
Besides the curious Automata we have already described, various others
have been produced by ingenious persons of different countries.
Magnus is said to have devoted thirty years of his life to the construction of
a head that not only moved, but spoke: Thomas Aquinas was, it is related,
so terrified at its powers, under the impression that it was the work of
magic, that he broke it to pieces. A locksmith of Nuremberg, in the
sixteenth century, constructed figures that beat drums, while others played
on lutes and the emperor Charles the Fifth amused himself, in his retire
ment, by making similar Automata, or rather, Androides, for so such figures
are called by the learne 1. The celebrated John Muller, it is reported, made
a wooden eagle, in 1470, which, on the emperor Maximilian's approach to
Nuremberg, flew to meet him. Vauconson made an Automatic duck, and,
as Labat tells us, General de Gennes, (who, in 1688, defended St. Christo-
pher against the English,) an Automatic peacock; both of these were of a
size and plumage perfectly natural: they eat, drank, walked about, and ut-
tered the same sounds as the birds themselves. The machinery, in both
cases, was similar to that of a watch. However astonishing these more
complicated pieces of machinery may have been to our forefathers, in mod-
en times, enlightened persons regard Vauconson and his Flute-player, and
De Kempelen and his Turk, with much less wonder than that with which
the rustics of the present day gaze upon the Jack-pudding Jugglers, who
amuse them on a Cart-stage

TRICKS WITH CARDS.
AMONG the most amusing feats of Legerdemain are the tricks with cards,
of which, in the ensuing pages, we present our reader with an excellent
series. Whatever may be the objections, and whether they be well founded
or not, against card-playing among youth, it is neither our duty nor inclina-
tion here to discuss; it must be admitted, by every liberal mind, that for the
mere purpose of performing a few amusing feats of dexterity, to wile away
a winter evening, and relax the mind, for a time, from scholastic studies,
the introduction of a pack of cards is unexceptionable.
Cards have been, for many centuries, in use, having, as it is generally
believed, been invented about the year 1390, to amuse Charles the Sixth,
king of France, of whose wisdom, it must be confessed, historians do not
speak very highly. Upon this circumstance the ingenious Mr. Malkin has
observed, that the universal adoption of an amusement which was invented
for a fool, is no very favorable specimen of the wisdom of mankind. The

196
TRICKS WITH CARDS.
Honorable Daines Barrington, however, in his "Observations on the An-
tiquity of Card-playing in England," asserts, that they came originally from
Spain; while other authors attribute their invention to a more classic and
ancient era, and give the honor, if it be any, of their first production to
the Romans. Having given this slight sketch of the history of cards, we
shall proceed to furnish the necessary instructions for the performance of
the following feats.
FORCING.
Forcing is making a person take such a card as you think fit, while he
supposes he is taking one at hazard, or according to his own inclination. It
is almost impossible to describe how this is done; we must, however, attempt
it. First, ascertain what the card you intend to force is; this must be done
privately, or while you are playing with the cards; then place it, to al
appearance, carelessly in the pack, but still keep your eye, or the little.
finger of your left hand, in which you hold the pack, upon it. Now, request
a person to take a card from the pack; open them nimbly from your left to
your right hand, spreading them backward and forward, so as to puzzle the
person in making his choice: the moment you see him putting out his hand
to take a card, spread on the cards till you come to the one you wish to
force; let its corner be most invitingly put forward in front of the other
cards, and let it make its appearance only the moment his fingers reach the
pack. This mode of operation seems so fair, that unless he knows the secret
of forcing, you may put what card you please into his hand, while he thinks
he is making a choice himself. Having thus forced your card, you may tell
him to look at it, give him the pack to shuffle as much as he pleases, for, in
fact, do what he will, you, of course, can always tell what it was. A method
of doing this cleverly is the first thing to be acquired; for without it, few of
the master-feats can be performed.
TO TELL A CARD THOUGHT OF BLINDFOLD.
Take twenty-one cards, and lay them down in three rows, with their faces
upward; (i. e.) when you have laid out three, begin again at the left hand,
and lay one card upon the first, and so on to the right hand; then begin on
the left hand again, and so go on until you have laid out the twenty-one
cards in three heaps, at the same time requesting any one to think of a card.
When you have laid them out, ask him which heap his card is in: then lay
that heap in the middle between the other two. This done, lay them out
again in three heaps as before, and again request him to notice where his
noted card goes, and put that heap in the middle, as before. Then taking up
the cards with their backs toward you, take off the uppermost card, and
reckon it one; take off another, which reckon two; and thus proceed till you
come to the eleventh, which will invariably prove to be the card thought of

TRICKS WITH CARDS.
197
You must never lay out your cards less than three times, but as often above
hat number as you please. This trick may be done without your seeing the
cards at all, if you handle and count them carefully. To diversify the
trick, you may use a different number of cards, but the number chosen must
be divisible by three, and the middle card, after they have been thrice dealt
as directed, will always be the one thought of; for instance, if done with
fifteen cards, it must be the eighth, and so on; when the number is even, it
must be the exact half; as, if it be twenty-four, the card thought of will be
the twelfth, &c.
THE SHUFFLED SEVEN.
Desire a person to remember a card and its place in the pack; then, in
a dexterous manner, convey a certain number of the cards from the top to
the bottom, and subtract them, in your mind, from the number of the pack :
for example, the pack consists of fifty-two cards, and you have conveyed
seven to the bottom; tell the person the card he has thought of will be the
forty-fifth, reckoning from the number of the card, the place of which he
has to name thus, if he say it is the ninth, you go on counting nine, ten,
eleven, &c. and the card he thought of will be exactly the forty-fifth, as
you announced.
THE PIQUET PACK
Desire some person to choose three cards out of a piquet pack, observing
that the ace is to be counted eleven points, the court cards ten, and the other
cards according to the counts they mark. When he has made his choice,
desire him to lay on the table his three cards, separately, and to put upon
each parcel as many cards as are wanted to make up fifteen points; that is
to say, if the first card should be nine, he must place six cards; if the second
a ten, five cards; and if the third a knave, five cards upon it, this will make
nineteen cards employed; consequently, there will remain thirteen cards in
the pack, which you are to ask for, and while pretending to examine, count
them, in order to be certain of the number left; add sixteen to the remaining
number and you will have twenty-nine, the number of points that the three
chosen cards contain.
THE DOUBLE DOZEN.
Present a pack of cards to one of the company, desire him to shuffle
them well, and to get them shuffled by whomsoever he pleases; then make
several persons cut them: after which, you will propose to one of the
company to take the pack and think of a card, and remember it, and like-
wise its order in the pack, by counting one, two, three, four, &c. till he
S

193
TRICKS WITH CARDS.
somes, inclusively, to the card thought of; offer to go into another room, or
10 be blindfolded, while he is doing this. Now declare in what order the
card shall be in the pack: say, for instance, the twenty-fourth; and, by
attending to the following instructions, it will prove to be so: suppose the
person, who thinks of the card, stops at thirteen, and that the thirteenth
card was the queen of hearts; the number you have stated it shall be in the
pack, being twenty-four: you return to the room, in case you had left it, or
desire the handkerchief to be removed, if you have been blindfolded; and,
without asking any question of the person who has thought of the card, ask
only for the pack, and apply it to your nose, as if to smell it; then passing
it behind your back, or under the table, take, from the bottom of the pack,
twenty-three cards; that is to say, one less than the number you have stated
the card thought of shal! be; place these twenty-three cards on the top.
This being done, return the pack to the person who had thought of the card,
requesting him to reckon the cards from the top of the pack, beginning by
the number of the card he thought of. His card being the thirteenth, he
will be compelled to count fourteen, and you are to stop him when he comes
to twenty-three, reminding him that the number you have mentioned is
twenty-four, and that, consequently, the twenty-fourth card, which he is
going to take up, will be the card thought of; and so it will most certainly be.
THE NOTED CARD NAMED.
Take any number of cards, ten or twelve for instance, bear in mind how
many there are, and holding them with their backs toward you, open four
or five of the uppermost, and, as you hold them out to view, let any one
note a card, and tell you whether it be the first, second, or third, from the
top. Now shut up your cards in your hands, and place the rest of the pack
upon them; knock their ends and sides upon the table, so that it will seem
impossible to find the noted card; yet it may be easily done,-thus: sub-
tract the number of cards you held in your hand from fifty-two, the whole
number in the pack, and to the remainder add the number of the noted card,
which will give you the number of the noted card from the top.
GATHERING OF THE CLANS.
Have in readiness a pack, all the cards of which are well arranged in
successive order: that is to say, if it consist of fifty-two cards, every thirteen
must be regularly arranged, without a duplicate of any one of them. After
they have been cut (but do not suffer thein to be shuffled,) as many times as
a person may choose, form them into thirteen heaps of four cards each,
with the colored faces downward, and put them carefully together again
When this is done, the four kings, the four queens, the four knaves, and so
on, must necessarily be together.

TRICKS WITH CARDS
195
THE MAGIC TWELVF
Let any one take the pack of cards, shuffle, take off the upper card, and¸
naving noticed it, lay it on the table, with its face do wnward, and put sc
many cards upon it as will make up twelve with the number of spots on the
noted card. For instance: if the card which the person drew was a king,
queen, knave, or ten, bid him lay that card with its face downward, calling
it ten; upon that card let him lay another, calling it eleven, and upon that,
another, calling it twelve; then bid him take off the next uppermost card :
suppose it be a nine, let him lay it down on another part of the table, call-
ing it nine; upon it let him lay another, calling it ten; upon the latter an-
other, calling it eleven; and upon that another, calling it twelve: then let
him go to the next uppermost card, and so proceed to lay out in heaps, as
before, till he has gone through the whole pack. If there be any cards at
the last, that is, if there be not enough to make up the last noted card the
number twelve, bid him give them to you; then, in order to tell him the
number of all the spots contained in all the bottom cards of the heaps, de
thus-from the number of heaps subtract four, multiply the remainder by
fifteen, and, to the product, add the number of remaining cards, which he
gave you; but if there were but four heaps, then those remaining cards
alone will show the number of spots on the four bottom cards.
not see the cards laid out, nor know the number of cards in each heap, it
being sufficient to know the number of heaps, and the number of remaining
cards, if there be any, and therefore you may perform this feat as well
standing in another room, as if you were present
TO TURN A CARD INTO A BIRD.
You need
Take a card in your hand, and show it fairly to the company, bidding
them seriously observe it; having a live bird in your sleeve-turning
your hand suddenly, draw the card into your sleeve with your thumb and
little finger, and, giving a shake, the bird will come out of your sleeve intc
your hand; you may then produce it and let it fly.
TO MAKE A CARD JUMP OUT OF THE PACK.
Let any person draw a card, and afterward put it into the pack, but take
care that you know where to find it at pleasure. This you may do by hav-
ing forced it. Then put a piece of wax under the thumb-nail of
your right
hand, and fasten a hair by it to your thumb, and the other end of the hair
by the same means, to the card chosen; spread the pack upon the table,
and, making use of any words you think fit, make it jump in the pack
about the table.
C

200
TRICKS WITH CARDS
THE CONFEDERATE WATER-DROP.
Put on your hat, and privately drop a little water, about the size of a
crown-piece, upon the table at which you sit; rest your elbows upon the
table, so that the cuffs of your sleeves may meet, and your hands stick up to
the brim of your hat; in this posture your arms will hide the drop of water
from the company; then let any one shuffle the cards, put them into your
hands, and set a candle before you, for this trick is only done by candlelight :
-then, holding the cards in your left hand, above the brim of your hat,
close up to your head, so that the light of the candle may shine upon them,
and holding your head down, you will see in the drop of water, as in a look-
ing-glass, all the cards in your hands.
hands. Draw the finger of your right hand
along each card, as if you were feeling it before you name and lay it down.
Thus you may lay down all the cards in the pack, and name them, one by
one, without once turning your eyes toward them.
THE FOUR ACCOMPLICES.
Let a person draw four cards from the pack, and tell him to think of one
of them. When he returns you the four cards, dexterously place two of
them under the pack, and two on the top. Under those at the bottom you
place four cards of any sort, and then, taking eight or ten from the bottom
cards, you spread them on the table, and ask the person if the card he fixed
on be among them. If he say no, you are sure it is one of the two cards on
the top. You then pass those two cards to the bottom, and drawing off the
lowest of them, you ask if that be not his card. If he again say no, you
take that card up, and bid him draw his card from the bottom of the pack. If
the person say his card is among those you first drew from the bottom, you
must dexterously take up the four cards that you put under them, and pla-
cing those on the top, let the other two be the bottom cards of the pack,
which draw in the manner before described.
THE NERVE TRICK.
Force a card, and when the person who has taken it puts it in the pack,
let him shuffle the cards; then look at them again yourself, find the card,
and place it at the bottom; cut them in half; give the party that half which
contains his card at the bottom, and desire him to hold it between his finger
and thunb just at the corner; bid him pinch them as tight as he can; then
strike them sharply, and they will all fall to the ground, except the bottom
one, which is the card he has chosen. This is a very curious trick, and, if
well done, is really astonishing. It is a great improvement of this trick to
put the chosen card at the top of the pack, and turn the cards face upward
so that when you strike, the choosing party's card will remain in his hand
actually staring him in the face.

TRICKS WITH CARDS
201
THE CHOSEN CARD REVEALED BY A PINCH OF SNUFF,
Force a card, suppose, for instance, the five of clubs, having previously
written the words, or drawn the spots, on a clean sheet of paper, with a
tallow candle then hand the pack to the person on whom the card is forced,
bid him place it where, and shuffle the pack how, he pleases; ask for a
pinch of snuff, strew it over the sheet of paper, blow the loose grains off, and
the remainder will stick to those places which the tallow has touched ; thus
telling the person what card he has chosen. The paper, be it observed, if
done lightly with the candle, will not appear to have any marks on it. For
this trick we are indebted to a celebrated performer of Legerdemain, and it
is really a most excellent one.
THE DRAWN CARD NAILED TO THE WALL.
Drive a flat-headed and sharp-pointed nail through a card,—force a
similar one on any person present, receive it into the pack,-dexterously
drop it, and pick up, unseen, the nailed card; place the latter at the bottom
of the pack, which take in your right hand, and throw it, with the bottom
forward, against a wainscoat or door; the nailed card will be fixed, and the
rest, of course, fall to the ground. Take care to place your nail so that the
front of the card, when fixed to the door, may be exposed: to effect this, you
must also remember to put the back of the card outward, placing it face to
face with the others, when you put it at the bottom of the pack.
UPS AND DOWNS.
This is one of the most simple ways, but by no means the less excellent,
of ascertaining what card a person chooses. When you are playing with
the pack, drop out the diamonds, from the ace to the ten, and contrive, with-
out being perceived, to get all the other cards with their heads in the same
direction; then request à person to choose a card; do not force one, but let
him choose whichever he pleases: while he has it in his hand, and is looking
at it, carelessly turn the pack in your hand, so that the position of the cards
may be reversed; then bid him put the card he has chosen into the centre
of the pack; shuffle and cut them, and you may to a certainty know the
card chosen, by its head being upside down, or in a different direction from
the rest of the pack.
THE CARD UNDER THE HAT.
When you have discovered a drawn card by the last or any other trick.
contrive to get the card to the top of the pack, which place on a table under
a hat; put your hand beneath it, take off the top card, and, after seeming
to search among the cards for some time, draw it out.
!

202
TRICKS WITH CARDS.
THE TURN-OVER.
When you have found a card chosen, which you have previously forced,
of any card that has been drawn, and which you have discovered by the
means before described, in order to finish your trick cleverly, convey the
card, privately, in the top of the pack; get all the other cards even with
each other, but let the edge of your top card project a little over the rest;
hold them between your finger and thumb, about two feet from the table, let
them drop, and the top card (which must be, as we have said, the one
drawn,) will fall with its face uppermost, and all the rest with their faces
toward the table.
THE REGAL ALLIANCE.
Take four kings, and place between the third and fourth any two common
cards whatever, which must be neatly concealed; then show the four kings,
and place the six cards at the bottom of the pack; take one of the kings, and
lay it on the top, and put one of the common cards into the pack nearly about
the middle; do the same with the other, then show that there is one king
at the bottom; desire any one to cut the pack, and as three of the kings
were left at the bottom, the four will, therefore, be found together in the
middle of the pack.
THE ODD SCORE.
Take a pack of cards, and let any gentleman draw one; then let him put
it in the pack again, but contrive so as you may be sure to find it at pleasure,
which you will be enabled with ease to do, by some of the preceding tricks;
then shuffle the cards, and let another gentleman draw a card, but be sure
you let him draw no other than the one before drawn, which you must force
upon him; go on in this way until twenty persons have each drawn the
same card; shuffle the cards together, and show your forced card, which
will, of course, be every man's card who has drawn.
THE CARD IN THE EGG.
·
To do this wonderful feat you must have two sticks exactly resembling
each other in appearance one of these sticks must be made so as to con-
ceal a card in the middle of it; for this purpose it must be hollow from end
to end, and have a spring to throw the card into the egg at pleasure. The
operation is this:—peel a card, roll it up, put it into the false stick, and
there let it lie until you have occasion to make use of it. Take a pack of
cards, and let any person draw one; but be sure to let it be a similar card
to the one which you have in the hollow stick. This must be done by

TRICKS WITH CARDS.
203
Take the
torcing. The person who has chosen it will put it into the pack again, and,
while you are shuffling, let it fall into your lap. Then, calling for some
eggs, desire the person who drew the card, or any other person in the com-
pany, to choose any one of the eggs. When they have done So, ask the per-
son if there be anything in it? He will answer there is not.
205 in your left hand, and the hollow stick in your right;-break the egg
with the stick, let the spring go, and the card will be driven into the egg.
You may then show it the spectators, but be sure to conceal the hollow stick,
ane produce the solid one, which place upon the table for examination.
THE PAINTED PACK.
Take a pack of cards, and paint the backs of one half of the pack with
what figures you think fit, as men,
women, birds, flowers, &c. Also
paint the faces of the other half of
the cards in the same manner; thus
you will have a complete pack of odd
pictures, and may, by showing the
faces, of that part of the pack whose
backs only have been painted, and
then, by a momentary shuffle, appa-
rently transforming them into a set
of grotesque figures, produce much
amusement. There is another man-
ner of making the pack; it is as
follows:-Take a dozen cards, or
more, and draw a line from the right-
hand upper corner to the left-hand
lower corner of the face of each of
them; they will thus be all equally
divided. Then paint part of some
odd figure on the right division of
each card, leaving the left untouched.
By a little dexterity, you may now seem to transform a set of common cards
into a painted pack.
TO CONVEY A CARD INTO A CHERRY-STONE.
Burn a hole through the shell of a nut or cherry-stone, and also through
the kernel, with a hot bodkin, or bore it with an awl, and with a needle
pick out the kernel, so that the hole in it may be as wide as the hole of the
shell; then write the name of a card on a piece of fine paper, roll it up

204
TRICKS WITH CARDS.
hard, put it into the nut or cherry-stone, stop the hole up with some bees
wax, and rub it over with a little dust, and it will not be perceived; then
while some by-stander draws a card, observe, “It is no matter what card
you draw ;" and, if you use the cards well, you will offer him, and be will
receive, a similar card to that you have rolled up in the nut. Give him the
nut and a pair of crackers, and he will find the name of the card he drew
rolled up in its kernel.
4
THE CARD IN THE MIRROR.
Provide a circular mirror, the frame of which must be, at least, as wide
as a card. The glass in the centre must be made to move in two grooves,
and so much of the silvering must be scraped off as is equal to the size
of a common card. Observe that the glass be likewise wider than the
card. Then paste over the part where the quicksilver is rubbed off, a
card that exactly fits the space. The mirror must be placed against a
partition, through which two strings pass to an assistant in the adjoin-
ing room, who can easily move the glass in the grooves, and consequently,
make the card appear or disappear at pleasure. Matters being thus pre-
pared, contrive to make a person draw the same sort of card with that
fixed to the mirror, and place it in the middle of the pack; then make
the pass, and bring it to the bottom; direct the person to look for his card
in the mirror, when the confederate, behind the partition, is to draw it
slowly forward, and it will appear as if placed between the glass and quick-
silver. While the glass is being drawn forward, you slide off the card
from the bottom of the pack, and convey it away. The card fixed to the
mirror may easily be changed each time the experiment is performed
This recreation may also be made with a print that has a glass before it,
and a frame of sufficient width, by making a slit in the frame, through
which the card is to pass; but the effect will not be so striking as in the
mirror.
THE MOUSE IN THE PACK.
Have a pack of cards fastened together at the edges, but open in the middle
like a box, a whole card being glued on as a cover,
and many loose ones plac
ed above it, which require to be dexterously shuffled, so that the entire may
seem a real pack of cards. The bottom must likewise be a whole card
glued to the box ou one side only, yielding immediately to exterior pressure,
and serving as a door by which you convey the mouse into the box. Being
thus prepared, and holding the bottom tight with your hand, require one of
the company to place his open hands together, and tell him you mean to
produce something very marvellous from this pack of cards; place the cards

TRICKS WITH CARDS.
205
then in his hands, and while you engage his attention in conversation, take
the box in the middle, throw the pack aside, and the mouse will remain in the
hands of the person who held the cards.
THE MARCHING CARD.
One of the company is desired to draw a card, which is afterward mixed
with the pack, and commanded to appear on the wall: it accordingly obeys,
advancing as it is ordered, and describes an inclined line from the right to
the left it disappears at the top of the room, and appears an instant after-
ward, moving in a horizontal direction :-to do this, first force a card;
after having shuffled the pack, withdraw the forced card, privately, and
show the company the pack again, that they may see it is no longer there:
when you order it to appear on the wall, a confederate adroitly draws a
thread, at the end of which is previously fastened a similar card, which
comes from behind a glass; it is fastened by very minute loops of silk to
nother thread fully stretched, along which it runs, and performs its route
as directed.
THE BURIED HEART
A curious deception may be practised, by cutting out neatly, and thinly
shaving, the back of a club, which is then to be pasted slightly over an ace
of hearts. After showing a person the card, let him hold one end of it, and
you hold the other, and, while you amuse him with discourse, slide off the
club; then, laying the card on the table, bid him cover it with his hands,
knock under the table, and command the club to turn into the ace of hearts.
CONFEDERATE SIGNALS.
This amusement is to be performed by confederacy; you previously
agree with your confederate on certain signs, by which he is to denote the
suite, and the particular card of each suite, as thus: if he touch the first
button of his coat it signifies an ace, if the second, a king, &c. and then
again if he take out his handkerchief, it denotes the suite to be hearts; if he
take snuff, diamonds, &c. These preliminaries being settled, you give the
pack to a person who is your confederate, and tell him to separate any one
card from the rest while you are absent, and draw his finger once over it.
He is then to return you the pack, and while you are shuffling the cards, you
carefully note the signals made by your confederate; then turning the cards
over one by one, you fix on the card he touched.

206
TRICKS WITH CARDS
THE CARD IN THE POCKET-BOOK.
A confederate is previously to know the card you have taken from the
pack, and put into your pocket-book; you then present the pack to him, and
desire him to fix on a card, (which we will suppose to be the queen of
diamonds) and place the pack on the table; you then ask him the name of
the card, and when he says the queen of diamonds, you ask him if he is not
mistaken, and if he be sure that the card is in the pack? When he replies
in the affirmative, you say, "It might be there when you looked over the
cards, but I believe it is now in my pocket; then desire a third person to
put his hand in your pocket, and take out your book, and when it is opened
he card will appear.
The assistant in this, and, in fact, in all similar tricks, must be dexterous;
he ought to understand what you wish him to do by the slightest hint,—a
cough, a motion of the finger, or conjuring stick-o" he will never answer
for the confederate of a Conjuror
The King of Conjurors at Cards
His glib discourse oft interlards
With crabbed Greek, and Latin lame :-
By sleight of hand, performing feats,
Which even magic put to shame.
But when he works his master-cheats,
This mighty King is forced to crave
The aid of some confederate Knave

PARADOXES AND PUZZLES.
•
Come hither all ye youthful Sages,
Come and peruse our sequent pages;
We care not whence the good wind blows you,
For sure we are that we shall poze you.
PARADOXES and Puzzles, although by many persons looked upon as mere
trifles, have, in numerous instances, cost their inventors considerable time,
and exhibit a great degree of ingenuity. We can readily imagine that some
of the complicated puzzles in the ensuing pages may have been originally
constructed by captives, to pass away the hours of a long and dreary impris-
onment; thus does the misery of a few, frequently conduce to the amusement
of many.
We look upon a Paradox as a sort of superior riddle, and a
tolerable Puzzle, in our opinion, takes precedence of a first-rate rebus.
There is often considerable thought, calculation, patience, and management,
required to solve some of these strange enigmas; and we have, ere now,
followed the mazes of a Puzzle so ardently, as to be entirely absorbed in de-
vising means to extricate ourself from its bewildering difficulties; and felt
almost as much pleasure in eventually achieving a victory over it, as we
have in conquering an adversary at some superior game of skill. It is,
"in good sooth, a right dainty and pleasant pastime," to watch the stray
wanderings of another person attempting to elucidate a Paradox, or perform
a Puzzle, with which one is previously acquainted. It is laughable to see
him elated with hope at the apparent speedy end of his trouble, when you
know that, at that moment, he is actually farther from his object than he was
when he began: and it is no less amusing to watch his increasing despair,
as he conceives himself to be getting more and more involved, when you are
X

208
PARADOXES AND PUZZLES
well aware that he is within a single turn of a happy termination of his
toils; but what a mirthful moment is that, when, there being only two ways
to turn, the one right and the other wrong, as is usually the case, he takes
the latter, and becomes more than ever
"Pozed, puzzled, and perplexed."
A Paradox or a Puzzle ought, perhaps, never to be explained; the party
to whom it is proposed should rather be left in ignorance of its solution, unless
he succeed in discovering it himself; if he fail after two or three efforts, and
you disclose it, his vanity will be hurt, on account of his having been foiled
by a question that, after its solution, appears so simple, or in some instances,
he will call it silly and ridiculous; whereas, if he discover it without
assistance, he will praise it for its excellence, and be pleased at his own
cleverness.
We now proceed to open our budget :—Our first article is-
TROUBLE-WIT.
Take a sheet of stiff paper, fold it down the middle of the sheet, long-
ways;
then turn down the edge of each fold outward, the breadth a penny;
measure it as it is folded, into three equal parts, with compasses, which make
six divisions in the sheet; let each third part be turned outward, and the
other, of course, will fall right; then pinch it a quarter of an inch deep, in
plaits, like a ruff; so that, when the paper lies pinched in its form, it is in the
fashion represented by A; when closed together, it will be like B; unclose
1. again, shuffle it with each hand, and it will resemble the shuffling of a pack
rds; close it, and turn each corner inward with your fore-finger and
A
B

PARADOXES AND PUZZLES.
209
thumb, it will appear as a rosette for a lady's shoe, as C; stretch it forth.
C
and it will resemble a cover for an Italian couch, as D; let go your fore
D
finger at the lower end, and it will resemble a wicket, E; close it again
E

210
PARADOXES AND PUZZLES.
and pinch it at the bottom, spreading the top, and it will represent a fan, as
F; pinch it half-way, and open the top, and it will appear in the form
shown by G; hold it in that form, and with the thumb of your left hand,
turn out the next fold, and it will be as H.
H
F
In fact, by a little ingenuity and practice, Trouble-wit may be made to
assume an infinite variety of forms, and be productive of very considerable
amusement.
THE SLIGHTED LADY.
We shall suppose there are 13 ladies in company, one of whom you wish
to mortify; you, therefore, provide 12 nosegays, and, without showing any
appearance of partiality, announce that you mean to let chance decide
which of them is to go without one. For this purpose, make the 13 ladies
stand up in a ring, allowing them to place themselves as they please; and
distribute to them the 12 nosegays, counting them from 1 to 9, and making
the ninth retire from the ring, and carry with her a nosegay. It will be

PARADOXES AND PUZZLES.
211
found, that the eleventh, reckoning from the one by whom you began, will
remain the last ; and, consequently, will have no share in the distribution ;
you, of course, will begin counting with the one who stands second in the
ring from the party to be excluded.
The following table will show the person, before her whom you wish to
exclude, with whom you must begin to count 9; supposing, always, that
the number of the nosegays is less by one than that of the persons.
For 13 persons, the 11th before.
12
11
10
9
8
7
6
5
•
•
•
•
•
•
•
2d.
5th.
7th.
8th.
8th.
7th.
5th.
3d.
4
3
2
3d.
2d.
1st
THE WINE MERCHANT AND HIS Clerk.
A wine-merchant caused 32 casks of choice wine to be deposited in lus
cellar, giving orders to his clerk to arrange them, as in the annexed figure,
so that each external row should contain nine. The
clerk, however, took away 12 of them, at three differ-
ent times; that is, four each time; yet, when the mer-
chant went into the cellar, after each theft had been
committed, the clerk always made him count nine in
each row. How was this possible?
1
1
7
1
7
1
2d Order.
2
LO
5
2
CT
This problem may be easily solved by inspecting the
following figures
3d Order.
4th Order.
5
2
3 3 3
4
1
4
ها
5
3
3
1
-
5
2
3
3
3
4 1 4

212
PARADOXES AND PUZZLES
PROFIT AND LOSS.
A man bought ninety-six apples at three a penny, and the same number
at two a penny; he sold them again at the rate of five for two-pence. Que
ry. Did he gain or lose?
Answer. He lost. The ninety-six apples, at three a penny, cost him
2s. 8d., and the ninety-six, at two a penny, 4s., making together, 6s. 8d.
He had one hundred and ninety-two apples, and sold thirty-eight two-
penny-worths; for which he received, of course, 6s. 4d. When he had
done this, he had only two apples left: he, consequently, lost a fraction
above 3 d.
THE GEOMETRICAL MONEY.
Draw on pasteboard the following rectangle, whose side, A C, is three
inches, and A B, ten inches. Divide the longest side into ten equal parts,
D
E
G
୯
F
H
A
B
and the shortest into three equal
parts, and draw the perpendicular
lines, as in the figure, which will
divide it into thirty equal squares.
From A to D draw the diagonal
line, and cut the figure, by that
line, into two equal triangles, and
cut those triangles into two equal parts, in the direction of the lines, E F
and G H. You will then have two triangles, and two four-sided irregular
A
B
C
D
#
figures, which you are to place together, in the
manner they stood at first, and in each square
you are to draw the figure of a piece of money;
observing to make those in the squares through
which the line, A D, passes, somewhat imperfect.
As the pieces stand together in the foregoing
figure, you will count thirty pieces of money
only; but if the two triangles and the two irreg-
ular figures be joined together, as in the two last annexed figures, there
will be thirty-two pieces.
QUAINT QUERY.
What is the difference between six dozen dozen, and a half-a-dozen
dozen ?
Answer 792-Six dozen dozen being 86-4, and half-a-dozen dozen, 72
THE SHEEP-FOLD.
A farmer had a pen made of 50 hurdles, capable of holding 100 sheen

PARADOXES AND PUZZLES.
213
only supposing he wanted to make it sufficiently large to hold double that
number,-how many additional hurdles would he have occasion for?
Answer. Two. There were 48 hurdles on each side of the pen ; a hur-
dle at the top, and another at the bottom; so that, by moving one of the
sides a little back, and placing an additional hurdle at the top and bottom,
the size of the pen would be exactly doubled.
THE IMPOSSIBILITY MADE POSSIBLE.
Place three pieces of money on the table, and desire some person to take
away the piece from the centre without touching it.
If the manner of executing it be not discovered, remove one of the end
pieces to the other side, and thus you take away the piece from the cen-
tre without touching it.
Compose a cross, with
C
00
000
THE CURIOUS CROSS.
thirteen sixpences, shillings, or any other coins,
as No. 1, in which it will be perceived you may reckon nine in three
No. 1. No. 2. different ways; that is to say, in the entire per-
pendicular line, up the perpendicular line to the
cross line, and including the cross line, first on
the right, then on the left. These are the quali-
ties of the cross. The puzzle is to take two of the
pieces away, and still to leave the same qualities
in the cross. This is done by taking away the
two outside pieces of the cross line, and lifting
the two which remain one piece higher. The
figure will then be as No. 2
0
SEVEN IN TWO.
Cut a piece of bread, or paper, in the form of a house-shoe, (vide Fig. 1,)
and desire some person, by two cuts, to divide it into seven pieces. The
A
manner of doing this is as follows:-Cut across
from a to b; this will divide the shoe into three
pieces: then place the two ends by the side of the
upper part, as Fig. 2, and cut across from c to d.
The shoe will then be cut into seven pieces
There is a figure puzzle somewhat similar to this,
by which five may be made seven in one cut.
piece of paper is cut out in the shape of a Roman
numeral five (V); it is then, with a knife or scis-
sors, cut across, and the two points placed on the
right of the lower part; thus it becomes seven, (VII.)
Fig 2.
HA
T
A

214
PARADOXES AND PUZZLES.
THE PARTIAL REPRIEVE.
To arrange 30 criminals in such a manner that, by counting them in suc-
cession, always beginning again at the first, and rejecting every ninth per-
son, 15 of them may be saved :—Arrange the criminals according to the
order of the vowels in the following Latin verse:
4 5 21 3 1
1 2 2 3 1 2 2 1
Populeam virgam mater regina ferebat.
Because o is the fourth in the order of the vowels, you must begin by four
of those whom you wish to save; next to these place five of those whom
you wish to punish; and so on alternately, according to the figures which
stand over the vowels of the above verse.
FAMOUS FORTY-FIVE.
part
How can number 45 be divided into four such parts that, if to the first
you add two, from the second part you subtract two, to the third part you
multiply by two, and the fourth part you divide by two, the sum of the ad-
dition, the remainder of the subtraction, the product of the multiplication
and the quotient of the division, be all equal?
Answer.
• • •
•
The 1st is 8, to which add 2, the sum is
The 2d is 12, subtract 2, the remainder is
The 3d is 5, multiplied by 2, the product is
The 4th is 20, divided by 2, the quotient is
•
10
10
10
•
10
45
t
THE WOLF, THE GOAT, AND THE CABBAGES.
Suppose a man have a wolf, a goat, and a basket of cabbages, on the
bank of a river, that he wishes to cross with them; and that his boat is only
big enough to carry one of the three besides himself. He must, therefore,
take them over one by one, in such a manner, that the wolf shall have no
opportunity of devouring the goat, or the goat of devouring the cabbages.
How is he to do this?
Answer. First, he takes over the goat; he then returns, and takes
the wolf; he leaves the wolf on the other side, and brings back the goat;
he now takes over the cabbages, and comes back once more, to fetch the
goat. Thus, the wolf will never be left with the goat, nor the goat with
the cabbages.

PARADOXES AND PUZZLES.
215
THE CHERRY CHEAT.
Cut two longitudinal slips out
in oval above these slips, as e.
a
Ĵ
Z
of a card, as a b c d (Fig. 1 ;) also, cut out
Take the part (ƒ) between the two lon-
gitudinal apertures, with
र
your finger and thunb,
and draw it toward you,
until the card be bent in-
to a half-circle; pass part
off through the oval, e,
and then, through the part
of ƒ so passed through
e, introduce one of two
cherries, whose stems
grow together. Let the
stems, and also ƒ, pass
back through the oval;
put your card as much in the original position as possible again, and it will
appear as Fig. 2. The puzzle is to get the cherries off without breaking
their stems, or damaging the card. It is only to be done in the manner
described for putting them on.
THE TRIPLE ACCOMMODATION
To form a regular geometrical solid, which shall fill up a circle, a square,
and a triangle." Take a round piece of wood; let its height be the same
as its diameter; mark a line diamet-
rically through its centre, at one end
(Fig. 1;) then cut away the wood,
right and left, from the line at the top,
regularly, toward each edge, at the
bottom. You will then have Fig. 2.
Then, in a piece of card, or thin
board, cut a circle of the same di-
ameter, as the base of the figure you
have formed, and a square, each
side of which is the same as the di-
ameter of the circle: also, a triangle, whose base and height are the same
as the square; and the figure you have cut out will exactly fit all three.
This may be performed, for the sake of expedition, with a cork, a piece of
apple, or anything easy to cut, and a piece of stiff paper.
THE POOR-HOUSE PROBLEM.
There is a square piece of land, containing twenty-five acres, designed
for the reception of twenty-four poor men and their governor, who are each

216
PARADOXES AND PUZZLES.
to have a house situated in his own ground, with the governor's in the centre.
How many people's land must the governor pass through before he gets to
the outside of the whole?
Answer. Two; for the ground being a square, it will consist of five
ows, each five acres.
EIGHTEEN WORDS IN TWENTY-THREE LETTERS.
What do the following letters signify in the French language, pronounced
in the order in which they stand?
Inneopyliavgliattlieded
Answer. Hélène est née au pays grec, elle y a vécu, elle y a tété, elle
y est décédée.
THE PUZZLING RINGS.
This perplexing invention is of great antiquity, and was treated on by
Cardan, the mathematician, at the beginning of the sixteenth century. It
consists of a flat piece of thin metal or bone, with ten holes in it; in each
hole a wire is loosely fixed, beaten out into a head at one end, to prevent its
slipping through, and the other fastened to a ring, also loose. Each wire
has been passed through the ring of the next wire, previously to its own ring
being fastened on; and through the whole of the rings, runs a wire loop or
bow, which also contains, within its oblong space, all the wires to which the
rings are fastened; the whole presenting so complicated an appearance, as
to make the releasing the rings from the bow appear an impossibility. The
construction of it would be found rather troublesome to the amateur, but it
may be purchased at most of the toy-shops, very lightly and elegantly made.
It also exists in various parts of the country, forged in iron, perhaps, by
some ingenious village mechanic, and aptly named "The Tiring Irons."
The following instructions will show the principle on which the puzzle is
constructed, and will prove a key to its solution.
Take the loop in your left hand, holding it at the end B, and consider the
rings as being numbered 1st to 10th. The 1st will be the extreme ring to
the right, and the 10th the nearest to your left hand.
It will be seen that the difficulty arises from each ring passing round
the wire of its right-hand neighbour. The extreme ring at the right hand,
of course, being unconnected with any other wire than its own, may, at
any time, be drawn off the end of the bow at A, raised up, dropped
through the bow, and finally released. After you have done this, try to
pass the 2d ring in the same way, and you will not succeed, as it is
obstructed by the wire of the 1st ring; but if you bring the 1st ring on

PARADOXES AND PUZZLES.
217
again, by reversing the process by which you took it off, viz. by putting
it up through the bow, and on to the end of it, you will then find, that by
taking the 1st and 2d rings together, they will both draw off, lift up, and
drop through the bow. Having done this, try to pass the 3d ring off, and
B
10 9 8 7 6 5 4 3 2 1
000000
A
you will not be able; because it is fastened on one side to its own wire,
which is within the bow, and on the other side, to the 2d ring, which is
without the bow. Therefore, leaving the 3d ring for the present, try the 4th
ring, which is now at the end all but one, and both of the wires which affect
it being within the bow, you will draw it off without obstruction; and, in
doing this, you will have to slip the 3d ring off, which will not drop through,
for the reasons before given; so, having dropped the 4th ring through, you
can only slip the 3d ring on again. You will now comprehend, that (with
the exception of the 1st ring) the only ring, which can at any time be re-
leased, is that which happens to be 2d on the bow, at the right-hand end;
because both the wires which affect it, being within the bow, there will be no
impediment to its dropping through. You have now the 1st and 2d rings
released, and the 4th also,-the 3d still fixed; to release which, we must
make it last but one on the bow, and to effect which, pass the 1st and 2d
rings together through the bow, and on to it; then release the 1st ring again
by slipping it off, and dropping it through, and the 3d ring will stand as 2d
on the bow, in its proper position for releasing, by drawing the 2d and 3d
off together, dropping the 3d through, and slipping the 2d on again. Now
to release the 2d, put the 1st up, through and on the bow; then slip the
two together off, raise them up, and drop them through. The 6th will
now stand 2d, consequently, in its proper place for releasing; therefore,
draw it toward the end, A, slip the 5th off, then the 6th, and drop it through;
after which replace the 5th, as you cannot release it until it stand in the
position of a 2d ring; in order to effect this, you must bring the 1st and 2d
rings together, through and on to the bow; then, in order to get the 3d on,

218
PARADOXES AND PUZZLES.
slip the first off, and down through the bow; then bring the 3d up, through
and on to the bow; then bring the 1st ring up and on again, and, releasing the
1st and 2d together, bring the 4th through, and on to the bow, replacing the
3d: then bring the 1st and 2d together on, drop the 1st off and through, then
the 3d the same, replace the 1st on the bow, take off the 1st and 2d together,
and the 5th will then stand 2d, as you desired; draw it toward the end,
slip it off and through, replace the 4th, bring the 1st and 2d together up
and on again, release the 1st, bring on the 3d, passing the 2d ring on to
the bow again, replace the 1st in order to release the 1st and 2d together;
then bring the 4th toward the end, slipping it off and through, replace
the 3d, bring the 1st and 2d together up and on again, release the 1st,
then the 3d, replacing the 2d, bring the 1st up and on, in order to release
the 1st and 2d together, which having done, your 8th ring will then stand
21, consequently you can release it, slipping the 7th on again. Then to
release the 7th, you must begin by putting the 1st and 2d up and on to-
gether, and, going through the movements in the same succession as be-
fore, until you find you have only the 10th and 9th on the bow; then slip
the 10th off and through the bow, and replace the 9th. This dropping of
the 10th ring is the first effectual movement toward getting the rings off,
as all the changes you have gone through, were only to enable you to get
at the 10th ring. You will then find that you have only the 9th left on the
bow, and you must not be discouraged on learning, that in order to get
that ring off, all the others to the right hand must be put on again, begin-
ning by putting the 1st and 2d together, and working as before, until you
find that the 9th stands as 2d on the bow, at which time you can release
it. You will then have only the 8th left on the bow; you must again
put on all the rings to the right hand, beginning by putting up the 1st and
2d together, till you find the 8th standing as 2d on the bow, or in its proper
position for releasing; and so you proceed, until you find all the rings
finally released.
As you commence your operations with all the rings ready fixed on
the bow, you will release the 10th ring in 170 moves: but as you then
have only the 9th on, and as it is necessary to bring on again all the rings
up to the 9th, in order to release the 9th, and which requires 15 moves
more, you will consequently, release the 9th ring in 256 moves; and, for
your encouragement, your labor will diminish, by one half, with each
following ring which is finally released. The 8th comes off in 128 moves,
the 7th in 64 moves, and so on, until you arrive at the 2d and 1st rings;
which come off together, making 681 moves, which are necessary to take
off all the rings. With the experience you will, by this time, have ac-
quired, it is only necessary to say, that to replace the rings, you begin by
putting up the 1st and 2d together, and follow precisely the same syster,
Rs before.

PARADOXES AND PUZZLES.
219
THE CARD PUZZLE.
One of the best puzzles hitherto made, is represented in the annexed cut
▲, is a piece of card; b b, a narrow slip divided from its bottom edge,
A
the whole breadth of the card, except just
sufficient to hold it on at each side; c c,
is another small slip of card, with two
large square ends, e é ; d, is a bit of a to-
bacco-pipe, through which c c is passed,
and which is kept on by the two ends,
e e. The puzzle consists in getting the
pipe off without breaking it, or injuring
any other part of the puzzle. This, which
appears to be impossible, is done in the
most simple manner. On a moment's con-
sideration, it will appear plainly, that
there must be as much difficulty in getting
the pipe in its present situation, as there can be in taking it away. The
way to put the puzzle together, is as follows:-The slip, c c, e e, is cut out of
a piece of card, in the shape delineated in Fig. 3. The card in the first
figure, must then be gently bent at A, so as to allow of the slip at the bot-
tom of it being also bent sufficiently to pass
double through the pipe, as in Fig. 2. The
detached slip with the square ends, (Fig. 3,)
is then to be passed half way through the
loop, f, at the bottom of the pipe; it is
next to be doubled in the centre, at a, and
pulled through the pipe, double, by means
of the loop of the slip to the card. Upon
unbending the card, the puzzle will be
complete, and appear as represented in
Fig. 1. In order to take the pipe off, the
card must be doubled, as (Fig. 2,) the slip
passed through it, until there is sufficient
of the loop below the pipe to allow of one
of the square ends of the slip (Fig. 3) being passed through it. Fig. 3 is
then to be taken away, and the pipe slipped off. The card for this puzzle
inust be cut very neatly, the puzzle handled gently, and great care taken,
that in doubling the card, to put on the pipe, no creases are made in it, as
they would, in all probability, spoil your puzzle, by betraying, to an acute
spectator, the mode of operation.

220
PARADOXES AND PUZZLES.
THE SQUARE HOLE AND ROUND STOPPER.
How can a mechanic file a square hole with a round file, and fill up an
oval hole with a round stopper?
Answer. A piece of pliable metal being doubled, by applying a round
file to the double edge, and filing a half square gap, on opening the metal,
a square will appear. Again, if two corners and an edge, at the end of a
miser's iron chest, be filed away with a round, or any other file, there will
be an exact square hole left. And further, if a cylindrical body be cut
obliquely, the plane of the section will be an oval; and, consequently, a
round body, situated obliquely in an oval hole, will completely fill it.
THE HEART AND BALL PUZZLE.
To make this puzzle, it is only necessary to cut a thin piece of wood into
the shape of a heart, to make six holes in it, as represented in the annexed
cut, and provide a thin silken cord, which is to be doubled, and the two
ends fastened into a small wooden ball. To play the ball on, pass the loop
through the hole 6, from face to back, up to 2, through which bring it, and
then through 3, 5, 4, and 1, in succession: then through 2 again, and down
the back to 6; bring it through 6 to the face,
and pass it over the ball; then draw the loop back
again through 6 and 2, and the puzzle (which is
to take the ball and string off after being thus
fixed) is set. To play the ball off, place the heart
before you in the position described by the cut:
slacken the string by drawing, at the back, the
ball toward the hole 6; then loosen the rest of the
string by pulling it toward you, and draw up the
loop as far as you can: then pass the loop through
hole 2, down the other side of the heart, to 6;
through which bring it to the face, and pass it
over the ball; then draw the loop back again
through the same hole, and the ball and the string will come off. Care
should be taken to avoid twisting or entangling the string. The length of
the string should be proportioned to the size of the heart; if you make the
heart two inches and a half high, the string, when doubled, should be about
nine inches long.
THE SCALE AND RING PUZZLE.
Provide a thin piece of wood of about two inches and a half square,
make a round hole at each corner, sufficiently large to admit three or four

PARADOXES AND PUZZLES.
221
times the thickness of the cord you will afterward use, and, in the middle of
the board, make four smaller round holes, in the form of a square, and about
half an inch between each. Then take four pieces of thin silken cord, each
about six inches long, pass one through each of the four corner holes, tying a
D
knot underneath at the end, or affixing a little ball
or bead to prevent its drawing through; take an-
other cord, which, when doubled, will be about
seven inches long, and pass the two ends through
the middle holes, a a, from the front to the back of
the board, (one cord through each hole,) and again
from back to front through the other holes, bb: tie
the six ends together in a knot, so as to form a small
scale, and proportioning the length of the cords, so
that when you hold the scale suspended, the middle
cord, besides passing through the four centre holes,
will admit of being drawn up into a loop of about
half an inch from the surface of the scale: provide
a ring of metal, or bone, of about three quarters of
an inch in diameter, and place it on the scale,
bringing the loop through its middle: then draw-
ing the loop a little through the scale toward you, pass it, double as it
is, through the hole at the corner, A, over the knot underneath, and draw it
back: then pass it in the same way through the hole at corner B, over the
knot, and draw it back then drawing up the loop a little more, pass it over
the knot at top, and, afterward, through the holes C and D, in succession,
like the others, and the ring will be fixed. The puzzle consists in releasing
the ring; to effect which, you have only to reverse the former process, by
passing the loop through the holes, D, C, B, and A, in the manner before
described.
I
:
THE OYSTER WAGER.
One
Two men eat oysters together for a wager, who should eat most.
eat ninety-nine only, the other eat a hundred and won. How many did the
winner eat? Answer. One hundred.
HODGE AND HIS HAY.
A truss of hay, weighing but half a hundred weight in a scale, weighed
two hundred weight stuck upon the end of a fork, carried upon Hodge's
shoulder : how could that be?
Answer. The fork was as the steel-yard; Hodge's shoulder as the ful-
erum sustaining the burden between the two powers, acting at bot': ends of
the fork.
U

222
PARADOXES AND PUZZLES.
1
:
THE SQUARES OF TRIANGLES.
Cut twenty triangles out of a square bit of wood, as marked in the en
graving, mix them up together, and bid any person make an exact square
of them. The key to this puzzle may be acquir-
ed by remembering the black lines in the cut; by
which it will be seen, that four triangles are to be
placed at the corners, and a small square made in
the centre; when this is done, the remainder is
easy of execution. A piece of card will do in-
stead of wood; it is much easier to cut out; but,
on account of its warping, wood is to be preferred
to it. Great care must be taken that all the edges
are smooth and regular; for if any of them are
notched, or wavy, so as to tally with each other, they may, of course, with
ittle difficulty, be put together.
Many other Puzzles, similar to the Square of Triangles, may, with a lit
Je ingenuity, be constructed, in such a manner as to afford their young
inventor the means of much amusement.

VARIETIES
•
the
#LUMBANONS
Bluff Eolus, who roars across the deep
And howls among the mountain pines to-day,-
To-morrow, on the harp or lyre, will breathe
Such melting music, as from Memnon's head,
When first Apollo's gleam fell on his brow,
Was heard to issue in the days of yore
THE EOLIAN HARP
THE Instrument consists of a long narrow box of very thin deal, about
five or six inches deep, with a circle in the middle of the upper side, of an
inch and a half in diameter, in which are to be drilled small holes. On this
side, seven, ten, or more strings, of very fine gut, are stretched over bridges
at each end, like the bridge of a fiddle, and screwed up, or relaxed with
screw-pins. The strings must be all tuned to one and the same note, and
the instrument be placed in some current of air, where the wind can pass
over its strings with freedom. A window, of which the width is exactly
equal to the length of the harp, with the sash just raised to give the air ad-
mission, is a proper situation. When the air blows upon these strings, with
different degress of force, it will excite different tones of sound; sometimes,
the blast brings out all the tones in full concert, and sometimes, it sinks
them to the softest murmurs, See engraving at the head of this article.

224
VARIETIES.
TO MAKE FRUIT AND FLOWERS GROW IN WINTER.
Take up the trees, on which the fruit grows, by the roots, in the spring,
just as they put forth their buds, taking care to preserve some of their
own earth about the roots. Set them, standing upright, in a cellar, till the
middle of September, and put them into vessels with an addition of earth;
then bring them into a stove, taking care to moisten the earth around
them every morning with rain water, in a quart of which, dissolve the size
of a walnut of sal-ammoniac, and about the middle of March the fruit will
appear.
TO CONVERT PAPER INTO FRAMES FOR PICTURES.
For this purpose, a convenient quantity of the best sort of white paper
must be steeped for two or three days in water, till it becomes very soft;
then, being reduced by the mortar and hot water into a thin pulp, it is to
be laid upon a sieve to draw off its superfluous moisture; after which, it
is to be put into warm water, wherein a considerable quantity of fresh glue,
or common size, has been dissolved; it may then be placed in moulds, to
acquire the desired figure, and when taken out, may be strengthened as
occasion requires, with plaster or moistened chalk, and when dry, painted
or overlaid.
TO TAKE THE IMPRESSION OF BUTTERFLIES ON PAPER,
Clip the wings of the butterflies; lay them upon clean paper in the form
of the insect when flying. Spread some pure thick gum-water on another
piece of paper, press it on the wings, and it will take them up; lay a piece
of white paper over it, and rub it gently with your finger, or the sinooth
handle of a knife. The bodies are to be drawn in the space which you leave
between the wings.
THE DEAF MADE TO HEAR.
Procure a stringed instrument, with a neck of some length, as a lute, a
guitar, or the like; and, before you begin to play, you must, by signs, direct
the deaf man to take hold, with his teeth, of the end of the neck of the instru-
ment; then, if you strike the strings with the bow one after another, the
sound will enter the deaf man's mouth, and be conveyed to the organ of
hearing through the hole in the palate; and thus the deaf man will hear,
with a great deal of pleasure, the sound of the instrument, as has been severa
times experienced; nay, those who are not deaf may make the experiment
upon themselves, by stopping their ears, so as not to hear the instrument in
the usual way, and then holding the end of the instrument in their teeth
while another touches the strings.

VARIETIES.
9675
THE HYDROMETER.
The hydrometer is an instrument to measure the degrees of dryness
or moisture of the atmosphere. There are various kinds of hydrometers;
A
SV Dams
Dann
DTY
Dr.V
for whatever body either swells of
shrinks by dryness or moisture, is ca-
pable of being formed into an hydrom-
eter; such are woods of most kinds,
particularly ash, deal, poplar, &c. The
following is the most lasting and con-
venient mode of constructing an instru-
ment of this description:-Take a
very nice balance, and place in it a
sponge, or other body which easily im.
bibes moisture, and let it be in equilib-
rio with a weight hung at the other
end of the beam. If the air become
moist, the sponge, becoming heavier, will preponderate; if dry, the sponge
will be raised up. This balance may be contrived two ways, by either hav-
ing the pin in the middle of the beam, with a slender tongue, a foot and a
half long, pointing to the divisions of an arched plate, fitted to it; or the
other extremity of the beam may be so long, as to describe a large arch on
a board placed for the purpose.
To prepare the sponge, it may be necessary to wash it in water, and,
when dry, in water or vinegar, in which sal-ammoniac, or salt of tartar, has
been dissolved, and let it dry again; then it is fit to be used. The instru-
ment can be hung against a wall; and, in that case, a bit of steel, as at A,
should be placed before the needle, to keep it straight.
THE AWN OF BARLEY HYDROMETER.
The awn of barley is furnished with stiff points, which, like the teeth of
a saw, are all turned toward the lesser end of it; as it lies upon the ground,
it extends itself in the moist night air, and pushes forward the barley-corn,
which it adheres to in the day; it shortens as it dries; and as these points
prevent it from receding, it draws up its pointed end; and thus, creeping
like a worm, will travel many feet from the parent stem. That very inge-
nious mechanic philosopher, Mr. Edgeworth, once made, on this principle, a
wooden automaton; its back consisted of soft fir-wood, about an inch square,
and four feet long, made of pieces cut the cross-way in respect to the fibres
of the wood, and glued together; it had two feet before, and two behind,
which supported the back horizontally; but were placed with their extremi
ties, which were armed with sharp points of iron, bending backward.
Hence, in moist weather the back lengthened, and the two foremost feet were

226
VARIETIES
pushed forward; in dry weather, the hinder feet were drawn after, as the
obliquity of the points of the feet prevented it from receding.
SUBSTITUTE FOR A COPYING MACHINE.
Write with common ink, in which lump sugar has been dissolved-four
scruples, or one and a half drachm of sugar to one ounce of ink. Moisten
copying paper, by passing a soft wet brush over it; then press it gently be
tween soft cap paper, so as to absorb the superabundant moisture. Put
this moistened paper upon the writing, and both between some smooth soft
paper, placing the whole within the folds of a carpet, when by pressure, a
correct copy will be obtained.
5
TO PRESERVE ROSES TILL CHRISTMAS.
When roses are budding and blooming is the time to lay by a treat for
Christmas. Select from your rose-trees such buds as are just ready to blow;
tie a piece of thin thread round the stalk of each; do not handle the bud or
the staik; cut it from the tree with the stalk two or three inches in length;
melt sealing-wax, and quickly apply it to the end of the stalk; the wax
should be only so warm as to be ductile; form a piece of paper into a cone-
like shape, wherein place the rose; screw it up so as to exclude the air; do
so by each; put them into a box, and the box into a drawer; all which is
intended to keep them free from air. On Christmas-day, or on any other
day in winter, take them out, cut off the ends of the stalks, place them in
a flower-pot or bottle, with lukewarm water, or, if in a heated room, the
water may be cold; in two or three hours, they will blow, retaining all
their fragrance as in the meridian of summer.
MAGNIFICENT CRYSTALS.
A solution of the salt to be crystallized is to be slowly evaporated to such
a consistency that it shall crystallize upon cooling, which may be known by
letting a drop of it fall on a plate of glass. When it is in this state, set it
by; and pour into a flat-bottomed vessel the liquid part of the solution, when
cold, from off the mass of crystals which will be formed at the bottom of it.
After a few days, solitary crystals will be formed, which will gradually in-
crease in size. Pick out the most regular of these, put them into another
flat-bottomed vessel, and pour over them a fresh solution of the salt evapo-
rated, till it crystallize on cooling. After this, alter the position of every
crystal, once a day, with a glass rod, so that all the faces of it may be alter-
nately exposed to the liquid, as the face on which the crystal rests never
receives any increment. By this process, the crystals will gradually in-
crease in size. When they are so large, that their forms can be easily dis.
tinguished, take the best of them, and put each into a vessel separately;

VARIETIES.
92927
Add a fresh solution of the salt, as before directed, and turn every crystal
several times a-day. By this treatment, you may obtain them almost of any
Bize desired. It is necessary to pour off the liquid from the crystals, and add
fresh liquid in its place, very frequently; as the solution, after depositing a
tertain portion of its salts, becomes weakened, and then attacks the crystals,
rounding off their angles, in the first place, as an attentive observer may
perceive, and infallibly destroying them, unless renewed. By a little dex-
terity, a regular crystal of alum may be thus obtained.
CRYSTALLIZATION UPON CINDERS.
Saturate water, kept boiling with alum; then set the solution in a cool
place, suspending in it by a hair or fine silk thread, a cinder; as the solu-
tion cools, a beautiful crystallization will take place upon the cinder, which
will resemble a specimen of mineralogical spar.
TO PRODUCE VARIOUS FLOWERS FROM ONE STEM.
Scoop the pith from a small twig of elder; split it lengthways, and fill
each of the parts with seeds that produce flowers of different colors. Sur-
round them with earth, and then tying the two bits of wood, plant the whole
in a pot filled with earth. The stems of the different flowers will thus be so
incorporated, as to exhibit to the eye only one stem, throwing out branches
covered with flowers analogous to the seed which produced them. By se-
lecting the seeds of plants which germinate at the same period, and which
are nearly similar in regard to the texture of their stems, an intelligent per-
son may obtain artificial plants exceedingly curious.
HARLEQUIN INKS.
fnks, of various colors, may be made in the modes following: they are
rery, beautiful, and frequently of considerable utility. For red ink, boil an
ounce of fine chips of Brazil-wood, in half a pint of water, for a quarter of an
hour; add to the decoction, three drachms of gum-arabic, and as much alum
as it will dissolve. For blue, diffuse Prussian blue or indigo through strong
gum-water. For scarlet, dissolve vermilion in gum-water. Inks of other
colors may be made from a decoction of the materials used in dying,
mixed with a little alum and gum-arabic.
TO BRONZE PLASTER BUSTS, &c.
Apply isinglass size, until no part of the surface become dry or spotted,
then, with a brush, go over the whole, observing carefully to remove any
of the size, while it is yet soft, that may lodge on the delicate or sharp places,
and set the bust aside to dry. Then take a little very thin oil gold-size, and,
with as much of it as will just damp the brush, go over the figure, allowing
IL

228
VARIETIES.
no more of this size to remain, than what causes it to shine. Set it in a dry
place, free from smoke; and after it has remained there forty-eight hours
the figure is prepared for bronzing. The bronze powder may be had at the
color shops, of all metallic colors; it should be dabbed on with a little cot-
ton wool. After having touched the extremities of the whole figure, let it
stand another day; then, with a soft dry brush, rub off all the loose powder,
and the figure will resemble the metal which it is intended to represent, and
possess the quality of resisting the weather.
TO CUT GLASS.
Make a small notch, by means of a file, on the edge of a piece of glass;
then, make the end of a tobacco-pipe, or of a rod of iron of the same size,
red-hot in the fire; apply the hot iron, or pipe, to the notch, and draw it
slowly along the surface of the glass in any direction you please; a crack
will be made in the glass, and will follow the direction of the iron. Cylin-
drical glass vessels, such as flasks, may be cut in the middle, by wrapping
round them a worsted thread dipped in spirit of turpentine, and setting it on
fire when fastened on the glass.
THE ECLIPSE GLASS
Take a burning glass, or a spectacle-glass that magnifies very much; hold
it before a book or pasteboard, twice the distance of its focus, and you will
see the round body of the sun, and the manner in which the moon passes
between the glass and the sun, during the whole eclipse.
TO CALM AGITATED WATER.
Drop a small quantity of oil into water agitated by the wind; it will imme-
diately spread itself with surprising swiftness upon the surface, and the oil,
though scarcely more than a tea-spoonful, will produce an instant calm over
a space several yards square. It should be done on the windward side of
a pond or river, and you will observe it extend to the size of nearly half an
acre, making it appear as smooth as a looking-glass. One remarkable cir-
cumstance in this experiment is, the sudden wide and forcible spreading of
a drop of oil on the surface of the water; for, if a drop of oil be put upon a
highly polished marble table, or a looking-glass, laid horizontally, the drop
remains in its place, spreading very little; but when dropped on water, it
spreads instantly many feet round, becoming so thin, as to produce the pris
matic colors for a considerable space, and beyond them so much thinner, as
to be invisible, except in its effect of smoothing the waves at a much greater
distance. It seems as if a repulsion of its particles takes place as soon as it
touches the water, and so strong as to act on other bodies swimming on the
water, as straw, leaves, chips, &c. forcing them to recede every way from
the drop, as from a centre, leaving a large clear space.

VARIETIES.
229
ENGRAVING ON EGG-SHELLS.
Design on the shells any figure or ornament you please, with melted tal-
ow, or any other fat oily substance; then immerse the eggs in very strong
vinegar, and let them remain until the acid has corroded that part of the
shell which is not covered with the greasy matter, those parts will then ap-
pear in relief, exactly as you have drawn them.
LAUGHING GAS.
A few lines on the mode of preparing and administering nitrous oxide
gas, or, as it is termed, Laughing Gas, will, we doubt not, prove acceptable
and interesting. Although not fitted to support life, yet it may be respired
for a short time, and the effects, produced by it upon the animal frame, are
its most extraordinary properties. The manner of breathing it is this: the
nitrous oxide gas, having been previously purified by standing over water,
is put into a large bladder, or varnished silk bag, having a wide glass tube,
or a stop-cock with a large bore, affixed to its neck. The bladder is then
held by the tube in the right hand, the mouth of it being closed by applying
the thumb, and the nostrils are closed with the left hand; the air contained
in the lungs is expelled by a long respiration; and the tube of the bladder
being instantly applied to the mouth, the gas is breathed from and into the
bladder as long as possible, which, perhaps, will be about two or three
minutes. The effects differ greatly, according to the constitutions of the
persons by whom it is respired. In general, however, they are highly
agreeable. Exquisite sensations of pleasure,-an irresistible propensity to
laughter,-a rapid flow of vivid ideas,-singular thrilling in the toes,
fingers and ears,-
<a strong incitement to muscular motions,-are the ordi-
nary feelings produced by it. We have read of one gentleman, who, after
breathing the gas some time, threw the bag from him, and kept breathing
on laboriously with an open mouth, holding his nose with his fingers, without
the power to remove them, though perfectly aware of his ludicrous situation;
he had a violent inclination to jump over the chairs and tables, and seemed
so light that he thought he was going to fly. What is exceedingly remark-
able, is, that the intoxication thus produced, instead of being succeeded by
the debility subsequent to intoxication by fermented liquors, does, on the
contrary, generally render the person who takes it cheerful and high-spirited
for the remainder of the day.
THE COMICAL CARDS.
The juvenile artist may treat his friends with an hour's merriment by this
humorous little device, which is effected by drawing, on a number of cards
all of one size, a series of grotesque-looking faces, some male, others female.
with droll head-dresses, night-caps, hats, wigs, and helmets, which he may

230
VARIETIES
select from any of the prints or caricatures that fall in his way; but the
general compass of the face part should be within about the same space in ali
of them. Then divide each card into three pieces, cutting it across in a line
just below the eye, and again, across the upper lip; the middle piece will
be narrower than the upper or lower piece. A box should be provided with
partitions in it, so as to keep all the parts in their respective classes. The
cards should be cut straight, so that the pieces of each will fit all the others,
and all the tops should be of the same width; all the middles of one width,
but narrower than the tops, and all the bottoms about the same size as
the tops.
Au almost endless variety of changes may be obtained, by placing the
forehead of one card in contact with the nose on a second, and the chin on
a third. Thus, a laughable effect is produced by putting the red carbun-
cled nose of a City Alderman under the helmet of a Roman warrior, and
finishing him below with the kerchiefed neck and shoulders of an old wo-
man; or the cap, eyes, and nose of Moll Flaggon over the flowing wig and
robes of a Judge on a court day.

THE RIDDLER
A riddle is not solved, impatient sirs,
By peeping at its answers in a trice ;—
When Gordius, the plough-boy King of Phrygia
Tied up his implements of husbandry
In the far-fam'd knot,-rash Alexander
Did not undo, by cutting it in twain.
RIDDLES are by no means of modern origin; the Sphynx puzzled the
trains of some of the heroes of antiquity, and even Alexander the Great, as
it is written, made several essays to untie the knot (a practical riddle) with
which Gordius, the Phrygian king, who had been raised from the plough to
the throne, tied up his implements of husbandry in the temple, in so intricate
a manner, that universal monarchy was promised to the man who could
undo it: after having been repeatedly baffled, he, at length, drew his sword,
considering that he was entitled to the fulfilment of the promise, by cutting
the Gordian knot.
Charades, Rebusses, Conundrums, &c. are, with many persons, favorite
occasional fire-side recreations. In the construction of several of them, con
siderable ingenuity is displayed; they are not, in all cases, the production
of mere witlings and holyday rhymesters; for more than one author of celeb-
rity, doubtless, in some of those sportive moments when the mind relaxes
from graver pursuits to toy and dally with comparative trifles, has contributed
his mite toward the great fund of riddles now in circulation. One of the
most clever and best-written among the following collection has been ascrib
ed to the pen of the late Lord Byron :-we allude to the lines on the letter
H (Enigma 1. page 241.) Conundrums, it must be admitted, are a set of

232
CHARADES.
verbal distortions; but still, these distortions are often so droll as tc excite
mirth. Anagrams, or the letters of a name resolved into any apt phrase,
were, at one time, considered of great importance; many of them by нс
means lack humor. A work of thrice this bulk would scarcely contain all
the Enigmas, Charades, &c. now current: we have, therefore, endeavoured
to make a judicious selection from the mass.
CHARADES.
1.
My first is a part of the day,
My second at feasts overflows;
In the cottage my whole is oft seen,
To measure old Time as he goes.
2.
A cat does my first, and men drink at my second;
My whole is the drift of an argument reckon'd
3.
My first gave us early support,
My next is a virtuous lass;
To the fields if at eve you resort,
My whole you will probably pass.
4.
My first, a native of the ground,
In English countries much prevails;
My next's in every county found,
My whole was never out of Wales
5
By candle-light, ladies, my first will appear,
And the less light the larger it grows;
My second few like when applied to the ear,
Though many my third to the nose.
6.
My first nor book nor volume nam'd,
Contains more leaves than most;
My next, when certain crops are claim'd.
Still stalks a numerous host:

CHARADES.
233
My whole-a creeping flower so fair,--
Regales the eye, and scents the air.
7.
My first is to ramble; my next to retreat:
My whole oft enrages in summer's fierce heat.
8.
My first do all nurses possess,
;
And dandle my second upon it
My whole is a part of the dress
Attached to the cap or the bonnet.
9.
My first oft preys upon my second:
My whole a bitter shrub is reckon’d.
10.
My first in fruit is seldom rare;
My second all relations are:
My whole is only earthen-ware.
11.
My first dreads my second, for my second destroys my first, while many
delight in my whole.
12.
In every hedge my second is,
As well as every tree;
And when poor school-boys act amiss,
It often is their fee.
My first, likewise, is always wicked,
Yet ne'er committed sin :
My total for my first is fitted,
Compos'd of brass or tin.
13.
My first gives protection when robbers invade,
"Dear sir, this brown jug," of my second is made:
My total will show a pedestrian, whose name,
Unrivalled will stand in the annals of fame ;
And also a brewer, whose mighty renown
Has been spread, by his beer, all over the town.
14.
1
Without my first, my second would be undone :
My whole's a village near Hyde Park and London

234
CHARADES.
15.
My first's a prop, my second's a prop, and my whole's a prop.
16.
My first is in most shops;
In
every window my second :
My whole is used for the bed,
And, in winter, a comfort is reckon❜d.
17.
My whole is under my second, and surrounds my first.
18.
My first assuages the appetite of a horse, and agonizes the foot of a man.
my second, if made of brick, is good; when of stone, better; and, as the
seainan would say, when wooden, is best of all: my whole is famous for
its-(but hold! we must make a charade upon a charade here)—take the
principal produce of China, a part of the body that is often black, and as
frequently gray or blue, and a useful domestic bird,—or, rather, the three
letters which, in pronunciation, resemble these things,-and they will
show for what my whole is famous.
19.
My first, if you do, you won't hit ;
My next, if you de, you won't leave it:
My whole, if you do, you won't guess it.
20.
My first we oft lend to each other in turn,
To borrow it would be excessively droll;
My next, near my first you may often discern;
In my first, too, alas! you'll perhaps find my whole
21.
My first is appropriate; my second 'tis nine to one if you guess it; m
whole elevates the sole above the earth.
22.
My first is always;
My second durable;
My whole without end.
23.
My first marks time; my second spends it; and my whole tells it

CHARADES.
235
24.
My first makes all nature appear with one face;
At my second is music and beauty and grace;
And if this charade is not easily said,
My whole you deserve to have thrown at your head.
25.
My first is a tree which with cedars will vie,
My second's the tenderest part of the eye.
My whole is a fruit which to none will give place,
For delicate flavour, and exquisite taste.
26
Of my first there is but one in the year-of my second, but two in the
world-and my whole has every quality of a vegetable, except vegetation.
27.
Drink deep of my first: admit me to your second: and let me play
upon my whole.
28.
My first troubles you in summer: my next is a most careful mother: my
whole is no Christian.
29.
If you are able to do my first as well as my second can, you will soon he
a good player at my whole.
30.
My first is an important part of the human frame; a constituent of all
bodies, regular or irregular; it is sometimes in sometimes out, sometimes this
and sometimes that, sometimes one and sometimes the other. My second is a
cominon action,-sometimes induced by the hurry of business, scmetimes
by the mere love of pleasure; it offers economy the cheapest medicine, and
taste the most picturesque scenery; it is what English ladies like best, and
Turks like least; and it may well be said to be fashionable, for it is the
throughout the world. My whole is indispensable in every city,-yet val-
uable as it is, it is trampled on by all classes; all who use it are raised
above the cominon track,-yet high and low, rich and poor, great and
mall, unite to destroy it.
31.
My first is nothing but a name;
My second is more small;
My whole is of so little fame,
It has no rume at all
go

236
CONUNDRUMS.
32.
My first on foreign churches you may greet:
At home it's seldom found in church, or street;
My second oft is used by household care,
To make old garments fit for folks to wear;
My whole may well describe ill-humored folks,
Who knit their brows at puns, charades, and jokes.
CONUNDRUMS.
1. What does a seventy-four gun ship weigh, with all her crew on boad,
just before she sets sail?
2. Why is a short negro like a white man?
3. Why is the statute book like the Grecian army before Troy?
4. Why is your nose like V in civility?
5. Why is Virgil's greatest work like a baker?
6. What is most like a horse's shoe?
7. Who is that lady, whose visits nobody wishes, though her mother is
welcomed by all parties?
8. What is that which few like to give away, and yet nobody wishes to
keep?
9. What word is that in the English language, of one syllable, which, by
taking away the two first letters, becomes a word of two syllables?
10. Which is the left side of a plum-pudding?
11. Why are children at the breast like soldiers on a campaign?
12. What thing is that which is lengthened by being cut at both ende?
13. Why is a horse in a stable like a tortured criminal?
14. What word of five syllables is that, from which, if you take one syl-
lable away, no syllable remains?
15. What burns to keep a secret?
16. Why is a stormy, windy day, like a child with a cold in its head?
17. What word is that, to which, if you add a syllable, it will make i
shorter?
18. Why should boiled peas of a bad color be sent to Knightsbridge?
19. Where did Noah strike the first nail in the ark?
20. Why is a tailor like a woodcock?
21. Why is a pack of cards like a garden?
22. Why do we all go to bed?
23. Why is a lottery-office-keeper like Lord Lyndhurst?
24. Why was Titian's fat daughter, Mary, like William Cobbett ?

CONUNDRUMS.
237
25. If you give a kiss and take a kiss, what does it make?
26. In which month do ladies talk least?
27. Why is a man who is making cent. per cent. by trade like Ireland ¹
28. Why is a town in Essex like a noisy dog?
29. Why is Paris like the letter F?
30. What town in Devonshire will denote a woman making a wry
face ?
31. Why is a man sailing up the Tigris, like one putting his father into
a sack ?
32. Why does the eye resemble a schoolmaster in the act of flogging?
33. Why is a room full of married folks like an empty room?
34. Why is an angry person like a loaf?
35. Why is a placeman like a cobler?
36. Why is a peach-stone like a regiment?
37. Why is a dwarf's whole suite like a pair of breeches ?
38. Why is a dancing master like a cook?
39. Why is money like a whip?
40. Why is a man, who runs in debt, like a clock ?
41. What question is that to which you must answer “Yes ?"
42. If you throw a man out of a window, what does he first fall against?
43. Why is an island like the letter T?
44. When is a door not a door?
45. Why is a bee-hive like a spectator?
46. Why is a tale-bearer like a brick-layer?
47. Why is a Welshman, on St. David's day, like a foundering vessel?
48. What is that which a coach cannot move without, and yet is not of
the least use to it?
49. Why is a man in love like a lobster?
50. When is a man over head and ears in debt?
51, What is smaller than a mite's mouth?
52. Why is the soul like a thing of no consequence
?
53. Why is a handsome woman like bread?
54. What snuff is that, the more of which is taken, the fuller the box is 1
55. Why is the wick of a candle like Athens?
56. Why is a fender like Westminster Abbey?
57. Why is Richmond like the letter R?
58. Why is a blind beggar often like a wig?
59. What fruit is that whose name answers to a busy-body?
60. Why is a cat on her hind legs like a waterfall?
61. Why is a poor man like a seamstress?
62. Why is that which never fails, like a strong knot?
63. Why are false wings like mushrooms?
64. Why is swearing like a ragged coat?
W

238
CONUNDRUMS.
65. Why is sealing-wax like a soldier?
66. If I buy four books for a penny, and give one of them away, why am
I like a telescope?
67. Why is a man led astray like one governed by a girl?
68. Why is a clergyman's horse like a king?
69. What is that which makes every one sick but those who swallow it!
70. What kin is that child to its own father who is not its father's own son?
71. What is that which is often brought to table, always cut, and never
caten?
72. Why is a dejected man like one thrown from a precipice?
73. Why is a Jew in a fever like a diamond?
74. Why are fixed stars like pens, ink, and paper?
75. Why is a jest like a fowl?
76. Why is a man in a garret committing murder like a good man?
77. What relation is your uncle's brother to you who is not your uncle?
78. Why should ladies wringing wet linen remind us of going to church?
79. What is that which lives in winter, dies in summer, and grows with
its root upward?
80. Why is an avaricious man like one with a short memory?
81. Why is a man walking to a town like one endeavouring to prevent
u blow?
82. Why is the sun like a man of fashion ?
83. Which is the heaviest, a bargeman or a lighterman?
84. Why is a blacksmith's apron like a duenna?
85. Why is a lady embraced like a pocket-book ?
86. What step must I take to remove the letter A from the alphabet?
87. Why are there three objections to a glass of spirits?
S8. Why do cats see best in the dark ?
89. A man would drink a glass of wine, and not let it go down his throat
-how could he do it?
90. Why is a man beating a boy for telling a falsehood, like another
playing on a certain musical instrument ?
91. Why is a cook like a barber?
92. Why is a man opening oysters like Captain Cook firing on the savages?
93. A farmer meeting Jack Ketch, asked him the difference between
their occupations, which he gave in one word-what is that word?
94. What is that which is always invisible, yet never out of sight?
95. Why is Alderman B's belly like the street he lives in?
96. Why is the devil riding on a mouse like one and the same thing?
97. Why is a pair of trowsers, too big every way, like two populou
towns in France?
98. What word in the English language expresses the following question
Are you a reserved man ?"

CONUNDRUMS.
239
99. Why is a waiter like a race-horse?
100. Why is a dandy like a haunch of venison?
101. Tom went out, and his dog with him, he went not before, behind,
ror on one side of him :-then where did he go?
102. Why is a madman like two men?
103. What is a man like that is in the midst of a river and can't swim!
104. Why is a lady curling her hair like a housebreaker!
105. Why is a lady in her shift like Amsterdam?
106. Why is a fish-kook like a badger?
107. Why is a man in a fever like a burning candle?
108. Why is your hat, when it is on your head, like a giblet-pie?
109. A carpenter made a door, but it was too large; he cut it, and cut
It too little; he cut it again, and made it just fit.
110. Why is a good story like a parish bell?
111. Why is Chancery Lane like your eye?
112. What most resembles. a cat in a hole?
113. If a man sham hanging himself, why does he resemble a conjuror?
114. In what place did the cock crow, when all the world could hear
kim?
115. Why does a brunette's face resemble a wet day?
116. You are requested to ask the following question in one word :-
"Are you the person?"
117. Why is a man moping from morning till night like a favorite
clown?
118. What animal is that, who, in the morning, goes upon four legs; in
the afternoon, upon two; and in the evening upon three?
119. Why is a conundrum like a monkey?
120. Why is Mr. McAdam like one of the seven wonders of the world?
121. What smells most in a doctor's shop?
122. What do we all do when we first get into bed?
123. What is the weight of the moon?
124. Why is St. Paul's like a bird's nest?
125. Why do pioneers march at the head of regiments?
126. What river is that which runs between two seas?
127. What sea would make the best bed-room?
128. What words are those which we often see in a pastry-cook's shop
window, which a person afflicted with hydrophobia would use in describing
his malady?
129. When is the river Thames good for the eyes?
130. Why has a glass-blower more command over the alphabet than any
other man?
131. What is that which you would say to a short boy, and which names
a wade?

240
CONUNDRUMS.
132. Why is a speech delivered on the deck of a man-of-war like a
ady's necklace ?
133. Why is a lady in a sedan like the equator?
134. Why is a tallow-chandler the most vicious and unfortunate of men ?
135. Why is Ireland likely to become very rich?
136. Why is a Chinese city like a man looking through a key hole?
137. Why is Liverpool like benevolence ?
138. What two letters make a county in Massachusetts ?
139. Why is the Prince of Wales like a cloudy day?
140. Did you ever see the elegy on a Turkey?
141. The figures representing my age, are what you ought to do in all
hings. How old am I?
142. What foreign letter makes the title of a noble lady?
143. Why is London like the letter E ?
144. Why is a good tavern like a bad one?
145. Why is an angry man like a lady in full dress?
146. Why is a thread-bare coat and a person too soon awakened, similar
to each other?
147. Why are deep sighs like long stockings?
148. What occupation is the sun?
149. Why are your eyes like stage-horses?
150. Why are your teeth like verbs?
151. Why is a tattler unlike a mirror?
152. Why is an andiron like a yard stick?
153. What word makes you sick, if you leave out one of its letters?
154. Why is A like a honeysuckle?
155. Why is gooseberry pie like counterfeit money
156. What word of ten letters can be spelled with five?
157. What class of people have a name, which means "I can't improve?"
158. Why is a man who walks over Charlestown bridge, like one who
says, "Yes?"
159. What plant is the name of a fop and a wild beast?
160. Why should red-haired men be chosen for soldiers?
161. What is higher and handsoiner when the head is off?
162. Why is the letter D like a sailor?
163. If the alphabet were invited out to dine, what time would U, V, W,
X, Y, and Z go
?
164. Why is the letter G like the sun?
165. Why is Mr. Tuft's brewery like a Jewish tavern?
166. Why is a theological student like a merchant ?
167. Why is a palm-tree like a chronologer?
168. Why is a man on horse-back like difficulties overcome?
169. Why is a person afflicted with the rheumatism, like a glass window?
1

ENIGMAS
241
170. Decline Ice cream.
171. From what motive does a fisherman blow his horn in the market 1
172. How can you take one from nineteen, and leave twenty?
173. Which side of a pitcher is the handle?
174. Why is a furnace for powder like the letter S ?
175. Spell Elder-blow tea, with four letters.
176. Why is a little green musk-melon like a horse?
177. Why is an industrious girl like a very aged woman?
178. Why are Protestants like flies?
179. Why was the Irish riot, at South Boston, like General Washington?
180. Why is a tailor like one who resides in the suburbs of a city?
181. Spell the Archipelago in three letters?
182. If the letter D were never used more, why would it be like a dead
man?
183. Why is grass like a mouse?
184. Why do white sheep furnish more wool than black ones?
185. According to the laws of retaliation, what right have you to pick
a painter's pocket?
186. What two species of falsehood are in the last novel by the author
of Redwood?
187. Why has Mr. Timothy More, since he lost his hair, become like
one of our southern cities?
188. Why is an avaricious man like one with a short memory?
189. A backgammon table contains the garden of Eden; does it not?
190. Describe a cat's clothing botanically?
191. Why are the eye-brows like mistakes!
192. Why should there be a marine law against whispering?
193. What kind of portrait can you spell with three letters?
194. What river in England is what naughty girls do?
195 Why is an Irishman turning over in the snow like a watchman?
196. How can a man live eighty years, and see only twenty birth days?
ENIGMAS.
1.
'Twas whispered in heaven, 'twas mutter'd in hell,
And echo caught faintly the sound as it fell ;
On the confines of earth 'twas permitted to rest,
And the depths of the ocean its presence confess'd;
Twill be found in the sphere, when 'tis riven asunder :
"Tis seen in the lightning, and heard in the thunder;

242
ENIGMAS.
'Twas allotted to man from his earliest breath,
It assists at his birth, and attends him in death;
Presides o'er his happiness, honor, and health,
Is the prop of his house, and the end of his wealth;
In the heap of the miser 'tis hoarded with care,
But is sure to be lost in his prodigal heir;
It begins every hope, every wish it must bound;
It prays with the hermit, with monarchs is crown'd;
Without it the soldier and seaman may roam,
But wo to the wretch that expels it from home;
In the whispers of conscience 'tis sure to be found,
Nor e'en in the whirlwind of passion is drown'd;
"Twill soften the heart, though deaf to the ear,
"Twill make it acutely and constantly hear;
But, in short, let it rest; like a beautiful flower,
(Oh! breathe on it softly,) it dies in an hour
2.
In a garden there strayed
A beautiful maid,
As fair as the flowers in the morn
The first hour of her life
She was made a wife,
And she died before she was born
3.
Without a bridle or a saddle,
Across a thing I ride a-straddle,
And those I ride, by help of me,
Though almost blind, are made to see
4.
I've seen you where you never were,
And where you ne'er will be
And yet within that very place,
You shall be seen by me.
5.
;
A shining wit pronounced, of late,
That every acting magistrate
Is water in a freezing state.
6.
Form'd long ago, yet made to-day,
Employ'd while others sleep;
What few would ever give away,
Or any wish to keep.
f

ENIGMAS.
243
*7.
A word of four syllables seek till you find,
That has in it the twenty-four letters combin'a
8.
Form'd half beneath and half above the earth,
We, sisters, owe to art a second birth ;
The smith's and carpenter's adopted daughters,
Made on the earth to travel o'er the waters.
Swifter we move, as tighter we are bound,
Yet neither touch the water, air, nor ground.
We serve the poor for use, the rich for whim,
Sink when it rains, and when it freezes, swim.
9.
I'm rough, I'm smooth, I'm wet, I'm dry ;
My station low, my title high;
The king my lawful master is;
I'm us'd by all, though only his.
10.
There is a thing was three weeks old,
When Adam was no more;
This thing it was but four weeks old,
When Adam was fourscore.
11.
We are two brothers, born together, who seldom touch the earth, though
we often go to the ground; although we never eat fodder, buy, sell, or bar
ter, we may be said to be interested in the corn laws.
12.
Never still for a month, but seen mostly at night.
13.
In spring, I am gay in my attire; in summer, I wear more clothing than
n spring; in winter, I am naked.
14.
In camps about the centre I appear :
In smiling meadows seen throughout the year;
The silent angler views me in the streams,
And all must trace me in their morning dreams;
First in each mob conspicuous I stand,
Proud of the lead, and ever in command

244
ENIGMAS.
Without my power no mercy can be shown,
Or soft compassion to their hearts be known;
Each sees me in himself, yet all agree
Their hearts and persons have no charm for me;
The chemist proves my virtue upon ore,
For, touch'd by me, he changes it to more.
15.
I am a character well known in England; and there are few, either high
or low, rich or poor, but know my name and qualifications. As I confess
myself a stranger to beauty and innocence, in the fair sex I can never ap-
pear. I avoid towns and cities, and commonly take my abode towards the
extremity of a village. In respectable society I am never admitted, but in
a gang of gypsies or beggars make a principal figure; and without me
smuggling would be nothing. I cannot well show my face in day-time, but
late in the evening, or middle of night I appear, and always in disguise.
I am fond of gaming, though must own, whatever company I am in, never
fail to end in cheating and plundering. It is the opinion of Burn and Black-
stone, that I should always be put in jail: but, be that as it may, my fate is
certainly not to be there at present. From the character I have given of
myself, and the company I keep, you may suppose me some thief or pick-
pocket; but, as a proof that I am neither, I delight not in a crowd; and, as
a further hint, I no sooner appear before one, than it is instantly gone.
16.
I am rough, smooth, hard, soft, long, short, round, flat, oval, square, or
oblong Am now honored with the grasp of a monarch, and now in the
nand of him who executes the meanest office. I possess the art of pleasing
in a very eminent degree. Am now the delight of the idle beau, and now
assist the skilful artist. My station is ever varying: I am now thrown care-
lessly in a corner, now put into the mouth, now in the pocket, and now under
the grate. I will only add, that every room is indebted to me for its chief
ornament.
17.
I am no monarch, but am superior to all of them, except the Pope; I have
no noble blood in my veins, yet the meanest of my family has precedence
over the heads of others; I wear no sword, but in my evening walks often
meet and beat those that do; indeed, I have fought more battles, and gained
more victories, than all the conquerors and heroes recorded in history, from
the beginning of the world. Sometimes my army has been defeated; yet,
in that part of the action where I fought myself, the enemy has always sub-
mitted, when I carry off my prisoners under an armed band, dressed in 'ne
French uniform, and sometimes adorned with gold and precious stones, to an

ENIGMAS.
245
apartment where no eye was ever suffered to intrude. Perhaps you will
think me a ghost, or at least a conjuror, if I tell you, that to-day I am in a
thousand places at once, and to-morrow (as far as you know) I am nowhere;
now I am in a room, soon after I am not there; again I appear, yet the
doors and windows are all shut. With all this dignity, valor, and address,
'tis no wonder, if, like other military beaux, I am a great favorite with the
ladies; as soon as they see me, they embrace me with delight, but are very
cautious of keeping our connexion a profound secret; yet such is the ca-
priciousness of the sex, that in a little time they discover it themselves, and
part from me with as much pleasure as they met me. However, this sepa
ration is no disgrace; for they hope to have me again, and count me their
highest honor; should I decline visiting them for a whole night, even the
proudest heart would be discomposed; and the more violent and indiscreet
would utter their displeasure in complaints to their neighbours: but this at-
tachment is no wonder, for, like themselves, my countenance is sometimes a
lively mixture of the lily and the rose; like them, too, I am changeable,
and, in the space of a few minutes, grow black in the face; yet my conse-
quence is not lessened, but sometimes increased; and, in a little time, I
generally resume my former complexion.
It may be of some advantage to me with the ladies, that I sometimes re-
semble that part of their dress, of which they are most vain; and, at other
times, that part, the obtaining of which is the end for which they dress, and
the object of their wishes. Let these ladies look to their own bosoms to
discover me, but in an open manner; for no trick opposed to me ever
succeeded, and I believe none ever will.
18.
He that in music takes delight,
And he that sleeps secure by night,
And he who sails too near the land,
And he that's caught by law's strong hand;
He who his time in taverns spends,
And he that courts of law attends;
He that explains heraldic signs,
And he that works in silver mines,-
Are all acquainted well with me:
My name you surely now must see.
19.
In Sir Walter Scott's celebrated poem, called "Marmion," are the fol
lowing lines:
"Charge, Chester, charge! On, Stanley, on!
Were the last words of Marmion."
X

246
REBUSSEG
These lines have occasioned the following enigma.
Were I in noble Stanley's place,
When Marmion urged him to the chase,
The word you then might all descry,
Would bring a tear to every eye.
20.
A lady in prison received an animal as a present from her niece, which
signified to her " Make your escape;" in reply she sent back a fruit which
imported" It is impossible to escape." What was the animal, and what
was the fruit?
REBUSSES.
1.
To three-fourths of a cross, add a circle complete;
Then, let two semi-circles a perpendicular meet;
Next add a triangle that stands on two feet;
Then, two semi-circles, and a circle complete.
2.
A hundred and fifty, if rightly applied,
To a place where the living did once all reside,
Or a consonant joined to a sweet singing bird,
Will give you a mame that you've oftentimes heard;
Which 'mong your friends, at least, one person owns,
It's the rival of Smith, and as common as Jones.
3.
A mmeral, a pronoun, and a syllable that, in sound, resembles the neigh-
ing of a horse, will compound that, without which, even a palace would
prove an uncomfortable habitation.
The following are Rebusses on the Names of London Performers
4. What Roman Catholics reverence.
5. The head of a monastery.
6. One of the tallest productions of nature.
7. A color and a vowel.
8. A king of England and a consonant.
9. A word synonymous with sharp.
10. What we all stand upon, and a vowel.

REBUSSES.
247
11. A famous French dancer.
12. One-fourth of what a lover gives his mistress, a measure, and a
vowel.
13. A measure, a vowel, and four-fifths of a weight used in Smithfield.
14. A numeral, the French for A, and the refuge of a wild beast.
15. The usual distinction of a Scotch name, and what we should always
se to do a good action.
16. The fourth of a sovereign, and five-sevenths of an age of terror.
17. A female Christian name, and three-fourth of the reverse to soft.
18. A trade.
19. A word implying distance, and three-fourths of a small bird
20. A preparer of eatables and a vowel.
21. An exclamation of the ghost in Hamlet, and a preposition
22. A vowel, and four-fifths of the safe-guards of a prison.
23. A consonant, and a portion of the earth.
24. A production of the pastry-cook.
25. Four-sixths of traffic, and a liquid made with pearl-ash.
26. A Hebrew measure.
27. A tool used to take off coach-wheels.
28. A famous river on the continent, and what we all wish to be.
29. What most young ladies try to obtain, preceded by a consonant.
30. An abbreviation for Harry, part of the earth, and a vowel.
31. An Irishunan's nick-name, and the reverse to off.
32. Two thirds of a lively color, and the mother of mankind.
33. An English city: or, a box, and two-thirds of to do wrong.
34. What we rub our feet on, and what the woodman does when he cuts
down a tree.
35. One of the points of the compass.
36. A fruit, and what your father is, and your mother is not.
37. The initials of his majesty, two-thirds of what the inhabitants of Bed-
am are, and a Spanish title.
38. Four-fifths of the earth in a dead language, and the penultimate let-
ter of the alphabet.
39. Part of a ship, and two-thirds of an eye.
40. What the ambitious wish to possess.
41. Part of a lock, and a vowel.
42. Half of a foreign country, and what shopkeepers buy for.
43. A measure, and the middle of a hare.
44. A city that was mistress of the world, and a rough consonant.
45.
Take a word that's composed of three letters alone,
The initial then change thirteen times, all but one;

248
REBUSSES.
Thirteen words will appear, though all ending the same,
As various in sense, as they can be in name.
First a place must be found, where brave tars oft retreat,
When the wind, in a storm, makes the waves o'er them beat;
The first letter exchange, as a song 'twill appear;
Then exchange it again, 'tis a part of the year;
Now it's lively and brisk, the next place to possess ;
Then gives name to a pole, in its holyday dress;
Next the produce of earth, when for food 'tis prepared;
Then a chattering thing, to a magpie compared ;
For brightness and glory, now see it far famed
Whatsoe'er I allege, the next word will be named;
A denial, alas! too, it sometimes must be ;
May it never be so, when the next's due to me;
A famed Scottish river, its assistance must lend;
Last, a road's to be found, bringing us to the end.
46.
Since, gentle reader, in this our RIDDLER, thou hast often seen represented
various characters,-the grave and gay, the lively and severe,-lo! now
we lead thee to a gallery, where poets and philosophers, high famed m clas-
sir page, stand ranged before thy admiring view. Full fifteen hundred
years have now elapsed, since on the world these luminaries shone. Survey
them closely; scan their history; avoid their faults, and emulate their
virtues.
Behold that figure, reeting like a Bacchanal !-See how his swollen eyes
and bloated cheeks bespeak the temper of his body. Hark!-he recites an
ode: the honied strains drop from his pen, while reason holds possession of
his mind!-How sweet, how elegant the poetry!-But, alas! his subject
and his state too well agree. Ah! shame to see such talents so abused.
Next view the Samian Sage: observe his stature :-every joint and
every limb denotes the strength that he possesses :-but could his mind
be seen by mortal eye, 'twould seem still more gigantic. Observe his
dress; how simple !-Humility his garb, and modesty his chief adornment
Although his friends would willingly have called him" the Wise Man,'
that title he refused; and chose the appellation of" the Friend of Wisdom.”
But, great as was this teacher, a little child, in this most happy and en
lightened land, might teach him wisdom that he ne'er could reach.
But, lo! the Theban General appears, laden with spoils, his brows full
crowned with laurel, and his garments red with the slaughter of the van-
quished foe. What field has witnessed this great conquest, and who are the

REBUSSES.
249
sufferers? Leuctra beheld the fate of Sparta's sons, and streams of blood
defiled her pleasant plains.
Behold Eunomus' son, the Sage of Lacedæmon. His lowering aspect
and contracted brows seem indications of the sanguinary disposition of his
mind. His laws forbade the use of gold and silver, and substituted iron :-
so far 'twas good, to stop the progress of voluptuousness, and obviate tempta-
tions to dishonesty ;-but Nature shrinks, and Cruelty herself draws back
with horror, when she beholds infants, unstained with any actual crimes,
doomed by unbending policy to premature destruction.
Next view the Spartan Sculptor. The rumor of his skill had reached the
ears of "Philip's warlike son:" the conqueror of the world forbade any
other hand to carve his martial features on the stone. In the great Augustan
age, his statues' worth was rated at their weight in gold.
But see the Poet of Salamis; whose natal day was ushered in with shouts
of victory, and with songs of triumph-when Xerxes and his numerous
host sustained a dire defeat, and felt the punishment so justly due to pride
and to ambition. No warrior he, yet did his magic verse obtain the freedom
of those Greeks, who groaned beneath the Syracusan bondage.
Now, to complete this "motley group," see, tripping" on the light fantas-
tic toe," a sprightly Damsel. Famed Lesbos gave her birth; but she,
more famed for beauty and for wit, has far excelled her sex in poetry. The
happy verse in which her numbers flowed, still bears her name. But, alas!
her breast became the seat of every passion: and thence flowed the poison
that tainted all her compositions :-else were that judgment just, that ranked
her among
the Muses.
Here, reader, pause; and call to mind these names; of each then take the
initials, and in due order range them. Then will appear the Ephesian
Artist; whose excelling skill has far surpassed the united brilliancy and
majesty of Rubens and of Raphael.
47.
Find the thing by Pandora entail'd on mankind,
When, on opening her box, only Hope staid behind:
Let this word stand entire, and before it prefix
Initials fifteen, but no letter e'er mix:
Thus by changing the head, as the principal part,
You may
render it various as nature and art:
First I find it form part of a bird in the air
;
Then examine a fish, and as sure find it there;
As an eminence now it will rear up i's head;
Then the last deed of man, as is con monly said;

250
REBUSSES
+
As a farmer's employment it next will appear;
And a thing to your door you will find very near;
What the doctors oft give, to relieve us from pain ;
And a plant we now look for in gardens, in vain ;
What I bid any friend do when I give him a toast;
And a place much frequented by knights of the Post ;
A short name that's well known in a nursery song;
And what runs through a country for many miles long;
What's the aim of a sportsman, pursuing his game ;
What we style a neat box, or a township's short name;
And then all your labor will nearly be over,
And a double head's all you have left to discover,
For one, being mute, a companion and friend,
Must forever stand by, its assistance to lend
In revealing what's common to birds and a beast,
And whose use to us scribblers is none of the least.
48.
;
Reverse a snug apartment, and you'll find
A dreary marsh presented to your mind.
49.
Now to your enigmatic eyes,
Behold six worthies shall arise,
From their initials to compound
A modern poet, much renowned
First in the list we enter thee,
Father of English poetry:
Next thee, of Scotia's bards the first
Thy muse from darkest ages burst
;
Next thee, philosopher divine,
And poet, all the praise is thine;
"Twas thine the sweetest notes to raise
From David's harp, in British lays :
Thee, Theban bard, whose rapid fire
Succeeding ages still admire ;
While a vain modern, grasping fame,
Profanes thy venerable name:
Thee next, hypocrisy's great foe,
An agent in Rome's overthrow,
When Luther's zeal o'er Europe spread,
And shook the Antichristian head;
Batavia boasts thy worthy name,
"The priesthood's glory, and its shame :"

REBUSSES.
251
With thee, at last, the verse shall shine,
The prince of painters, styled " divine;"
A sovereign pontiff knew thy worth,
And old Urbino claims thy birth.
50.
Two letters, expressing profusion and waste,
Transposed, show a county to most people's taste.
51.
A modern bard of universal fame;
A classic river's oft-repeated name;
A naval hero dear to ev'ry heart;
A ruthless tyrant with a murdrous dart;
An English author, famous for his style;
A poet who our leisure may beguile:
Th' initials join, an ancient bard you'll find,
Who to his verse has left his name behind.
The following are Rebusses on the Names of Birds
52 A child's plaything.
53. What we all do at every meal
54. A disorder incident to man and horse.
55. Nothing, twice yourself, and fifty.
56. What we should always be ready to do to persons fighting, and the
op of a house.
57. Equality and decay.
58. A celebrated English architect.
59. A tailor's implement.
60. A lever.
61. An instrument for raising weights.
62. Three-eights of a monthly publication, with a baked dish
63 A valualde species of corn, and a very necessary part of it
64 A cheated person.
65. A distant country.
66. Spoil half a score.
67. The defence of a bridge.
68. An instrument of diversion for men and boys.
69. A piece of wood, and a fashionable name for a street.
70. To cut off, and a vowel.
71. A piece of land, and a good thing which it produces.
72. What we say a person has got when he falls into the water.
73. An Animal which a Jew must not eat, a vowel, and a preposition

252
ANAGRAMS.
74.
I am found in a jail; I belong to a fire;
And am seen in a gutter abounding in mire:
Put my last letter third, and then 'twill be found
I belong to a king, without changing my sound.
Ye rebus wits,
Now mind your hits;
For your's the task
My name to unmask :
A fruit we eat,
As sauce to meat;
And with fish too,
That wants a gout ;
One letter, pray,
Take quite away;
A point of land
You'll understand,
75
Which sailors dread
Too near their lead,
But when embay'd,
Enjoy its shade:
One more letter
Then unfetter,
The thing that's left,
When thus bereft,
Is worn by all,
Both great and small,
From king and queen
To beggar mean.
1. Ten tea pots.
2. Sly Ware.
3. It's in charity.
4. Golden land.
5. Great helps.
6. Rare mad frohc.
7. Honor est a Nilo.
8. Hard case.
ANAGRAMS.
9. Claims Arthur's seat.
10. No, appear not at Elba.
11. No more stars.
12. O poison Pitt.
13. I hire parsons.
14. Got as a clue.
15. To love ruin.
16. Best in prayer.
17. Nay, I repent it.
18. Veto. Un corse la finira.
19. Comical trade.
20. Spare him not
21. Real fun.
22. In Magic tale
23. Evil fast.
24. Yes Milton.
25. 'Tis ye govern.
26. See a pug dog.
27. A just master.
28. Made in pint pots
29. A hot pen.
30. I call many sot.
31. A nice Pet.
32. The bar.
33. The law.
54. Truly he'll see war.
35. I send into Siam.
36. True, I am in.
37. Hire a prison.
3S. There we sat

LOGOGRIPHS.
253
LOGOGRIPHS.
1.
A creature was formerly seen in England, which has lately been expelled
from it, and which has some very peculiar properties appertaining to it. It
stands upon one leg,—on which, without any body, is seen a great square
head. It has three eyes, of which the centre is by far the largest ; indeed, so
much so, that it has before now contained two more. The head is of a
very peculiar construction, but exactly suited to its design: whenever it is
about to be used, it is separated in halves, and, when reconnected, is held
to the gaze of an insolent rabble. All the notice, however, which it gene-
rally attracts, results from its being the effectual means of exhibiting an-
other to the gaze of a hostile crowd.
of a hostile crowd. Such is this when entire ; but when
divided, and cut to pieces, a curious and careful observer may collect all that
follows, by a selection and appropriate arrangement of its fragments.
up
A dose of medicine conveyed in a very agreeable manner, as, however
nauseous its ingredients may have originally been, it is quite tasteless. Such
a state of the physical powers as requires such a dose. A part of the face, of
a color quite different from the rest, and the more handsome, the greater the
difference. A public record on which many are very anxious to get their
names entered; or, to descend from great things to small, a substance that
is devoured every morning for breakfast. A river which flows through a
very delightful and agreeable part of Europe. What curious people are
very fond of doing. What a candidate, for your vote at the next general
election, if he should think it worth his while, will demand. A very poetical
portion of the watery element, which murmurs and meanders in the descrip-
tion of many a poetaster. A quality of resinous substances. A female nick-
name. What is very necessary to be done occasionally in your shrubbery
An exclamation of surprise. A flower displaying more to admire than
Solomon in all his glory. To tear. The expressed juice of olives,—and its
adjective. A conjunction. And two initial letters, whose reiterated sounds
have drowned the voices of strutting monarchs and ephemeral heroes.
2.
Ye who in mystic lines delight,
Unveil and bring me forth to light,
Nor deem me tiresome, if my song
Should, like myself, prove wondrous long
It may perhaps excite your mirth,
That animals to me give birth;
Yet vegetables oftener claim
The honor to produce the same ·

254
LOGOGRIPHS.
One time as white as snow I'm seen,
Another, red, blue, yellow, green;
The friendly brown I also wear,
Or in a sable garb appear:
The rhetorician owns my power,
For though well dressed with many a flower,
His florid speech would gain no praise,
But, losing me, contempt would raise.
But now my name you surely know,
Dissected in the lines below.
That power to which we all must bend;
And what we call a valued friend;
A goddess of revengeful fame ;
And Abram's near relation's name;
Two articles in common use;
And what we oft complain of news ;
A weed which grew upon the plain,
Suffer'd till harvest to remain ;
Two quadrupeds will next appear,
Which both conduce to sport and cheer;
A third, a noxious little creature ;
And what adds charms to simple nature:
A fruit; a color; and a date
A firm support of Britain's state;
What high, yet low, we wish to be;
A term for one who goes to sea;
One thing another oft put over;
Two things by this you may discover,-
To make my hint somewhat more plain,
One keeps the other from the rain;
The vital spring of every wo;
And every pleasure that we know ;
What's always done whene'er we walk ;
And what we do when others talk;
With what we've done when they give o'er
Two notes in music next explore;
What, join'd to home, is sent about,
As invitation to a rout;
What oft we see upon the plain ;
Two little words denoting pain,
Or quick surprise, or laughter vain
A sign of sorrow; mark of spirit;
What envy bears superior merit;

LOGOGRII HS.
255
A fragrant shrub we oft infuse:
Two pronouns in most frequent use;
A passion which the envious feel;
A weapon pointed oft with steel;
One of the properties of stone;
A term for misanthrope well known;
What oft in summer months we feel
;
What aids when secrets you reveal;
What sinful deeds should ever be ;
What's daily done by you and ine.
If all these meanings you expound,
Just five and forty will be found.
3.
I was before the world begun,
Before God made the rising sun;
Before He made the lesser lights
To drive the darkness from the nights
I'm at the bottom of the sea,
And I am in immensity;
The daily motion of the earth
Dispels me, and to me gives birth;
You cannot see me if you try,
Although I'm oft before your eye.
Such is my whole. But for one part
You'll find in taste I'm rather tart ;—
Now I become th' abode of men,-
And now for meaner things, a pen;
I am a man who lives by drinking,-
Anon I keep a weight from sinking;
To take me, folks go far and near,-
I am what children like to hear;
I am a shining star on high,
And I'm its pathway through the sky;
I take the strength from iron and steel,-
Am sometimes left behind a wheel;
I am a term of due respect,-
Am used in English to connect;
I'm made to represent a head,-
Am found on every loaf of bread.
Such are the many forms I take,
All these, and many more I make;
Yet, after all, so strange am I,
Soon as you know me, then I die.

256
LOGOGRIPHS.
4.
;
The man of letters finds me in his books;
The angler by the side of babbling brooks;
The sportsman seeks me with his dog and gun;
In foreign lands the traveller thinks I'm won;
The spendthrift hopes to buy me with his gold;
And childhood has me when a tale is told ;
The love of me decoys the giddy youth,
From useful studies, till he learns this truth,
"All those who seek me only, most I fly;'
Lastly, when you my hidden sense descry,
You'll own that for my sake you pondered long
The countless changes, that to me belong.
Such am I as a whole-but for one part,-
The youth invokes me when he feels love's dart;
The Swiss, when exiled from his native vales,
Hears me with anguish, and his fate bewails;
New zest I add to scandal's busy hour
And adverse winds and tides confess my power
I am the dazzling source whence colors flow;
The sluggard's teacher; and your equal now;
Without me sails were useless; then a word
Expressing like; and now meek woman's lord;
To measure next; anon to add ; to vex ;
The gentle office of the weaker sex;
I'm flesh, not fish-I'm silent ever;
Sought by all ranks, on earth found never;
Your near relation, and the squirrel's food;
What you would keep when in a lazy mood;
Neptune's abode; the forest monarch's pride;
A term to the departed souls applied;
What you possess, but others oftener use:
Your coat must have me, spite of what you
Now the soft clime of "the cedar and vine;'
And last, a short word importing new wine.
More could I tell, but I bid you adieu,
Lest by prating I cause my own loss to yoɩ
choose;

SOLUTIONS
257
1 Hour-glass.
2 Pur-port.
3 Milk-maid.
4 Flint-shire.
5 Snuff-box.
6 Wood-bine.
7 Gad-fly.
8 Lap-pet.
9 Worm-wood.
10 Pip-kin
11 Fox-chase.
12 Candle-stick.
13 Bar-clay.
14 Hammer-smith.
15 Foot-stool.
16 Counter-pane.
17 Waist-coat.
1 She weighs anchor.
SOLUTIONS
CHARADES.
18 Corn-wall, famous for its
TIN. (tea-eye-hen.)
19 Mis-take.
20 Ear-wig.
21 Pat-ten.
22 Ever-lasting.
23 Watch man.
24 Snow-ball.
25 Pine-apple.
26 May-pole.
27 Draught-board.
28 Heat-hen.
29 Leap-frog.
30 Side-Walk.
31 Name-less.
32 Cross-patch
CONUNDRUMS.
2 He's not at all (tall black) black.
3 It has many laws (Menelaus) in it
4 It's placed between two I's (eyes)
5 It is Eneid (in-kneed.)
6 A mare's.
7 Misfortune (Miss-fortune.)
8 A bed.
9 Plague-Ague.
10 That which is not eaten.
11 They are in arıns.
12 A ditch.
13 He is tied to the rack.
14 Monosyllable—no syllable.
15 Sealing-wax.
-(it blows its
16 It blows, it snows-
nose.
17 Short-shorter.
18 It is the way to Turnham-Green
-(turn 'em green ›
19 On the head.
20 He has a long bill
21 There are spades in it.
22 The bed will not come to us.
23 He is a chance-seller—( Chan.
cellor.)
24 She was a great Polly Titian-
(politician.)
25 A re-bus.
26 In February, because it is the
shortest.
27 His capital is doubling( Dublin.)
28 It is Barking.
29 It is the capital of France.
30 Cockermouth (cock her mouth.)
31 He is going to Bag-dad.
32 It has a pupil under the lash.
33 There is not a single person in it
34 He is crusty.
35 He sticks to the last

258
SOLUTIONS.
36 It has a kernel-(colonel.)
37 They are small clothes.
38 He cuts capers.
39 It makes the mare to go.
40 He goes on tick.
41 What does Y, E, S spell?
42 Against his inclination.
43 It is in the midst of water-
(wa-t-er.)
44 When it is a-jar-(a jar.)
45 It is a bee-holder-(beholder.)
46 He raises stories.
47 He carries a leak-(leek.)
48 Noise.
49 He has a lady in his head.
50 When he has a hat on that is not
paid for.
51 His tongue.
52 It is immaterial.
53 She is often toasted.
54 The snuff of a candle.
55 It is in the midst of grease-
(Greece.)
56 It contains the ashes of the grate
-(great.)
57 It is next to Kew~(Q.)
58 He is cur-led-(curled.)
59 A medlar—(meddler.)
60 She is a cat erect-(cataract.)
61 He makes shifts.
62 It is a certainty-(certain tie.)
63 They are sham pinions-
(champignons.)
64 It is a bad habit.
65 It often bears arms.
66 I make a farthing present-(a
fur thing present.)
67 He is misled-(miss-led.)
68 He is guided by a minister
(9 Flattery.
70 His daughter.
71 A pack of cards.
72 He is down cast.
73 He is a Jew-ill-(jewel.)
74 They are stationary-(station
ery.)
75 It contains a merry thought.
76 He is above committing a bad
act.
77 Your father.
78 The belles are wringing (ring-
ing.)
79 An icicle.
80 He is always forgetting-(for
getting.)
81 He is going toward it-(to
ward it.)
82 It turns night into day.
83 A bargeman.
84 It keeps off the sparks.
85 She is clasped.
86 By Bheading it—(beheading it)
87 Because there are three scruples
to a dram.
88 They eat lights.
89 By standing on his head and let-
ting it go up his throat.
90 He is striking a liar―(lyre.)
91 He dresses hare—(hair.)
92 He's astonishing the natives.
93 Utility-(you till, I tie.)
94 The letter 1, which is always in
visible.
95 It's widened at the expense of
the corporation.
96 He is sin-on-a-mouse—(synon-
ymous.)
97 Because they are too long and
too loose-(Toulon and Tou-
louse.)
98 R-u-shy(are you shy? RU shy.)
99 He often runs for a plate or a
cup.
100 He's a bit of a buck.
101 On the other side.
102 He's one beside himself.
103 Like to be drowned
104 She is turning locks.

SOLUTIONS
258
105 She's in Holland.
106 It is often baited.
107 He's light-headed.
108 There's a goose's head in it.
109 He cut it too little, i. e. he did
not cut enough of it.
110 It often tolled-(told.)
111 It is near the Temple.
112 A cat out of a hole.
113 He is a neck-romancer-
(necromancer.)
114 In Noah's ark.
115 It is not fair.
116 R, U, E-(Are you he ?)
117 He's grim all day (Grimaldi.)
118 Man: viz. In the morning of
his life, on all fours; in the
afternoon, on two; and in the
evening, with a stick.
119 It is far-fetched and full of
nonsense.
120 He is the colossus of roads-
(Rhodes.)
121 The nose.
122 Make an impression.
123 Four quarters.
124 It was built by a Wren.
125 To are the way.
126 The Thaines, which flows be-
tween Chelsea and Battersea.
127 Adriatic-(a dry attic.)
128 Water-ices and ice-creams-
(water I sees, and I screams.)
129 When it is eye-water-(high-
water.)
130 Because he can make a D can-
ter-(decanter.)
131 Grow, sir!-(Grocer.)
132 It is a deck oration—(deco-
ration.)
133 She is between the poles.
134 All his works are wicked, and
all his wicked works are
brought to light
135 Because its capital is always
Dublin (Doubling.)
136 It is Pekin (Peeking.)
137 It is founded on Mersey (Mercy)
138 S. X. (Essex.)
139 He is likely to reign (Kain.)
140 Did you ever see the l-e-g on a
Turkey? (Leg.)
141 I am XL. (Excel.)
142 Dutch S (Dutchess.)
143 It is the capital of England.
144 Both inn convenient.
145 He is ruffled.
146 They have lost their nap.
147 Heigh-hos (high hose.)
148 A Tanner.
149 They are always under lashes.
150 Regular, irregular, and defec-
tive.
151 One speaks without reflecting,
the other reflects without
speaking.
152 It has three feet.
153 Music.
154 A bee follows it.
155 It is not currant (current.)
156 Expediency (XP DNC E.)
157 Mendicants (Mend I can't.)
158 He gives a cent (assent.)
159 Dandelion (dandy,―lion.)
160 They carry firelocks.
161 A pillow.
162 It follows the sea (C.)
163 They would go after tea (T.)
164 It is the centre of light.
165 Hebrews drink there (He
brews.)
166 Both study the profits (prophets.)
167 It furnishes dates.
168 He is Sir mounted (Surmount-
ed.)
169 He is full of pains (Panes.)
170 I scream, thou screamest, he
screams

260
SOLUTIONS.
171 From a selfish motive (Sell fish) 186 A hopeless lie and a faithless
172 XIX-XX.
173 The out-side.
174 It makes hot shot (Hot s-hot.)
175 L O O T.
176 It makes a mango (Man go.)
177 They are both notable (not able)
178 They are in sects (insects.)
179 It was a Pat riot (Patriot.)
180 He lives on the skirts of the
town.
181 E G and C (Egean Sea.)
182 It would be D-ceased (De-
ceased.)
183 The cat'll eat it (The cattle
eat it.)
184 There are more of them.
185 He has pictures (Picked yours.)
1 The letter H.
2 Eve.
3 Spectacles.
4 In a looking-glass.
5 Justice (just-ice.)
6 A bed.
7 Alphabet.
8 A pair of skaits.
9 Highway.
10 The moon.
11 The feet.
12 The moon.
1 TOBACCO.
lie (Hope Leslie, and Faith
Leslie.)
187 He is bald Tim Moore (Bal-
timore.)
188 They are always forgetting
(For getting.)
189 Paradise is in it (Pair o' dice.)
190 Her suit is hairy (In botany the
word hirsute means hairy.)
191 They are over sights (over-
sights.)
192 It is privateering (private
earing.)
193 Effigy (FE G.)
194 The Tees (tease.)
195 He is Pat-rolling (Patroling.)
196 He was born 29th February.
ENIGMAS.
13 A tree.
14 Letter M.
15 Letter G.
16 Brush.
17 Ace of Trumps.
18 Bar.
20 The animal sent was an ante-
19 On-I-on, (onion.)
lope (Aunt elope.)
The
fruit returned was a cante-
lope (Can't elope.)
REBUSSES.
10 Foote.
11 Vestris.
5 C-L-ark; or C-lark, (Clark.)
3 C-him-ney, (Chimney.)
4 Pope.
5 Abbot.
6 Tree.
7 Browne.
8 Stephens
9 Kean.
12 Kelley.
13 Elliston.
14 Munden.
15 Macready.
16 Kemble.
17 Blanchard.
18 Cooper.

SOLUTIONS.
261
19 Farren.
20 Cooke.
21 Liston.
22 Yates.
23 Bland.
24 Bunn.
25 Bartley.
26 Cubitt.
27 Wrench.
28 Powell.
29 Glover.
30 Hallande.
31 Paton.
32 Reeve.
33 Chester.
34 Matthews.
mill; jill; rill; kill; vill;
quill.
48 Room; moor.
49 Cowper; Chaucer; Ossian ;
Watts; Pindar; Erasmus;
Raphael.
50 X S: S X.
51 Pope; Ilissus;
Nelson
Death; Addison; Rogers;
Pindar.
52 Kite.
53 Swallow
54 Thrush.
55 OWL.
56 Partridge.
57 Parrot.
35 West.
58 Wren.
36 Pearman,
59 Goose.
37 Graddon
60 Crow.
61 Crane.
38 Terry.
39 Keetley.
Power.
11 Warde.
42 Russell.
13 Ellar.
44 Romer.
45 Bay; lay; day; gay; May;
hay; jay; ray; say; nay;
pay; Tay; way.
46 Anacreon; Pythagoras; Ep-
aminondas; Lycurgus: Ly-
sippus; Euripides; Sap-
pho; Apelles.
47 Ill; bill; gill; hill; will;
till; sill; pill; dill; fill;
M
1 Potentates.
2 Lawyers.
3 Christianity.
4 Old England.
5 Telegraphs.
6 Radical reform.
62 Magpie.
63 Wheatear.
64 Gull.
65 Turkey.
66 Marten.
67 Starling.
68 Bat.
69 Sparrow.
70 Snipe.
71 Fieldfare.
72 Duck.
73 Pigeon.
74 Grate; great.
75 Caper; cape; cap.
ANAGRAMS,
8 Charades.
9 Charles James Stuart.
10 Napoleon Bonaparte.
11 Astronomers.
12 The opposition.
13 Parishioners
7 Horatio Nelson.
14 Catalogues
Y

262
SOLUTIONS,
15 Revolution
16 Presbyterian.
17 Penitentiary.
18 La Revolution Francaise.
19 Democratical.
20 Misanthrope.
21 Funeral.
22 Enigmatical.
23 Festival.
24 Solemnity.
25 Sovereignty.
26 Pedagogues<
27 James Stuart
28 Disappointment.
29 Phaeton.
30 Monastically.
31 Patience.
32 Breath.
33 Wealth.
34 Arthur Wellesley.
35 Dissemination.
36 Miniature.
37 Parishioner.
38 Sweetheart.
LOGOGRIPHS.
1 Pillory in which may be found
pill; ill; lip; roll; Po; pry;
poll; rill; ropy; Polly; lop
lo; lily; rip; oil; oily; or;
O. P.
2 Thread: in which
may be
found, death; dear; Até;
Terah; the; dearth; tare;
hare; hart; rat; art; a;
date; red; era; trade
;
rated; tar; hat; head;
heart; tread; hear; heard
re; da; at; herd; ah; ha;
tear; dare; hate; tea; her: ;
eh; hated; dart; hard;
hater; heat; ear; hatred;
eat.
3 Obscurity in which may be
found, sour; city; sty; sot;
buoy; tour; story; orb;
orbit; rust; rut; sir; or;
bust; crust.
4 Amusement in which may be
found, Muse; tea; stream;
sun; ant; mate; mast;
as; man; mete; sum;
tease; amuse; meat; mute;
ease; aunt; nut; seat; sea;
mane; mames; naine;
seam; east ; strum.
Thus ends our Key to the Riddler; our young readers, we doubt not, have
very frequently referred to it, in perusing the various questions and puzzles
which precede it, in order to save themselves the trouble of tasking their in-
genuity to discover the solutions. They ought not, however, to have re-
course to the Answers, until they have made frequent attempts to solve the
Riddles. Some persons cannot, without considerable difficulty, find the
proper answer to an Enigma or a Rebus; while others, of no greater general
acuteness, do so with ease. It is no proof, therefore, of inferiority, not tɔ he
able to reply to a quaint Conundrum, so quickly as another. Many young
people have displayed much ingenuity in the construction of different sorts
of Riddles in rhyme, they are, in general, the most happy in solving those
of others. The admirers of these frequently amusing trifles, consider oppo-
sition in their component parts, or curious combinations, o be mos, essen
ial in the construction of good Riddles.

THE ANGLER.
Embower'd upon the pleasant banks of Thames •
Or, by the silver stream of Isis, Cam,
Or yellow Avon, roaming, the Angler,
Joyous, pursues from morn till eve his sport
ANGLING has long held a high rank among the sports of the people of
England; poets have written in its praise, and philosophers have delighted
in its practice; it is not confined to particular places, ages, or grades of so-
ciety; wherever the brook wanders "through hazy shaw or broomy glen,'
-wherever the willow-branch laves in the streamlet, -wherever the Trout
leaps at the May-fly, or the Pike lurks in the bulrushes, or the Salmon springs
up the waterfall, there also are Anglers. To enjoy this fine pastime,
the mountaincer descends to the valley-stream, the Magister Artium quits his
fearned halls and collegiate ease for the banks of the deeps, the weirs, and the
tumbling bays of Cam; the citizen his shop and beloved leger for a hickory
rod and a creek in the Roding; and the courtier his rich Turkey carpet,
ottoman and lustre, for "nature's grassy foot-cloth," the rough bark of a
felled river-side tree, and the sparkling surface of a rippled stream.
boy, who was but "breeched a Wednesday," often spends his holyday
hour on the bank of a brook, with a crooked pin for his hook, a needletul of
thread for his line, and an alder switch for his rod; and the gray-headed
statesman,―nay, even Royalty itself,-occasionally relaxes from the grave
The

264
THE ANGLER.
*
duties attendant on such superior station, from weighing the balance of
power, and determining the fate of nations, "to wield the rod, and cast
the mimic fly."
RODS.
The first care of the Angler should be to procure good rods, lines, hooks,
and floats. A great variety of rods may be had at the shops, of bamboo,
vine, hazel, and hickory: for general fishing, those made of bamboo, having
several tops of various strengths, are best; but cane rods are much superior
for fine fishing. The rod should be perfectly straight when put together,
and gradually taper from the butt to the top. If you be desirous of making
the rods yourself, the following directions must be observed:-The stocks
should be cut in the winter; hazel and yew switches are the best for tops,
and crab-tree for stocks. Do not use them till fully seasoned, which will be
in about sixteen months after they are cut; but the longer they are kept the
better. The rod should consist of five or six pieces, fitted so nicely, that the
whole rod may appear as if it consisted of one piece only. The best rods are
those that are brass ferruled; but if they are bound together, it must be with
thread, strongly waxed, the pieces being cut with a slope or slant, that they
may join with the greater exactness. Six or eight inches must be taken
from the top, and in its place a smooth round taper piece of whalebone sub-
stituted, on which a strong loop of horse-hair must be previously whipt.
Fly-rods are made more taper than others. Rods for trolling must be fur-
nished with brass rings, whipt all the way up, about ten or twelve inches
distance, for the trolling lines to go through; the tops for trolls must be
strong, and have rings whipt on, with pieces of quill, to prevent the lines
being cut. The tops of rods for Carp, Tench, Dace and Roach fishing,
should be finer, and more elastic.
The rod must neither be kept too dry, nor too moist; for the one will
make it brittle, the other rotten. In very warm weather, always wet the
joints, to make them adhere better; if, however, by being too wet, they
should stick, so that you cannot easily get them asunder, never use force, lest
you should strain your rod, but rather wait till it be dry, or turn the ferrule
of the joint which is fast, a few times over the flame of a candle, and it will
separate.
LINES
For the line, horse-hair is to be preferred; it should be round, twisted
even, and of equal thickness. The best colors are white and gray for
clear waters, and sorrel for muddy rivers. The most easy method of mak
ing lines, is by a little machine, which may be bought at most of the shops
where also, you purchase your lines, if you think fit.

THE ANGLER.
265
HOOKS.
Hooks are numbered, and made suitable in size to the fish they are inten
ded to take. For Barbel-fishing, Nos. 5, 6, 7, 8, and 9, are used; for
Gudgeons, Nos, 10 and 11; for Roach, Dace, and Bleak, Nos. 10, 11, or
12; for Tench, Carp, and Perch, Nos. 7, 8, and 9; for Trout, No. 6; for
Chub, Nos. 8 or 9; for Eels, No. 8; for Grayling, No. 10; for Ruff, No. 9;
for Minnows, &c. No. 13, &c. The above sizes are such as the best Anglers
of the present day prefer, and are much smaller than those used formerly;
but he who expects success at this sport must adopt the modern tackle, or
he will be disappointed. For arming the hook, use fine, small, strong silk,
well waxed, and lay the hair on the inside of the hook, otherwise the silk will
fret and cut it asunder.
FLOATS.
Floats made of Muscovy-duck quills, are best for slow waters; sound
cork, without flaws or holes, bored through with a hot iron, into which is
put a quill of fit proportion, is preferable for strong streams: the cork should
be pared to a pyramidical form, ground small with a pumice-stone, and
colored according to fancy. Floats must be so poised with shot, when on
the line, as to make them stand perpendicularly in the water, that the least
nibble may be apparent.
BAITS.
The lob-worm, garden-worm, and dew-worm, or trechet, are found in
gardens and church-yards at night; those with red heads, broad tails, and
streaked down the back, are the best. These worms are excellent bait for
Barbel, or Eels, and are found towards the latter end of the summer.
Gilt-tails, brandlings, and red worms are found in old dung-hills, hog's
dung, cow's dung, and tanner's bark. The brandlinn and gilt-tail are ex-
cellent bait for Perch, Tench, Bream and Gudgeon. The red worms, well
scoured, are taken by Tench, Perch, and Bream, in muddy waters.
The meadow, or marsh-worm, is of a lightish blue color, and a good
hait for Perch; it is found in marshy ground, or in the banks of rivers in the
months of August and September.
The tag-tail is found in meadows, or chalky ground after rain, in March
and April; and esteemed a good bait for Trout, in cloudy weather.
The palmer-worm, woolbed, or canker, is found on herbs, plants, and
trees; and takes the name of woolbed, from its rough and woolly coat.
This is an excellent bait for Trout, Chub, Grayling, Roach, or Dace.
The oak-worm, caterpillar, cabbage-worm, crab-tree-worm colewort-
worm or grub, may be gathered on the leaves of colewort and cabbage, or
on the hawthorn, oak, or crab-tree; and may be long preserved with the
leaves of those trees or plants, in boxes bored with holes to admit the air
They are good baits for Chub, Dace, Roach, or Tront

266
THE ANGLER.
The bark-worm, or ash-grub, is found under the bark of
elder, or beach, or in the hollow of those trees where rotten.
be used all the year for Grayling, Dace, Roach, or Chub.
well in wheat-bran.
a
felled oak, ash,
This bait may
They are kept
The cod-bait, caddis-worm, or case-worm, of which there are three sorts,
is found in pits, ponds, or ditches; they are excellent baits for Bream,
Tench, Bleaks, Chub, Trout, Grayling, and Dace.
Gentles, or maggots, are easily bred by putrefaction; they may be kep
with flesh, and scoured with wheat-bran. They are good baits for Tench,
Bream, Barbel, Dace, Gudgeon, Chub, Bleak, and Carp.
Cow-dung-bob is found under cow-dung, and somewhat resembles a gen-
tle. It is best kept in earth; and is a good bait for Trout, Chub, Carp,
Tench, Bream, Dace, and Roach.
The white-grub, or white-bait, is much larger than a maggot; it is found
in sandy and mellow ground; and is an excellent bait from the middle of
April till November, for Tench, Roach, Bream, Trout, Chub, Dace, and,
Carp. These baits should be kept in an earthen vessel, with the earth abou
them, and covered very close.
Flag or dock-worms are found among the small fibres of flag-roots, and i
old pits or ponds. They may be kept in bran; and are good baits for
Bream, Tench, Roach, Carp, Bleak, Dace, and Perch.
Boiled salmon-spawn is a very good bait for Chub, and in some rivers,
for Trout.
Dace, minnows, roach, smelt, gudgeon, bleak, and miller's-thumb, are
proper bait for Pike.
Grasshoppers, in June, July, and August, their legs and wings taken off,
are good for Roach, Chub, Trout, and Grayling.
Cheese, or oat-cake, is reckoned killing for Chub, Barbel, Roach, and
Dace; the cheese you may moisten with honey and water.
The water-cricket, water-louse or creeper, which is found in stony rivers,
will often take Trout in March, April, and May.
White snails are good bait for Chub, early in the morning, and for Trout
and Eels on night hooks.
House-crickets are also good, to dib with, for Chub.
TROUT.
In angling for Trout at the bottom, in the early part of the morning, and
lace at night, also during the day, if the water be much colored, use a
strong rod, running tackle, and No. 6 hook. Angle with a float, putting
sufficient shot on the line, placed about nine inches above the hook, to sink
the bait, which should be one large lob-worm, or two marsh or dew-worms,
well scoured, and very lively. Let your bait drag the bottom; do not strike
the first tin e you feel a tug, but rather slacken your line, and when you feel

THE ANGLER.
267
two or three sharp pulls, strike smartly; if a heavy fish, give him line, and
and him at leisure, as a Trout is very strong, and struggles most violently,
leaping out of the water, and flying in all directions, as soon as he feels
the hook.
The Minnow is a good killing bait for Trout. In fishing with a Minnow,
hook it by the lips, or beneath the back fin; use a small cork float, No. 6
hook, and let your bait swim below mid-water in deep dark holes, which are
free from eddies. Trout begin to feed in March, and continue in season till
June. The first two or three months are best for bottom-fishing, they are
then found in shallows; in summer time, the large Trout lie in deep holes, or
eddies. As they seldom feed in the day, unless in dark weather, you must
fish for Trout betimes in the morning, and late in the evening, or you will
not be likely to be successful in your sport.
PERCH.
The perch generally takes a bait immediately it is offered. Perch angling
continues from April to October. Strong tackle must be used in angling for
them, a cork float, gut line, or a twisted hair, and hook No. 7. Bait with
two red worms, well scoured, or a live Minnow hooked by the lips or back
fin, shrimps, or large gray maggots taken from potato or turnip plants; give
them a few minutes to pouch the bait; use running tackle or you will cer-
tainly lose your fish. During the hot months, Perch feed very little; dark,
windy weather, if not too cold, is best; they lie about bridges, mill-pools,
near locks in rivers and canals, in deep, dark, still holes and eddies, ponds
about flood gates, on the gravel or sandy parts, and near rushes. If there
be
any Perch about, and they are inclined to feed, they will soon take the
bait, so that you need not delay long in one place.
EELS.
Eels are taken with the rod and line, night lines, dead lines, and by boh-
Ding and sniggling. When fishing with a rod, use gut, or twisted hair lines,
with a float, and No. 8 hook; bait with a worm, fish at the bottom, and let the
float remain a moment under water before you strike. The dead line
should be made of whipcord; on which you may put five or six hooks, about
nine inches apart. The night line must be strong, and baited with small
fish, or lob-worms. Bobbing is practised from a boat; you must procure a
large quantity of worms for this, pass a needle through them, from head to
tail, and string them on worsted, until you have as many strung as will form
a bunch as large as a good-sized turnip: then fasten them on the line, so
that all the ends may hang level. Place a piece of lead of a conical form in
the middle, cast the baits into the water, sink them to the bottom, raise them
a few inches, and then drop them again until you have a bite; be as expert

268
THE ANGLER.
and steady in raising your lines as possible, so that your fish may drop off
into the boat. Immense numbers may be taken by this method.
NATURAL FLY-FISHING.
For Natural Fly-fishing, the rods should be long and sender, the lines
fine, but not so long as those used for Artificial Fly-fishing; the tackle run-
ning; and the hooks short in their shanks, and well proportioned in size to
the baits. By fishing with the wind at one's back, the line is wafted through
the air just above the surface of the water. 'In streams, begin by fishing
just under the banks or near the shore, and proceed by degrees, until at
length you may throw your line the whole breadth of the water. In rivers,
which, during the summer months, produce an abundance of weeds, you
should fish between those places where the current is strongest, taking care
so to manage your line as not to get it entangled. When fishing with natural
flies, all the cther haunts of the different fish which we have elsewhere men
tioned should be frequented. Let the fly just reach the surface of the wa-
ter, and go gently down the stream; the top of your rod should be a little
raised, and the bait kept in motion upon the surface, by gently raising, low-
ering, and drawing it to and fro. When a fish takes your bait, after a mo-
ment strike smartly; and, if he be not so large as to break your tackle, lift
him out immediately; for by playing with him you may, probably, scare
away others. There is an immense variety of Natural Fly-fishing baits;
we shall describe those only which are in most general use.
NATURAL BAITS.
Hornets, wasps, and humble-bees, are good baits for Roach, Dace, Eels,
Flounders, Bream and Chub; some boil them, but it is best to dry them in
an oven, or over a fire; and, if not over done, they will keep a long time.
The stone-fly is found at the sides of rivers, under hollow stones; it is of a
curious brown color, the body is pretty thick, and streaked with yellow on
the back and belly.
The green drake is taken from May to July; it is a long, slender fly, with
wings like those of a butterfly; its body is yellow, ribbed with green; it turns
its tail on its back. These are good baits for Roach, Dace, Perch, Bleak,
and Flounders. The gray drake, in size and shape, resembles the green
drake, but has black shining wings, and its body is a pale yellow, striped
with black and green. The time for taking this fly immediately succeeds
that of taking the green drake, and it is used for the same fish.
Ant-flies are found in their hills from June till September; two or three
of them fixed on a small hook are certain baits for Roach, Dace, and Chub,
if you do not angle above six inches from the bottom. They may
be kept
'n glass bottles, with some of the earth, from which they have been taken,

THE ANGLER.
269
about them. The fern-fly, or fern bob, is found among fern, from May to
the end of August. It has a short, thick body, and two pair of wings, the
upperinost reddish and hard, which may be taken off. The Chub never re-
fuses it, and the Trout will take it very freely at the latter end of May.
The hawthorn-fly is found on hawthorn-trees, when the leaves are just
shooting; it is of a black color, and is used to dib in a river for Trout.
The great moth is to be found, in the summer evenings, in gardens, trees,
or plants; it is used as a bait in dibbing for Roach; it has a very large head
and whitish wings.
The bonnet-fly is an excellent bait for Dace, Chub, &c; it is to be found
in the summer months, among standing grass.
The ash-fly, woodcock-fly, or oak-fly, is usually found, from May till
September, in the body of an oak or ash-tree, with its head downward,
toward the root; it is of a brownish color. This fly is a good bait for
Trout. The red copper-colored beetle is a good bait for Trout, if the hard
wings be clipped off, and the fly hung with its feet toward the water.
The best mode of keeping natural flies is as follows: Procure a horn bottle
made in the shape of a cone, with a wooden bottom, in which several holes
must be pierced; these should be sufficiently numerous to afford the flies air,
but none of them large enough to suffer your smallest bait to escape; a cork
must be obtained to fit the upper or smaller end, so that you may take your
baits out, one by one, without losing any. If the flies be kept in a common
box, there is a great chance of half a dozen flying out every time you lift
the cover.
ARTIFICIAL FLY-FISHING.
The most elegant, clean, gentlemanly, and pleasant mode of fishing is,
inquestionably, with the Artificial Fly. It has many advantages over bot-
tom-fishing;-the Artificial fly-fisher is never under the necessity of making
ground-bait, digging clay, &c.-he has not even the trouble of baiting his
hook; he may ramble along the banks of a pleasant stream, with no bur-
den (excepting a little book of flies and a light rod) but the fish which he
may have the good fortune to take;-enjoying his sport, and luxuriating in
gentle exercise, without scarcely soiling his fingers.
But though Artificial Fly-fishing possesses these advantages, it must he
confessed that, in some points, the superiority is to be given to bottom-
fishing. There are many fishes that will never rise at a fly; while all the
"tenants of the stream" may be taken, at some time or other, by a bottom
bait; and during the cold or wet weather, when the Fly-fisher cannot follow
his sport, the staunch Angler, who uses bottom-baits, may still resort to the
grassy inargin of the stream," and indulge in his piscatory pastime; for
here are few days in the year when fish will not take a proper bait.
Artificial fly-fishing is, by far, the most difficult part of Angling; much
Z

270
THE ANGLER.
time and practice are required to make the tyro an adept in it; by theory
it can never be attained; a few months' instruction, under an experienced
person, will be more beneficial toward its acquirement than the perusal of all
the works extant on the subject. With the preliminary part, or rudiments of
the science, (for so it may with propriety be called,) the young Angler may,
however, make himself acquainted, by reading the following pages; and if
he will carefully attend to the hints and instructions hereinafter given on the
subject, he may, with good practice, even attain considerable proficiency in
Artificial Fly-fishing; but it cammot be learned so soon, or so well, from any
book as from an experienced instructer.
CASTING THE LINES, &c.
Your rod for fly-fishing must be light and flexible, and of a length propor-
tioned to your power of casting; when you have properly fixed the winch,
and brought your line from it through the links, fix your fly on, and let out
your line about the length of the rod, or something less; take the rod in
your right hand, and the line, near the fly, in your left; when you move the
rod backward to cast the line, let the latter go from your left hand. Practice
several throws at this length, and increase it occasionally, as you improve,
antil you are able to throw almost any moderate length, with ease, to within
an inch of any spot you desire. Draw the fly lightly toward the shore, and
look sharply at it, so as to be able to strike instantly if a fish should rise at
it; if you do not, you will most probably lose him, for he quickly discovers
the nature of your bait. In raising your line for the second and subsequent
throws, wave your rod round your head, instead of bringing it directly back-
ward. You should not return the line before it has gone its full length be-
hind you, lest von whip off your fly. In order to show your flies naturally to
the fish, when you have thrown, raise your hand by degrees, with a slight
quivering motion; and, as you thus draw the bait toward you, let it go down
the stream, (for you inust never bring your fly against it,) and before it comes
too near you, prepare to cast again. If you see a fish rise at a natural fly,
throw your
line a little above him, so that the bait may come gently and
naturally down toward him; fish every yard of water likely to afford sport,
and never despair of success; for, sometimes it so happens, that, after many
fruitless hours spent without a fish ever rising at your fly, you will fill your
bag or basket during the last hour. The lighter your fly descends on the
water, the greater chance you have of a bite; the way to throw with the
requisite perfection in this respect, is only to be acquired by practice and
love for the art. Use only one hook at a time, till you can throw
to any given distance with certainty. You may acquire such a mas-
tery, by dint of observation and practice, as to be able to cast your fly under
banks, into holes, among bushes, &c., where the best fish are frequently
found. Endeavour to keep the wind at your back, and when fishing in a

THE ANGLER.
271
small stream, where the middle is shallow, and the water ripples, cast your
bait to the opposite side, slowly draw it to the rippling, and let it float down
some distance. You must recollect to keep yourself out of sight, and your
fly in motion, that it may appear to the fish as if alive. If you do not find
the fish rise toward the top, sink your fly, by degrees, even to middle water.
Before flies are naturally in season, the fish very rarely rise at them; there-
fore, in order that you may not be mistaken in your baiting, observe what
4ies are about the water, or on the bushes or trees near the ponds or rivers;
and that fly which swarms there most, being chiefly in season, is to be used.
If the wind be pretty high, the fish will rise in the plain deep; but when
little wind is stirring, it is best to angle in the stream. We need scarcely
remind you of the propriety of taking your basket, landing-net, book of flies,
and, if you are able to construct an artificial fly yourself, a few materials for
fly-making; so that, if the fish, which are often whimsical, will not take any
of the baits with which you are provided, and you observe them rising at
natural flies, (and they will sometimes feed on such insignificant ones as, at
other times, they will scarcely look at,) catch one of such flies, and make one
for your bait as nearly like it as possible. This, certainly, is a great advan-
tage, and every Angler ought, therefore, perhaps, to acquire sufficient
knowledge in fly-making to be able to produce such a tolerable imitation,
that the fish may not easily detect the difference between the natural and
the artificial fly.
GENERAL RULES FOR ALL ANGLERS.
In bottom-fishing, plumb the depth truly, and with as little disturbance as
may be; let your line, with the plummet to it, remain in the water while
you cast in the ground-bait, by which time the line will be softened and
stretched; keep as far from the water as you can. Use fine tackle, and
you will the sooner become skilful: if you break your tackle, do not lose
your temper, but sit down, and diligently repair it. If hail fall, or the day
be cold, and the wind blow strong, the Angler must not expect much sport.
n soft rain, or foggy, close weather, most fish will bite. Never drink water
out of rivers or ponds while in a perspiration; keep your feet dry, by wear-
ing strong boots and shoes. It is supposed that the best winds for Angling
are the south, west, and south east. In hot weather, the cooler the wind
blows the better; but in the early part of the season, and also in autumn, a
warm wind is more advantageous. When the wind comes from a cold
quarter, such places as are most protected from its influence should be re-
sorted to. A cloudy day, with light showers, after a bright night, in general
proves most favorable to the Angler, who may also expect good sport even
on those days when heavy rains descend during the intervals between the
showers. When a calm bright morning is succeeded by a gloomy day with
a brisk wird, without any fall of rain, the fish,-at least, the larger sorts,-
ure almost sure to feed. Weather-wisdom is of the greatest benefit to the
1

272
THE ANGLER.
Angler :-our young friends should therefore pay attention to, and remem
ber the state of the wind, the clouds, &c., on those days when they find the
fish bite, and when they refuse to take a bait. They may thus not only he
enabled to say when there is a prospect of sport, but also save themselves
much trouble and disappointment, by staying at home to improve their
tackle, or amusing themselves in some other manner, instead of following
"the devious windings of the stream," when the weather is unpromising.
When the wind blows right across the water, fish with your back toward it ·
not merely because you can throw your line with more facility, but because
the fish will certainly be on that side, watching for the flies, &c. that may be
blown from the bank into the water. Throw as near the bank on which yon
stand as the wind, if it be high, will suffer you. In the summer time, when
the sun is out in all his splendor, and there is scarcely a breath of wind
stirring, you may often see the fish basking in clear low water, with their
fins and a part of their backs above the surface. On these occasions, they
will rise greedily at a hackle, if your foot length be fine, and you fish at a
sufficient distance to be unperceived, under banks or straight down the sides
of streams. Your line, for this purpose, must be long; and if, when you
hook a fish, the others should become alarmed and shoot off, retire for a
short time and in all probability they will return again; if not, you must try
elsewhere. Artificial Bait, and Apparatus for all kinds of Angling, may be
had at Bradlee's near the Old South Church, in Boston.

RABBITS.
See where a motley litter sports around
The captive doe, whose native symmetry
Has so improved 'neath man's dominion,
That her grandsire's progeny, sporting wide
O'er hill and dale, in their plain russet coats,
Seem of no kin to her.
RABBIT-KEEPING was never, perhaps, so much practised in England as
at is at the present day. Not only do a multitude of young persons keep
common rabbits for their amusement, and poulterers and others for the
table, but of late, many gentlemen have become rabbit-breeders to a con-
siderable extent; and though the varieties are so much less numerous, it
promises to become, ere long, as popular a fancy as that in pigeons. A
writer on this subject states, that there are, or were, two great feeders in
the counties of Oxford and Bucks, the former of whom kept a sufficient
number to produce three dozen rabbits for the market per week; the latter,
it is said, kept white rabbits only, on account of the superior value of their
skins for the purpose of trimming. These persons, however, must be cou-
sidered rabbit feeders rather than fanciers.
Fancy rabbits are rarely to be met with in the hands of the common deal-
ers, good ones being of too high a price to come within their means.
There are, however, several private individuals of great respectability in
the city, from whom excellent specimens may be obtained, by those who
wish to lay the foundation for a fancy stock. A rabbit, of whatever color
it may be, is certainly a beautiful little animal ; b the common breed are

274
RABBITS.
very inferior in beauty of appearance to the fine lop-eared creatures
We feel convinced that any person who sees a well-ordered rabbitry, con
taining some good specimens of fancy rabbits, will be so struck with their
superior beauty of appearance, that he will not think of keeping merely
common rabbits. The first is the only extra expense; for the fine lopped-
eared animals do not require more or superior food than what ought to be
afforded to the common ones. They are, we confess, rather more delicate
in constitution; but their fine appearance will certainly compensate their
keeper for the care he may take in keeping them in order; there is also a
greater pleasure in breeding valuable animals, than rabbits, that, at best,
will never be worth, when reared, above half a dozen shillings. And here
let us impress upon our young readers the propriety of feeding their rabbits
regularly. Poor creatures! they are caged, confined, and wholly depen-
dent upon us-it would be the extreme of barbarity to neglect them. If
we keep any living creature in a confined state, we enjoin a duty on our-
selves of providing for their wants. Depend upon it, that the boy will rue
the day, unless he have decidedly a bad heart, who sits down to a comfort-
able meal, while his rabbit or his bird-heretofore his idol and his toy, but
now, in caprice, neglected-pines, in its prison, for his appearance with its
usual daily food. If he be tired of that, which, when it was a novelty, he
took so much delight in, he had better sell, give, or even humanely kill it,
than suffer it to languish its solitary hours away in hunger and in thirst. It
is a creature dependent on his care,-it is helpless and imprisoned-is he
not cruel in the extreme if he omit to furnish it with its daily pittance?
THE WILD RABBIT.
Wild rabbits are considerably less than those which are kept in a domes-
sic state; they are, for the most part, of a gray color; but a few black, black
and white, and even fawn-colored rabbits are to be seen in some warrens
The flesh of wild rabbits is, in general, preferred to that of tame ones; but
the latter may be much improved in flavor by judicious feeding, and af-
fording the animals good air and sufficient room to exercise themselves.
It is said that the wild rabbit will breed eleven times a year, and bring
forth, generally, eight young ones each time; at this rate, in four years, a
couple of rabbits would produce a progeny of almost a million and a half
THE COMMON DOMESTIC RABBIT.
One of the chief objects in keeping common rabbits is, for the purpose of
occasionally furnishing a dish for the table; and, therefore, those persons,
by whom they are kept, attend as particularly to the sort of rabbits whose
flesh is said to be the best, as to their colors or shape.
The short-legged stout rabbits are generally supposed to be the most

RABBITS.
275
nealthy, and also the best breeders. The large hare-colored variety is
much esteemed by some people; but the white, or white mottled with black
or yellow, are more delicate in flesh. The gray and some of the blacks.
approach nearer to the flavour of the wild rabbit than any others.
LOP-EARED, OR FANCY RABBITS.
Formerly, a fine rabbit of any two colors, however short its cars, was
accounted a fancy animal: it is now very different. In the eye of a fancier
of the present day, the long lopped ear is an indispensable requisite. The
first things that are looked at are the length and fall of the ears; the dewlap,
if the animal be in its prime, is next noticed; the colors and markings are
then inspected; and, lastly, the shape and general appearance. Rabbits,
whose ears do not extend to fourteen inches from tip to tip, measured across
the skull, would be reluctantly admitted into a fancier's stock, if they feli
ever so finely; or, in case they exceeded that length, (and they sometimes
are sixteen inches, and even upward,) if they did not lop or fall downward,
in what is deemed a graceful and becoming manner. The dewlap, which
is only seen in fancy rabbits, sometime after they have attained their full
growth, adds materially to the beauty of their appearance: it commences
immediately under the jaw, goes down the throat, and between the fore-legs:
it is so broad, that when the head reposes upon it, it projects beneath the
chin, and on each side beyond the jaws; it is usually parted in the centre in
front, and is equal in size to a couple of good-sized eggs: when the fur on
it is of a beautiful color, it produces a very fine effect.
The annexed cut is a portrait of WowsKI, a first-rate fancy lop rabbit,
in the possession of the writer. At the time of making the drawing for this
cut, Wowski was just
ten weeks old; her ears
matching perfectly with
each other, and meas-
uring, from tip to tip,
nearly thirteen inches.
The difference in the
back, and general ap-
pearance, to say noth-
ing of the ears, between
the fancy and the com
mon rabbit, cannot fail to strike the reader who will take the trouble of com-
paring the annexed engraving with the cut of the common domestic rabbit,
inserted on page 273.
Fancy rabbits fetch high prices compared with those of the common ones;
five, ten, and even as much as twenty guineas, have been given for a first-
rate doe. Very good fancy rabbits may, however, be bought for less sums
Z

276
RABBITS.
than these; the foundation of a fancy stock, provided young rabbits only be
bought, may be made for even much less. We know a youth who began to
keep fancy rabbits but two years ago, and has now a very brilliant little
stock. He purchased three rabbits, each about two months old, of excellent
breed; but being all deficient, in some respect, with regard to properties,
they cost him between twenty and thirty shillings only. These three rabbits,
being of the true fancy strain, have occasionally thrown very excellent speci-
mens, which he has selected and reared: the first he has disposed of again,
and his hutches did not, at the time we saw them, which was about three
months since, contain an animal that would not pass muster in the rabbitry
of a first-rate fancier.
THE RABBITRY AND HUTCHES.
The rabbit house should be dry and well ventilated; too much humidity,
whether externally or internally, will cause the rabbits to rot. Where con-
siderable numbers are kept, fresh air is absolutely necessary to preserve
them in a state of health; still they should not be exposed to draughts,
which, on many occasions, have brought on a disease called the snuffles-a
dangerous, and frequently fatal malady. If economy be an object, or the
young fancier be desirous of employing his mechanical abilities, he
may construct hutches sufficiently good for common purposes himself.
A tolerably good doe's hutch may be made out of an old egg-chest, and
places for bucks and weaned rabbits, of tea-chests; the former are to be
bought at a cheesemonger's, the latter at a grocer's shop. If our reader
should become his own carpenter in this case, we recommend him to follow,
as much as his abilities will admit, the directions which are given for mak-
ing hutches in the following page. Young persons should begin by keeping
common rabbits, for which common hutches, such as they can construct
themselves, if so inclined, will be quite good enough. When they have
acquired experience in the management of the Rabbitry, and not before,
they may, by degrees, introduce superior animals to their stock, and dispose
of the common ones. They should then also obtain superior hutches; for a
fine lop-eared rabbit loses half the beauty of its appearance in a clumsy and
ill-fashioned hutch.
The hutch for does should have a partition with a hole in it, to let them
pass from one part to the other, and a slide to close this hole when necessary.
For weaned rabbits, a hutch without this partition is preferable, and it is
unnecessary to make any partition in the bucks' hutches. The breeding
hutches should be about three feet long, two feet and a half in depth, and
eighteen inches high; the breeding place may be from nine to welve inches
in breadth; it should have a door to fit the whole front of it, fastened by a
separate latch or buckle to that used for the door of the feeding place. The
latter door should extend the whole distance from the partition to se coposite
RABBITS.
277
part of the hutch, and in depth from the top to within two or three mches
of the bottom; it must be made of a frame of wood tinned on the inside,
with stout wire or slender iron rods nailed or driven into the top and
bottom parts of the frame, from three quarters to an inch apart. Hang it
on a pair of small hinges to that side of the hutch which is opposite the
partition, and fasten it by a latch or buckle. Under this door, a drawer
for food, well tinned round the edges, is to run in; it should be fastened by
a buckle fixed to the lower part of the large door, or it may be so contrived
that the door will keep it close without any fastening. Nail tin round the
hole in the partition, (which ought to be circular,) and, in fact, to every
other part of the interior of the hutch which the rabbits can take hold of with
their teeth; as they are very destructive animals, and would actually gnaw
themselves out of a mere wooden hutch. The bottom must be planed quite
smooth, and a slip be taken off the lower part of the back of the hutch to
let the urine run off: for this purpose, hutches should also be set a little
on the slant backward.
The buck's hutch is made different in every respect from the breeding
hutch; instead of being square, it is almost semicircular; the back and
sides being gradually rounded off from the front. The wires are placed
wider apart, and are thicker and stronger than those used for doe's hutches:
it has no partition, and the drawer, instead of running the whole breadth
of the cage, as there is never more than one rabbit at a time to feed out of
it, is placed in the centre, to a cross piece which goes from side to side, as
the front piece of the drawer in other hutches. There must be an aperture
at the back close to the floor, for the purpose we have before mentioned,
and the door, which, excepting the drawer, constitutes the entire front of the
cage, should be well hinged and fastened with a stout button. The buck's
hutch should not be less than twenty inches high, two feet and a half broad,
and twenty inches at its deepest part.
The hutches may be stacked one above another, or set in a row, as choice
or convenience may direct. They should, however, never be placed upon
the ground, but elevated on wooden stools, or horses, a foot or two above it;
neither ought the back parts of them to be put close against the wall, but
sufficient room should be left for the dung to have a passage from the aper
tures made in the lower part of the back to the floor.
FEEDING.
This is a most important subject. On his skill, as a feeder, mainly de-
pends the young Fancier's chance of prosperity with his stock. If too much
food be given at once, the animals will get disgusted with and refuse it, s
that a rabbit may be nearly starved by affording it too great a quantity of
food. Most persons feed their rabbits twice, but, for our own part, we feed
ours thrice a day. To a full-grown doe, without a litter, in the morning.

278
RABBITS.
we give a little hay, or dry clover, and a few of such vegetables as are in
season; in the afternoon, we put two handfuls of good corn into her trough;
and, at night, we give her a boiled potato or two, more vegetables, and if
her hutch be clear of what we gave her in the morning, but by no means
otherwise, a little more hay or clover. If you give rabbits more hay than
they can eat in a few hours, except it be to a doe just about to litter, they
will tread it under foot, and waste it; if you give them but a moderate quan-
tity at a time, they will eat and enjoy it. Generally speaking, rabbits prefer
green or moist food to corn: but it is necessary to make them eat a suffi-
cient proportion of solid food to keep them in health; occasionally, instead
of corn, we give our rabbits a few split or whole gray peas. When a doe
has a litter by her side, and also for rabbits recently weaned, we soak the
peas for a few hours previously to putting them in the trough. If a rabbit
will not eat a proper quantity of corn, we mix a small quantity of squeezed
tea-leaves with her portion, and stint her proportionately in green meat.
Barley-meal, dry as well as scalded, we occasionally use, to fatten for the
table, or to bring a poor rabbit into good condition; and in winter, when
greens are scarce, but not otherwise, we feed with fresh grains mixed with
oats, peas, meal, or pollard. Tea-leaves, in small quantities, well squeezed,
may at all times be given, by way of a treat; but it is highly improper to
make them a daily substitute for green meat.
Almost all the vegetables and roots used for the table may be given to
rabbits; in preference to all others, we choose celery, parsley and the roots
and tops of carrots; and in this choice the animals themselves heartily agree
with us; lettuce, the leaves, and, what are much better, the stumps of cab-
bages and cauliflowers, they eat with avidity, but they must be given to
them with a sparing hand; turnips, parsneps and even potatoes in a raw
state we occasionally afford our stock, on an emergency, when better roots
or good greens are scarce. In the spring tine no soft meat is better for
them than tares, so that they be not wet: in fact, no green ought to be given
to rabbits when there is much moisture on its surface. We have heard of
some country persons feeding their rabbits on marshmallows, but we never
did so ourselves. Dandelions, milk thistles, we know, by long experience,
they take in preference to all other food, except celery, parsley, and carrots;
and nothing, we are convinced, as green meat, can be better for them.
It must be remembered that a doe will eat nearly twice as much when
suckling as at other times; and, when her litter begin to eat, the allowance
of food must be gradually increased. In our own Rabbitry we never admit
chaff, and grains only, in a dearth of green food. If we can obtain neither
greens, roots, nor grains, at feeding time, we make it a practice to moisten
the corn with water, milk, or, as we before stated, with tea-leaves. Though
a rabbit must be restricted from rioting in green or soft meat according to
is own appetite, for its own sake, yet it is cruel to afford it only such food as

RABBITS
279
will increase rather than appease its thirst; for this reason, in such a case as
we have mentioned, we moisten the grain; and some rabbits will even do
well with an occasional table-spoonful of water, beer, or milk; but it is a
dangerous experiment to try the effect of a liquid on their stomachs.
BREEDING.
The doe will breed at the age of six months; her period of gestation is
Jhirty days. The rabbits are not to be left together above ten minutes.
Some days before kindling, hay is to be given to the doe, with which, and
the flue which nature has instructed her to tear from her body, she will make
her nest. Biting the hay into short pieces, and carrying it about in her
mouth, are almost certain signs of her being with young. The number
produced varies from three to eleven. Destroy the weak and sickly ones,
as soon as their defects can be perceived, until the litter is reduced to five
or six. If you leave more to be suckled, some will, perhaps, die, others be
sickly, and none of them fine. The old rabbits are not to be put together till
the expiration of six weeks: the young may be separated from the doe and
weaned a fortnight after. If more than five or six litters are obtained in a
year, the doe will be soon worn out, and the young ones not worth much.
The doe should not be disturbed by any other rabbit, while with young
Should she be weak after kindling, give her a malt mash, scalded fine pol-
lard, or barley-meal, in which may be mixed a small quantity of cordial
horse-ball. In this case, and, in fact, whenever a doe is weak, bread-
soaked in milk, and squeezed rather dry again, if she will take it, will
considerably strengthen her.
If well fed, and kept warm, does will breed all the year; but most fanciers
are contented with five litters a year, and let them rest during the winter.
Mowbray states, that the produce of rabbits is so multitudinous, that one
might be well satisfied with this practice; for that even four litters in the
year would be equal to two thousand young rabbits annually, from a stock of
one hundred does. If does devour their young, or do not breed for any con-
siderable time, rabbit fanciers dispose of them as useless incumbrances to
their stock. It is advisable so to manage, that two or three does should kin-
dle about the same time; you may then take from the doe that has the great-
est number, and put the excess under her that has the least; taking care not
to leave more than six young ones to each. It is advisable to obtain rabbits
for breeding from a litter of two, three, or four only, as they are generally
stronger and finer than those which come from a more numerous one. It is
a disadvantage, rather than otherwise, to have above six produced in a litter,
as the young rabbits, when that is the case, are almost invariably weak
and puny; and even if they be reduced to a moderate quantity, by removing
some of them to another doe, or otherwise, they rarely become remarkable
for their size or beauty.

280
RABBITS.
DISEASES.
Diseases may, in a great measure, be prevented, by regularity in feed-
ng, good food, and cleanliness. The refuse of vegetables should always
be scrupulously rejected. For the liver complaint, to which rabbits are
subject, there is no cure: when they are attacked by it, fatten them, if pos
sible, for the table.
The snuffles are occasioned by damp or cold. If there be any cure fin
this disorder, it must be dryness in their hutches and food.
Squeezed tea-leaves generally restore a doe to health, if weak, or other-
wise affected after kindling, if the food which we have directed to be given
at that time, under the head of Breeding, should fail. When old rabbits
are attacked by a looseness, dry food will, in general, restore them; but do
what you will, it is very difficult, and, in most cases, impossible, to save
young ones from sinking under it; dry food for them, as well as for the ol
ones, is the only remedy.
GENERAL OBSERVATIONS.
Be careful to keep your rabbit-hutches particularly clean; a short hoe, r
a trowel, and a hand-brush, will be necessary for this purpose. Do not
handle your rabbits, particularly the young ones, too much; when you lift
them, take them with one hand by the ears, and place the other under the
lower part of their backs. Never slacken in attention; a neglect of a day
will do your stock much injury; while by constant care you may breed to
great perfection. Those who are fanciful in colors should not only look at
those of the rabbits they buy for breeding, but also ascertain, if possible, the
colors of the does they come from; for rabbits frequently throw litters, in
which not a single young one of their own color can be found. If there hap-
pen, for instance, to have been a single cross of gray in your stock for three
or four generations back, it will frequently appear in stock, although every
breeding rabbit in your hutches be of a different color. Gray is the most
difficult of all colors to eradicate; but even gray rabbits do not always have
young ones of their own color.
The more you vary the food, the fatter your rabbits will be; but observe,
that when they are once full fat, (to use a term of breeders,) they frequently
fall off and pine away to bad condition. It is impossible to lay down rules
for the precise quantity of each sort of food to be allowed; a little ex
perience alone can teach the youthful fancier this secret.

GUINEA PIGS.
"A rat without a tail."
MACBETH.
THESE little animals were originally natives of Brazil, but they have long
been introduced to this and other European countries. They propagate in
temperate, and even cold climates; and would be exceedingly numerous,
had they not, like most other animals whose produce is abundant, a great
number of enemies. The males frequently devour their own offspring, which
also suffer much from cats, &c. It is said, however, that rats will carefully
avoid them; and under this idea, they are frequently bred by rabbit-fan-
ciers, for a protection to their young stock against those destructive vermin
In a rabbit-house they are by no means troublesome, as they may be suffered
to run loose under the lower tier of hutches, and will feed on the waste food,
which is spilled about the floor. If kept up, through choice or necessity,
they will do best in hutches similar to those made for rabbits; they need
not, of course, be of such large dimensions. They will eat bread, grain,
and, in fact, whatever is commonly given to rabbits; tea-leaves, however,
they seem to prefer to all other food, but they ought not to be kept constantly
on them.
They breed, according to some naturalists, at two months old, and, it is
said, have from four to twelve young ones at a time: for our own part, we
have frequently known them to have two, and never more than six, in a lit-
ter. In size they are considerably less than a rabbit; the upper lip is only

282
GUINEA PIGS.
half divided; they have two cutting teeth in each jaw, and their ears are
broad and erect. They are of varied colors, white, black, and fawn; the
tortoise-shell, (i. e.) a mixture of the three colors, is generally preferred.
Some of the white ones have red eyes, similar to ferrets and white rabbits
Their flesh is eatable, but by no means good; in this country they are never
used for the table, and have been tasted only, it is presumed, from motives
of curiosity. They are perfectly harmless and, unless it be true that they
keep rats away from rabbit-hutches, altogether useless. They may be
bought at the shops of the rabbit or pigeon dealers, at from sixpence upward,
according to their age, shape, and color.
Nature, which has so abundantly provided the Cape of Good Hope sheep
with tails, that the farmers, it is said, are frequently obliged to provide
small wagons to support them, has left the little Guinea pig totally destitute
of this usual ornament to the hind quarters of animals. Were it not for
their color, they might, indeed, be properly compared to "A rat without
a tail."

PIGEONS.
www
Aloft in air the rapid pigeon soars,
The messenger, by turns, of joy and wo;
But heedless ever of her high envoy,
Even while cleaving yonder distant cloud,
Her heart is fixed on home, and her loved young;
Thus does brute instinct in man's hand become
A mighty engine.
THE life of this beautiful and useful bird is said to extend to about eight
years; but it is useless for the purpose of breeding after it has attained half
that age, and ought then to be destroyed, or it will molest those which are
in their prime. The pigeon lays two white eggs, and sits fifteen days after
the second egg is laid. The female keeps to the nest from four or five
o'clock in the evening until nine the next morning; she then goes off to
feed, and the cock takes her place during the day. If the hen delay, the
cock leaves the nest at the usual time, seeks her out, and drives her to her
luty; the hen does the same in case of negligence in this respect on the
wart of the cock.
aa
284
PIGEONS
The yuang ones are usually of different sexes. For the first three dayı
after they are hatched, the female seldom leaves them; after that time, the
cock and hen attend to feed them indiscriminately. The way in which the
old supply the young with food is singular: the parent birds collect a quan-
tity of grain and water in their crops, which are very capacious, and after
it has lain there until soft and macerated, they cast it up into the throats of
the young ones. As the young birds acquire strength, the old ones give the
food less preparation, and at last drive them out to provide in part for them-
selves; but they are often seen feeding their young ones even when the
latter are able to fly, and they themselves are going to nest again. The
young ones, while fed by the cock and hen, are called squabs, under siz
months old squeakers, and after that age they are denominated pigeons,
being in a fit state to mate and breed.
THE DOVE-COTE, OR PIGEON-HOUSE.
As many young people will take a pleasure in breeding a little flock of
birds from a common box, fitted up against a wall or elsewhere, we shall give
them a few words of advice
on the subject. The form
of the box is immaterial;
the triangular is, perhaps,
the best, because it allows
the wet to run off quickest;
it may be made with any
number of holes, which
should be sufficiently large
for the pigeons to turn round
in them with ease. Shelves
and partitions of six or eight
inches deep should run along
the front, to keep the couples apart, and afford them good resting-places.
It will be an advantage, if you can allow two holes between each partition
for each couple of birds. The box may also be made square; or in fact,
according to the convenience or fancy of the individual fitting it up. It
should be fixed where it will be secure from rats and cats, and ought always
to face a warm quarter; cold winds being very pernicious to the birds.

PIGEON LOFTS.
We shall now proceed to give the young Fancier proper instructions for
building pigeon lofts, which are used for breeding and keeping the more
curious sort of birds, or what are commonly denominated Fancy pigeons

PIGEONS.
285
Many persons convert the spaces between the garrets and the roofs of
their houses into lofts, by making an aperture in the tiling, which opens on
a platform, fixed on the outside. It is necessary in this, as in all other cases
to erect proper fences to keep out the cats. If possible, for the sake of
warmth, your loft should face the south or southwest; but as it rarely hap-
pens that convenience will allow of a room being occupied entirely by
pigeons, it is seldom that the birds are indulged with this advantage. Any
place, in fact, that is dry, light, airy, and sufficiently commodious, may be
converted into a good loft.
The shelves for the breeding place should be fourteen inches, or a little
more, in breadth; and if you breed Pouters, there ought to be twenty inches
between the upper and lower shelves, or otherwise the pigeons will acquire
a trick of stooping, which will spoil their deportment. Partitions should be
made in these shelves, about three feet apart, and a slip of board run along
the front of the lower shelves about four inches high, to keep in the nests.
This slip should run in a groove, or be otherwise managed so that it may
be easily removed, in order to clean out the nests when expedient. A simi-
lar slip must also be fixed in the middle of each three feet division, which is
thus adapted for a double nest, in one of which, the old hen may lay in
quietness without being disturbed by her young ones in the other, as she
often leaves them when about three weeks old to the care of the cock, and
goes to nest again. Some Fanciers darken the nest by setting up a board a
few inches within the edge of the shelves, having an entrance hole cut
through it; thus dividing the partition into an outer shelf or landing place,
and an inner room or nest: in this case, of course, the slip is unnecessary.
A good contrivance to keep the birds private when setting is, perhaps,
worth attention, as they are sometimes shy, and set uneasy, or even
fly off their eggs, in alarm, on any person's entering the loft. Some tame
pigeons will not make their nests; to such it will be right to afford a little
hay. Straw buckets and pans of earthen-ware are used by many Fanciers
for nests. When the latter are adopted, it is usual to place a brick between
them (there being two pans in every partition) for the convenience of the
birds, as well as more effectually to divide and support the nest.
The pans
should vary in size according to the pigeons for which they are intended.
The straw baskets are in general preferred, as the egg is liable to be broken
in the pan, unless it be strowed with hay, straw, or frail, of which the latter,
for many reasons, is the best for the purpose.
FEEDING, MATING, &C.
Gravel should be strowed on the shelves and floor, the birds being fond
of picking it; besides, it gives the loft a much cleaner appearance. Clean-
liness is indispensable; if you suffer the loft to be filthy, the dirt will produce
effects which will be equally annoying to yourself and your birds. Do not
Aa

286
PIGEONS.
handle your squabs or young birds too much, lest you bring an illness on
them which may prove fatal.
The common pigeon will, during a great part of the year, seek the princi-
pal part of its own food, and live upon almost any grain; the fancy birds
require delicate food and much attention. Of all gram, old tares prove to
be the best suited to the nature of these birds; new tares should be given
very sparingly, especially to young pigeons, as they are very liable to do
them much injury. Horse beans are esteemed the next best food to tares
the smallest of these are preferred, especially small ticks. Wheat, barley,
oats, and peas, ought only to be given now and then for a change of diet,
as they sometimes hurt them. Rape, canary, and hemp-seed, pigeons
are immoderately fond of; but these must not by any means be made a
constant diet.
Mating or coupling of pigeons is often attended with much difficulty. In
order to effect it, let two coops be built close together with a partition of
lath between them, so that the birds may see each other, and they should
feed out of the same vessels; by supplying them well with hemp-seed, you
may soon make them fit for mating, and when you perceive the hen to
sweep her tail, you may remove her to the cock's pen, and they will soon
agree. When this convenience is wanting, and you are compelled to put
them both into the coop at first, put the cock in three or four days before the
hen, that he may get master of the coop, particularly if the hen be a ter-
magant, or else they will quariel so much, that their bickerings will end in
an irreconcilable hatred. When the pigeons are matched, you can give
them the run of the loft to choose a nest for themselves, or fix them to one, by
inclosing them within it, by a lath railing, giving them food and water in
plenty for eight or nine days.
DISEASES AND REMEDIES.
For the wet roup, give them three or four pepper-corns once in three or
four days, and steep a handful of green rue in their water, which you may
let all the pigeons drink of. The dry roup is known by a dry husky cough,
it proceeds from a cold; to cure it, give them three or four cloves of garlic
every day.
The canker arises from the cocks pecking each other: for this, rub the
affected part every day with burnt alum and honey. When the flesn round
the eyes is torn or pecked, bathe it with salt water for several days; if this
do not.prove successful, wash the aggrieved part with two drachms of alum
dissolved in an ounce and a half of water
When pigeons are infested with insects, smoke their feathers well with
tobacco.
Pigeons are apt to gorge themselves when they have fasted rather longer
than usual. When this happens, put the bird into a tight stocking with its
í.

PIGEONS
28
feet downward, smoothing up the crop, that the over-loaded bag of meat
may not hang down; then hutch up the stocking on a nail, and keep it in this
posture, supplying it with a little water now and then, till the food is digest-
ed. When taken out of the stocking, put the bird in an open coop or basket,
and feed it but very moderately for some time.
The megrims is a disease, in which the pigeon flutters about at random
with its head reverted in such a manner that its beak rests upon its back.
This malady is pronounced incurable.
When pigeons do not moult freely, put them into some warm place, and
mix a good quantity of hemp-seed in their common food, and a little saffron
in their water.
If they be lame, or the palls of their feet become swelled, either from cold,
being cut with glass, or any other accident, spread some Venice turpentine
on a piece of brown paper, and put it to the part affected.
H

NACKSON

FENCING.
Wouldst have thy son acquire a graceful port,
A manly bearing ;—make his eye acute
As that of the hawk, and his young limbs vie
With those of roe-bucks in agility ?-
The noble art of Fencing let him learn.
IN those days, when a small sword was an indispensable ornament to the
person of a gentleman, objections were sometimes raised to the cultivation
of the art of Fencing, as tending to lead young persons into broils and
duels ; but nothing can now be said against it on this score; the wearing of
swords, except among military men, has long ceased, and duels being inva-
riably decided in this country by pistols. The art of Fencing is acquired,
therefore, as the means of affording excellent exercise, elegant amusement,
and imparting an easy deportment and graceful.action, as well as extraordi-
nary acuteness of eye, and agility of body. That it has these merits, there
can be no doubt ; and it is, therefore, confidently recommended to youth, as
being not only perfectly unexceptionable, but even superior, in most respects,
to all other exercises.
FOILS, MASKS, &c.
The foils should be proportioned to the size of those who use them.
Thirty-one inches is the medium for men; it is advisable to use a glove
on the right hand, padded on the back and the outsides of the fingers; the
masks must have wire fronts, stout enough to resist an accidental thrust at
the face. An
An easy dress should be worn, and it is usual, in academies, to
have a spot, or heart, on the left side of the breast of the waistcoat.
HOW TO HOLD THE FOIL.
The hilt must be flat in your hand; so that the two edges are nearly hori-
contal when you throw yourself upon guard; your thumb should be stretch-
ed along the upper flat part of the hilt, within half an inch of the shell, and
•he pommel should rest under your wrist.

290
FENCING.
COMMON GUARDS OF CARTE AND TIERCE.
Stand in the first position, which is similar to the first position in dancing,
that is, your right foot forward, with the heel advanced; then throw your-
self upon the common guard or carte, by advancing your right foot about
half a yard from the left. The two heels should be in the same line. Turn
your wrist so that the nails may appear upward. Let your hand be on a
line with the lower part of your breast; the arm not stretched, but a little
bent, and the elbow inclined a little to the outside. The point of your
foil should be about fifteen de-
grees elevated, and nearly fixed
on a line with the upper part
of your adversary's breast. The
left arm (which is necessary to
balance the body in its different
movements) must be raised in a
semi-circular manner, on a line
with the forehead, the hand kept
open in an easy manner, the
thumb and first finger nearly
meeting. Your body should be
sideways, and your head turned
toward the right, so as to keep
sight of your point. Let the
balance of your body rest upon the left leg, keep the left knee bent, and flex-
ible, so that you may incline a little backward; the right knee should also
be rather bent, and perpendicular to the point where your right heel rests.
The position of the guard in tierce is similar to that of carte, only the
hand must be a little reversed, so that the nails may be half turned down
ward. The arm should be a little stretched outward, in order to secure or
cover the outside, and the point should be as in carte.
ENGAGING AND DISENGAGING.
Engaging in carte, or in tierce, is opposing your adversary's blade, either
inside or outside, when you first join or cross blades on guard. Disengaging
is performed by dexterously shifting the point of your foil from one side of
your adversary's blade to the other; that is, from carte to tierce, or viceversa.
THE ADVANCE AND RETREAT.
;
In order to advance, move the right foot easily forward to the distance of
more than a foot, and let the left foot instantly follow to the same distance
these two movements must be performed in the same moment. Keep your
body firm and steady while you repeat this five or six times; and let there
De a short pause between every advance. After making five or six ad
3%


FENCING.
291
vances,
observe if the distance and position of your guard be exactly the
same as your distance and position were when you commenced. In the
retreat, your left foot makes the first movement backward, and your right
follows at the same moment.
THE SIMPLE PARADES OF CARTE AND TIERCE.
These are distinguished from all the others, on account of their securing
the breast, as upper parades. To perform that of carte, place yourself on the
common guard, and throw your hand toward the left, or inward, about six
inches from guard, making a gradual turn upward with the wrist, in order
to throw off your adversary's blade with the greater ease; at the same time
draw your hand a little toward your body, that the opposition may be more
powerful.
The simple parade of tierce is also performed from the common guard by
throwing and stretching your arm obliquely downward to the right, (or out-
wardly,) the nails being reversed by the gradual turn of the wrist, in forming
the parade. It parries the simple thrust of carte over the arm and seconde.
The distance of the hand from the common guard should be six inches. The
point of your foil, your body and legs, should not deviate from the line of
direction in performing either of these parades.
THE PARADES OF OCTAVE AND SEMI-CIRCLE.
To perform the octave parade, raise the hand as high as your chin, the
nails must not be turned up so much as in semi-circle; your arm should be
well stretched and thrown outward, the distance of six inches; the wrist
should be bent as much as possible, in order that the point may fall on a
C
line with your adversary's flank,
making nearly the same angle
from guard-point as semi-circle.
Semi-circle parade is useful
against thrusts of low carte,
seconde, and the disengage and
thrust of carte over the arm.
Let your body be steadily in-
clined upon the left side; drop
your point, with the nails up-
ward, so as to form an angle of
nearly forty-five degrees with
the guard-point. At the same
time, stretch your arm well out,
raise the hand as high as your
mouth, and throw your arm inward, the distance of six inches, from the line
of direction in your common guard, that your point may appear to the eye
in looking to your arm. (Vide cut.)

292
FENCING.
THE SIMPLE PARADES OF SECONDE AND PRIME.
These two parades are not used so frequently as the preceding four,
Seconde is very powerful against the simple thrusts of low carte and
seconde. To perform it from
carte to tierce, the nails and
wrist should be turned down-
ward, the point be dropped,
and the hand opposed outward,
as in the parade of octave. The
point's tract from guard is also
nearly the same with the parade
in octave, and the inclination of
the blade should form the angle
of forty-five degrees.( Vide cut)
Prime is performed with the
nails turned downward, the
hand raised higher than the
mouth, and opposed inward, in
the same manner as semi-ci.cle. The arm should be drawn well in toward
the body, and the wrist bent downward, that the point may fall more than in
other low parade.
THE EXTENSION, LONGE, THRUSTS OF CARTE, CARTE OVER THE
ARM, AND TIERCE.
Thrusts are, for the most part, executed with the longe, except thrusts
of the wrist, and thrusts of the extension. They may be performed either
after disengaging the point
or not. To perform the
straight thrust of carte
inside, your point must be
directed to your adver-
sary's breast, the arm well
raised, and opposed in.
side, the nails upward,
your body projecting for-
ward, and an extension
performed of the right
arm and left leg. (Vide
cut, which represents the
position of extension.)
Then push home the thrust
in carte by longeing out to a distance proportionate with your height. Your

FENCING.
293
left arm should be stretched down by the flank, at the distance of two or
three inches, aud always raised as you recover upon guard, by way of grace
and balance to your move-
ments. Your body should
incline a little forward;
the head be raised up-
right, looking outward
over the shoulders, so as to
have a full view of the
point. As you approach
your adversary's breast,
make a gradual resistance
against his foil inward, by
way of cover to your
longe. Keep the right
knee bent, and in a per-
pendicular posture with
your heel; the left knee
and ham stretched, with the foot firmly fixed to the ground.
To recover yourself with the requisite ease, lean with some degree of
force on the heels of both feet; the greatest force is first upon the right, then
it falls on the left; by bending the left knee at the same time, and inclining
the body backward, you come to guard. The thrust of carte over the arm
is performed in the saine manner as carte inside, by disengaging to tierce,
with this difference, that the head is raised upright on the inside, and the
hand well opposed outward, in order to be well covered. The thrust of
tierce differs only from carte over the arm, by reversing the wrist, the hand
being well raised and opposed outward.
LOW CARTE, OCTAVE, SECONDE, AND PRIME THRUSTS.
Low carte, sometimes called semi-circle thrust, is delivered after forming
the parade of semi-circle, in the same manner as simple carte thrust; only
the hand and point must be fixed lower. It is an excellent thrust, if your
adversary have frequent recourse to his high parades.
Octave thrust is delivered after the parade of octave, on the flank or belly;
the arm being well opposed outward. If you parry your adversary's thrust
by octave, your return will naturally be the thrust of octave, which may, at
the same time, touch him with the extension only, without the longe.
The thrust in seconde is delivered after the parade of the tierce, or when
engaged by tierce, by dropping your point under your adversary's wrist with
the nails downward; longe and deliver the thrust on the flank.
Prime is the natural tiarust in return, after having parried your adversary's
294
FENCING.
force, when advanced considerably within his measure, and pressing vig
orously upon you. It is only an extension of the arm from the opposition of
the parade to your adversary's body, the nails being kept downward. The
arm should be well raised, aud opposed inward.
VARIATIONS AND LESSON ON ENGAGING AND DISENGAGING, AD-
VANCING AND RETREATING, SIMPLE PARADES, AND THRUSTS
OF CARTE AND TIERCE
Suppose you are engaged in carte with an adversary, he retreats, you
advance, well covered in carte; he retreats again, you advance with a dis-
engagement to tierce, and so forth, alternately; taking care that you are
properly covered on each engagement; his retreat and your advance should
be comprehended in the same moment of time; in the same manner, you
may retreat while he advances. On the engagement of carte, your adver-
sary delivers a thrust in carte; oppose it by forming your parade in carte,
then return the straight thrust thereof. He again thrusts straight in the same
manner; also throw it off by forming your parade in carte, deliver in return
the thrust of carte over the arm, by disengaging to tierce.
On the engage-
ment in tierce, he disengages and thrusts carte inside; throw it off by your
parade in carte, disengage, and thrust carte over the arm; he parries, and
returns in tierce, which you parry by a parade in tierce, and longe home
with a straight thrust in tierce.
LESSONS AND VARIATIONS IN SEMICIRCLE, LOW CARTE, AND OCTAVE.
On the engagement of carte, drop your point and deliver the thrust of
low carte. On the same engagement, your adversary thrusts straight
home; throw it off by pa-
rade in carte, then deliver
a return of the thrust in
low carte. On the same
engagement, disengage to
tierce, and thrust carte
over the arm; he opposes
it with his parade, and re-
turns a disengaged thrust
in carte; which throw off
with the parade of carte;
then, with vivacity, drop
your point, and deliver a
thrust in low carte. On

the engagement of tierce, your adversary, by disengaging, attempts to de-
åver a thrust in low carte; throw it off by performing the parade of octave
(Vide cut ;) then make a quick return of the thrust in octave.
On the engagement of carte, be thrusts low carte, parry it by octave:

FENCING.
295
instantly form your extension, fix your point well to his body, and you may
almost make sure of touching him. (Vide cut.)
On the engagement of carte, he disengages to tierce, and thrusts; throw
it off by your parade of tierce; then reverse your nails upward, and return
a thrust in octave.
On the same engagement, he thrusts low carte, oppose it by forming your
parade in semi-circle; then deliver a thrust in octave, by disengaging over
his arm, commonly called a counter disengagement.
LESSON AND VARIATIONS IN PRIME AND SECONDE.
On the engagement of tierce, your adversary advances within his meas-
ure, and delivers a thrust in tierce or carte over the arm; oppose his blade
by the parade of prime, and return a thrust in prime. (Vide cut.)

296
FENCING.
On the same engagement, he advances, disengages, and forcibly thrusts
carte; drop your point, and parry it with prime; then disengage over his
arm, and return a thrust in seconde.
On the engagement of carte, he disengages, and thrusts carte over the
arm; parry it with simple tierce, and return a thrust in tierce; he advances,
as you recover, within his measure, forcing upon your blade; form your
parade in prime, and deliver a quick return of the thrust thereof. On the
same engagement, he again disengages, and thrusts carte over the arin,
which parry with tierce, and return the thrust thereof; he forces a thrust
without advancing, parry it with prime, then disengage over the arm, and
return your thrust in seconde.
THE SALUTE.
Place yourself on guard, engage your adversary's blade on the outside;
by way of compliment, desire him to thrust first at you; then drop your
point, by reversing the nails downward, with a circular motion; draw your
Fight foot close behind the left, stretching both hams; raise your right arin,
and, with your left hand, take off your hat gracefully; then make a oircular
motion with your wrist, with the nails upward, while
you advance your right
foot forward, forming your proper extension. Your adversary
Your adversary makes the
same motions, keeping equal time with you; but, instead of forining the ex-
tension, he makes a full longe, as if going to thrust carte inside, in order to
take his measure, presenting his point at a little distance from your body
while you remain uncovered on the extension. (Vide cut.)
When your adversary recovers his position, after having taken his mea‹
sure, you also recover by drawing the right foot or heel close to the hee
of the left; the right hand well stretched and raised, the nails upward, and
the point dropped; the left hand raised in a semi-circular form, as if on
guar! your hat held therein with case and gracefulness; the head upright,

FENCING.
297
and the hams stretched. In this attitude, salute first in carte, by forining
that parade; then, salute in tierce, by forming the parade of tierce; lastly,
make a circular motion with the wrist, by dropping your point in tierce, at
that moment putting on your hat, and throwing yourself upon the guard
of carte.
When it is your turn to push, the salute only differs in one particular
from the above; that is, instead of forming the extension, and uncovering
the body, you make a full longe from the first position of the right foot behind
the left in carte; then, recover to the second position, by placing the right
foot or heel close to the heel of the left; and conclude with the other move-
ments. All these motions should be performed with ease, grace, and with-
out precipitation. After performing the salute, and being engaged in carte,
your adversary, agreeably to the compliment offered, pushes at your breast
by disengaging nimbly to tierce, and thrusting carte over the arm. Ob-
serve, that the wrist is never reversed when he disengages; oppose it by
performing the parade of tierce, then drop the point, by way of accustoming
yourself to make the return in seconde, which may be termed the grace on
the parade of tierce. Remain on this grace till your adversary recovers to
guard; then join his blade in tierce; he disengages, by thrust. ng carte in-
side; throw it off by forming the parade of carte.
The grace or ornament to be used after forming this parade, while your
adversary is upon the longe, is by allowing the foil to remain flexible in your
hand, with the point downward, keeping your hand in the same direction as
if covered upon the parade.
Your adversary, after pushing tierce and carte alternately, commences
the salute; and while he is on the extension, you take the measure by longe-
ing in carte. Having joined blades in carte, disengage, and thrust carte
over the arm. Again, he joins your blade in tierce, disengage nimbly, and
hrust carte inside. (Vide cut.)

298
FENCING
He opposes in carte; then let the blade and point fly loosely over the hand
naving hold of your foil between the thumb and two first fingers, by which
you will have a view of your adversary through the angle made thereby
This is the grace upon the longe of carte inside.
THE COUNTER, OR ROUND PARADES, IN CARTE AND TIERCE.
The counter-parade in carte, is esteemed one of the most essential, as
it baffles a variety of thrusts, throws off the disengagements over the arm,
&c. In order to perform it when your adversary disengages, follow his
blade closely, with a small circle, entirely from the motion of the wrist, by
which you join his blade always in carte. If he make a thrust with the dis-
engagement, oppose it, by gradually covering yourself with the parade of
carte, after having followed his blade round.
The counter, or round parade in tierce, is performed in a similar manner
to the counter-parade of carte, only that the course of the point is reversed.
For example; your adversary disengages to carte, with a view to thrust
carte inside; follow his blade closely, with a small circle, made by the mo-
tion of the wrist reversed in tierce, stretching your arm, and giving his blade
a smart and abrupt throw-off, as you overtake or meet it in tierce. The
course of the point in forming the counter in carte is inward, from left to
right; and in the counter-parade of tierce, the contrary.
COUNTER DISENGAGEMENTS IN OCTAVE AND SEMI-CIRCLE.
The counter-disengagement in octave may be performed after your ad-
versary has thrust in seconde, and you have parried by semi-circle; as he
recovers, counter-disengage, and thrust in octave. (Vide cut.)
+

FENCING.
239
To give a further exemplification of the counter-disengagement in octave :
t is also performed by first making a feint, as if you intended to thrust oc-
tave; he naturally opposes it, by forming his parade in octave; then nimbly
disengage over his arm to carte inside, and deliver either that thrust, or the
hrust of low carte.
The counter-disengagement in semi-circle is performed on the engage-
ment of carte, when your adversary accustoms himself to take the parade
of semi-circle, by first making a feint, as if you meant to thrust low carte,
which he attempts to parry with semi-circle, then nimbly disengaging over
his arm, and delivering your thrust in octave.
THE COUNTER-DISENGAGEMENTS IN PRIME AND SECONDE.
The counter-disengagement in prime is seldom used in attacks; but being
so nearly related to prime parade and thrust, we shall here describe it. It
is performed from the engagement of tierce, by forcing on your adversary's
blade, if he betake himself to the parade of prime, then nimbly disengaging
over his arm, and delivering your thrust in seconde.
The counter-disengagement of seconde may be more frequently used;
it is performed from the engagement of carte, by dropping your point, or
making a feint, as if you intended to thrust prime; your adversary opposes
u, by performing the parade of seconde; then disengage over his arm, and
deliver your thrust by longeing in prime.
LESSONS AND VARIATIONS ON THE COUNTER-PARADES IN CARTE AND TIERCE,
AND THE COUNTER DISENGAGEMENTS IN OCTAVE, &c.
On the engagement of carte, disengage and thrust carte over the arm ;
your adversary opposes it, by forming the counter-parade of carte. Upon
recovering, he, in return, disengages and thrusts carte over the arm; oppose
it by counter-parade in carte, &c.; disengaging and parrying alternately,
always making complete longes with the thrusts, and moving well to guard,
while forming the counter-parades. Make your movements very slow and
exact in the beginning, and gradually quicken them. Exercise on the en-
gagement of tierce in the same manner: first, by disengaging and thrusting
carte inside, which he opposes, by forming the counter-parade in tierce;
in return, he disengages and thrusts carte inside, which parry with the
counter-parade in tierce, &c. : thrusting and parrying as above, until you
quicken your movements with all possible exactness.
On the engagement of tierce, if your adversary thrust octave in low carte,
you may parry it with octave; then counter-disengage, and deliver a
thrust in low carte. On the same engagement, he counter-disengages, and
thrusts low carte, which oppose by your counter-parade in octave, and re-
turn the thrust thereof. On the same engagement, he again counter-disen ·

300
FENCING
gages, and thrusts low carte, which you may baffle by first forming the
parade of octave, then forming the parade of semi-circle quickly after the
other; and, as he recovers, counter-disengage, and thrust octave.
On the engagement of tierce, advance within measure, forcing upon
your adversary's blade; he betakes himself to the simple parade of prime ;
counter-disengage, and thrust seconde.
and thrust seconde. On the same engagement, he ad-
vances, forces, and counter disengages as above; but baffle his thrust in
seconde, by the counter-parade in prime, and return the thrust thereof. On
the same engagement, he counter-disengages; follow his blade by the
counter-parade in prime; if he attempt to double or disengage again, stop
him, by forming your simple parade of seconde.
On the engagement of carte, counter-disengage, when your adversary
drops in seconde, and thrusts prime. On the same engagement, he counter-
disengages, when you drop to seconde; oppose it, by your parade of
seconde; then return a straight thrust in seconde. Or if, on the same en-
gagement, he make a straight thrust in seconde, you may parry it with semi-
circle, and return low carte thrust. On the same engagement, he counter-
disengages, answer his movements by forming the simple parades of seconde
and prime; then counter-disengage as he recovers, and deliver a thrust in
seconde
FEINTS.
Feints are used to oblige your adversary to give you openings. The
simple feint, une, deux, (or one, two,) is performed by two separate disen-
gagements, either on the engagement of carte or tierce, when your adver-
sary throws his simple parades. If engaged in carte, disengage closely to
tierce, then quickly disengage back to carte, and deliver the thrust thereof
On the engagement of tierce, disengage first to carte, then disengage back
to tierce, delivering the thrust of carte over the arm.
Feint seconde, carte over the arm, is performed when engaged in tierce,
by dropping your point, and reversing the nails, as if you meant to thrust
seconde; then quickly turn them upward, and deliver the thrust of carte
over the arm. On the same engagement, you may mark feint seconde, and
thrust carte inside, if there be an opening.
Feints une, deux, trois, (or one, two, three,) are performed by three sepa.
rate disengagements, either from the engagement of carte or tierce. Ox
the engagement of carte, mark feint, one, two, as above; if your adversary
form his simple parade of carte, nimbly mark your third disengagement, by
thrusting carte over the arm. On the engagement of tiero, disengage
hree times, and deliver your thrust in carte inside.
CUT OVER THE POINT.
This is performed when you perceive your adversary hold his hand low,
and his point is raised upon guard. To perform it from carte to tierce

FENCING.
30:
raise your point quickly, with the upward motion of your wrist, airly over
your adversary's point, without moving your arm from the line of direction,
at the same time forming your extension, and deliver your thrust of carte
over the arm.
In the same manner you may execute cuts over the point, from the en-
gagement of tierce, when your adversary holds his point high.
THRUST OF THE WRIST.
This is performed when you perceive your adversary slow in making a
return, after you have longed with a thrust; us on the engagement of carte,
suppose you thrust carte over the arın, which your adversary naturally par-
ries with simple tierce, lean with some degree of force upon his blade, and,
as you recover to guard, deliver him a thrust with the wrist in seconde.
RETURN ON THE EXTENSION.
This is performed after your adversary makes a full longe with a thrust,
which you may parry so powerfully, as to throw his arm out of the line of
direction; then, with all possible quickness, extend your arm, and deliver
him a straight thrust in return, before he has time to recover. If the exten-
sion of the arm be not within reach, from your complete extension of the
leg and arm.
APPELS, BEATS ON THE BLADE, AND GLIZADES.
Appels, beats, and glizades, tend to plant you firm upon your guard, to
embarrass your adversary, and cause him to give you openings; they may
be performed previously to simple thrust, feints, or counter-disengagements,
&c. An appel, or beat with the foot is performed either on the engagement
of carte or tierce, by suddenly raising and letting fall the right foot, with a
beat on the same spot; taking care to balance the body, and keep a good
position on guard.
The beat on the blade, is abruptly touching your adversary's blade, so as
to startle him, and get openings to thrust. If he resist the beat, instantane-
ously disengage, and thrust home. If he use a simple parade, mark feint
one, two; or, if he use a counter-parade, counter-disengage, or double.
Glizades are slightly gliding your blade along your adversary's, at the
same time forming the extension, of the arm, or the complete extension,
managing and restraining your body, so as to be aware of his thrust, and to
make sure of your own. If you be engaged in carte, out of measure, a quick
advance, with a glizade, must infallibly give you some openings, eithe te
mark feints or otherwise.
THE TIME-THRUST.
This thrust is performed when your adversary is dilatory. On attempting
to deliver this thrust, cover yourself well, by forming a gradual and strong
ㅎ
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302
FENCING.
opposition to your adversary's blade; you can be in no danger of exposing
yourself to ar. interchanged thrust, that is, a thrust at the same moment.
LESSONS AND VARIATIONS TO FEINTS, APPELS, &c.
On the engagement of carte, mark feint one, two, and thrust carte inside.
On the engagement of tierce, feint one, two, and thrust carte over the arm.
On the engagement of carte, mark a feint over the arm, and thrust low carte.
On the same engagement, mark feint over the arm, reverse the wrist, and
thrust seconde.
On the engagement of tierce, mark feint seconde, reverse the wrist, and
thrust carte over the arm. On the same engagement, mark feint seconde,
and thrust carte inside. On the engagement of carte, in attempting the
feints one, two, if he baffle it by his counter-parade in carte, counter-disen-
gage, and deliver the thrust of carte over the arm.
On the engagement of carte, suppose your adversary hold his guard low,
and his point high, make a cut over the point, forming your extension, and
thrust carte over the arm. On the engagement of carte, cut over the point;
if he use a simple parade, disengage, and thrust carte inside. On the en-
gagement of tierce, if your adversary hold his hand low, and point high,
make a cut over the point, and thrust carte inside. On the same engagement,
cut over the point twice, and deliver the thrust of carte over the arm.
the same engagement, cut over the point twice, then disengage, and thrust
carte inside. On the same engagement, cut over the point, then mark
feints one, two, and thrust carte inside.
On
On the engagement of carte, disengage to tierce, and thrust carte over
the arm; if your adversary form his simple parade in tierce, and be slow in
making a return, deliver him a thrust with the wrist in seconde, as you re-
cover. On the engagement of tierce, disengage and thrust carte inside, or
low carte; if he parry it with octave, disengage over his arm as you recover
and deliver him a thrust in low carte. On the engagement of carte, disen-
gage and thrust seconde; if he parry it with seconde, counter disengage as
you recover, and thrust prime. On the engagement of tierce, force upon
his blade, disengage and thrust low carte: he parries it with prime, and if
slow in making a return, deliver the thrust in seconde with the wrist, as you
recover.
On the engagement of carte, give him some openings; if he mark the
feints one, two, and thrust, form your counter parade in carte; then deliver
hin a quick return with the wrist in low carte, by forming the complete ex-
tension. On the engagement of tierce, in like manner, give him some
openings: if he mark feints one, two, and thrust, form your counter parade
in tierce; and, on the extension, deliver him a thrust in seconde. On the
engagement of carte, if l.e execute low feints and thrusts, use the circle pa
rade, and return a straight thrust on the extension, before he recovers.

FENCING.
303
On the engagement of carte, make an appel, or beat with the right foot,
at the same time beating abruptly on your adversary's blade, which will
give you an opening to thrust carte straight home. On the same engage-
ment, make an appel, beat his blade, then disengage, and thrust carte over the
arın. On the engagement of tierce, make an appel, beat his biade, and
thrust tierce carte over the arm. On the same engagement, make an
appel, beat 1 is blade, then disengage, and deliver a thrust in carte inside.
On the engagement of tierce, make your appel, disengage to carte, by
beating his blade, and thrust carte inside.
On the engagement of tierce, perform a glizade along his blade, with the
extension; if he do not cover himself, deliver a straight thrust in carte over
the arm.
On the engagement of carte, make a glizade, drop your point,
and deliver a thrust in low carte. On the engagement of tierce, perform a
glizade, drop your point under his wrist, and deliver a thrust in octave.
On the engagement of tierce, he disengages to carte, then disengage con-
trarily, and thrust home carte over the arm. On the engagement of carte,
when you find that your adversary holds his hand too low upon guard, and
deviates from the guard rules, seize the opening, by pushing carte straight
home. On the engagement of tierce, having the like opportunity, deliver
the thrust of carte over the arm, straight home.
On the engagement of carte, your adversary disengages to tierce; that in-
stant disengage contrarily, (that is, to carte,) and push home. (Vide cut.)
All these lessons should be performed repeatedly, and the pupil should
often exercise with another who has had equal practice, executing all thrusts,
feints, counter-disengagements, &c. while the other remains upon guard,
making use of the necessary parades, &c. ; he should then, in turn, perform
the practical movements, in order that both may make mutual progress
m the art.
+

304
FENCING.
THE SALUTE PREVIOUS TO ASAULTS.
On the engagement of tierce, make two quick appels, or beats, with the
right foot; bring it close behind the left, near the shoe-tie, raising and
stretching your right arm with the nails upward, and the point of your foil
dropped; at the same time, take off your hat gracefully, and hold it in your
left hand, stretched down near the flank; then, with a circular motion of the
wrist, as if forming the counter in tierce, throw your left foot backwards, to
the distance of your common guard, and raising your left hand, make two
other appels; bring your left foot forward to the former position, that is, be-
fore the right, near the shoe-tie; at the same time, stretching your arm, with
the nails upward as before, and in that position, form gracefully the parades
of carte and tierce; make a circular motion with the wrist, and advance
your right foot, with vivacity, to your original guard, at the same time
covering your head. All the movements in this salute should be performed
in a more lively manner than those described in the salute previously to
thrusting carte and tierce: observe, also, that these movements should keep
exactly the same time with those of your adversary.
DISARMING,
After parrying your adversary's thrust by simple carte, or the counter in
carte, without quitting his blade, lean abruptly thereon, and binding it with
yours, reverse your wrist, with the nails downward, as if in seconde, and
with the motion thereof, give his blade an abrupt twirl. (Vide cut.)
If this do not disarm him, it will throw his hand and blade out of e
line of direction, so that you may effectuaily fix your point, and deliver
him a thrust in seconde

FENCING.
305
Also, after parrying by simple tierce, cross his blade before he recovers ;
make a strong and abrupt circular movement with your wrist in seconde
without quitting his blade, and it will either disarm, or give you an opening
to deliver him a thrust.
PRACTICAL OBSERVATIONS.
Assume a bold air and steady position; fix your eyes firmly on those of
your adversary, so that he may not penetrate into your designs; and keep
your proper distance and measure. It is a most essential point in assaults,
exactly to know these: for this purpose, observe the height of your adver-
sary, the length of his. foil, &c., and make the necessary allowances ac-
cordingly. If he make frequent practice of disengaging, beating your blade,
and otherwise embarrassing you, with a view to get openings, you may
seize the occasion to deliver a time-thrust, taking care to cover yourself
well, by forming a good opposition against his blade. When on the en-
gagement of carte, by way of snare, hold your point higher than usual; if
he attempt to make a cut over the point, that instant disengage contrarily,
and thrust carte inside; or you may, in preference to this, deliver a straight
thrust in carte over the arm. (Vide cut.)
Be not too eager in making your thrusts in return; as, by an over eager
ness, learners contract a habit of returning their thrust by crooking the arm
which is quite erroneous. Form your parades justly, and accustom yourself,
at first, to make straight returns without disengaging. If you intend to re-
turu a thrust by disengaging, you should perform it the moment your adver-
sary is recovering; it must proceed from the motion of the wrist, and not by
crooking the arm. The distance of your guard should be moderate, two
feet is the distance for men: by a wide guard, you keep your adversary at

306
FENCING
too great a distance, and have not that necessary command of throwing
your body back far enough, when he advances and makes a full longe;
neither can you retreat, or make returns with the necessary quickness; the
lower part of the body is also more exposed than it would be on a proper
medium guard.
Never extend yourself too far on the longe, as it impedes your recovering
to guard with the necessary quickness. Always endeavour to recover quick-
ly, and with as much ease as possible, fixing your point to your adversary's
body, and forming the most natural parade, in case he should make a quick
return. If engaged with an adversary of a shorter stature, attack him on
the engagement of tierce, as being more advantageous for a number of feints
and thrusts than the engagement of carte, particularly for feint seconde over
the arm, &c.
If your adversary advance within his measure, and force in a straight
thrust, carte over the arm, or in tierce, then raise and bend your arm,
forming the parade of prime, and quickly return a straight thrust in prime,
before he recovers; or, if you have not opening sufficient, disengage over
his arm, and deliver a thrust in seconde.
When you first enter upon the assault, you may engage your adversary's
blade out of measure in carte, as being easier than the other engagements
for executing your different movements. (Vide cut.)
When you engage your adversary's blade, act on the defensive for some
time, in order to discover what feints or turusts he prefers. Vary your
parades as much as possible so that he may not, m turn, ascertain vour own
favorites; for, if a good fencer be found to use one parade in preference to
another, he may be deceived with much less difficulty than might be imagin

FENCING
307
ed, and, eventually, be touched, by a person far less skilful than himself. A
learner, therefore, should practice all the parades, and change them continu-
ally, or, at least, as often as opportunities occur. He should endeavour to
go from the high to the low parades, and from the latter to the former, with
he utmost possible agility, until, by practice, he is enabled to parry almost
every thrust.
If you engage the blade in carte, cover your inside a little, and if in
tierce, cover your outside, to present straight thrusts on those engagements.
When attacking, it is well to disengage dexterously, outside and inside,
forming your extension as if you intended to thrust; if this plan do not af-
ford you some openings, it will, at least, in all probability, be the means of
discovering your adversary's choice parades. If he use simple parades only,
you may easily deceive him by making feints one, two, or one, two, three.
If, on the contrary, he be a skilful fencer, and use various counter-parades,
you must endeavour to embarrass him, by appels, beats on the blade, ex
tensions, glizades, counter-disengagements, &c.
сс
司
​
ROSAMONDS BOWER.
T
This cut represents, it is said, the Maze at Woodstock, in which
King Henry placed Fair Rosamond It certainly is a most ingenious
puzzle, and consists in getting from one of the numerous outlets, to
the Bower in the centre, without crossing any of the lines.

Cc
་་་་་་
Games
of
Skill.

BOSAMONDS BOWER.
This cut represents, it is said, the Maze at Woodstock, in which
King Henry placed Fair Rosamond. It certainly is a most ingenious
puzzle, and consists in getting from one of the numerous outlets, to
the Bower in the centre, without crossing any of the lines.

DRAVGBTS.
THE game of Draughts is
said to be of great antiquity,
but we cannot discover that it
was much known in Europe
until the middle of the 16th
century. In 1668 an elaborate
treatise on the game was
published by a Parisian pro-
fessor of mathematics, nam-
ed Mallet. Mr. Payne, a cel-
ebrated writer on the subject, is said to have copied many of Mallet's
games; but both Payne and Mallet have been much improved upon by
a later writer, Sturges. The present reatise, we trust, will render any
:

322
DRAUGHTS.
reference to the above, or any other writers upon Draughts, superfluous
except to the most curious and finished adepts in the game.
RULES FOR PLAYING.
In playing Draughts, the table must be placed with an upper white corne
toward the right hand; and for the sake of playing the following games and
1
2
3
4
5
6
8
9
10
11
12
13
14
15
16
17
is
19
20
21
23
24
15
26
27
28
29
30
31
32
preliminary practice, the num-
bers may be written upon the
board itself, near a corner of
each square; or a table may be
drawn upon a card, and the
squares numbered, as in the fig-
ure: such a table will be a ready
guide to any move directed.
The game is played by two
persons, each of whom takes a
set of twelve men of different col-
ors, generally white and black,
but they may be of any colors,
according to the fancy. One
player, of course, takes all the
men of one color, and the other
all those of the other color. The

black pieces are to be placed on the first twelve white squares, and the white
on the last twelve white squares, or viceversa.
When the pieces are thus placed, each player alternately moves one of his
men forward, angularly, to the next white square; and when moved to a
square adjoining to an enemy, and another square next angularly behind
the man so moved is unoccupied at that time, or afterward becomes so, then
the man so placed or left unguarded must be captured by the enemy, whose
man leaps over to the vacant square, and the prisoner is taken off the board.
The same practice is immediately to be repeated in case the man effecting a
capture thereby gets situated angularly fronting an enemy, and is unguarded
behind. When any man gets onward to the last row opposite to that from
whence his color started, then he becomes a king, and is crowned by his
adversary placing another man, previously taken prisoner, upon him; he
may then move and take either backward or forward.
In order that the moves may be more perfectly understood, we request
attention to the following directions: the men should be placed on the board
precisely as they appear in the cut in the next page, with this difference
only, that the white pieces may be placed where the black stand, and the
black where the white are, according to the fancy of the players. The men
being thus posted, we will suppose that white has the first move.
As only

DRAUGHTS.
323
DAV
one of the front rank can be moved, he must either move the man on 21, to
17; that on 22, to 17 or 18; that on 23, to 18 or 19; or, that on 24, to 19 of
20. From 22 to 18 is supposed to be the best first move; we will, therefore,
imagine that white makes it. It is black's turn to move a piece; he, like
his adversary, can only advance one of his front rank men; he may move
the man on 9, to 13 or 14; that on 10, to 14 or 15; that on 11, to 15 or 16;
and that on 12, to 16 only. The white having moved from 22 to 18, the
black then may move, if he please, from 11 to 15. In the next move, the
13
14
15
16
17
18
19
20
O
white man on 18, will take the
man so placed by black on 15,
by leaping over his head into 11.
It is now black's turn to move,
and he, in return, can take
white's man which stands in 11,
by either of the men standing on
7 or 8. In case he makes the
capture with 7, he jumps over
the head of the man to be taken,
into 16; if he prefer taking him
with 8, the move, for that pur-
pose, is from 8 to 15. An op-
portunity, here occurs, of giving
a practical explanation of the
huff. Supposing, when black
had moved from 11 to 15, white
had omitted to take him, in the manner we have just explained, and made
some other move, white, in this case, would have "stood the huff:" that is,
black might have taken away the white man that stood on 18, or compelled
white to have taken him, which he pleased. This is "standing the huff;"
and, be it recollected, that so taking off the man from 18, is not to be con-
sidered as a move, black having his move after having so done, before
white can move again.
In case the game were in a more advanced state, and that the black man,
which, at the beginning, stood on 4, had been removed, the white man on
18, instead of taking only the black man on 15, would have taken the black
man on 8, in addition, by leaping over 15 into 11, and over 8 into 4, which
would be reckoned as one move. In this case, the man in 4, having reached
one of the back squares of the enemy, (1, 2, 3, and 4,) he becomes a king,
and black crowns him, by placing one of white's captured men on his head.
The piece can now move, and take either backward or forward, and is of
great importance. As many of the black men as, in their turn, reach either
of the squares, 29, 30, 31, 32, immediately become kings, as in the case
of the white men reaching 1, 2, 3, or 4, and, of course, have equal powers.

324
DRAUGHTS.
:' of
We will now give a practical example or two of the "kingly powers
these "crowned heads." Supposing a black king stood on 29, a white king
on 25, a white man on 18, another white king on 19, and a third white king,
or a white man, on 27,—if it were black's move, and the board was clear,
except only of the pieces that are mentioned, he would take them all thus :
from 29 to 22, taking 25; from 22 to 15, taking 18; from 15 to 24, taking
19; and from 24 to 31, taking 27. If, however, the black king only take
the first, second, or third of these pieces, he would stand the huff, (i. e.) the
adversary might remove the black king off the board, or compel him to take
the piece or pieces in his power, at his, the adversary's, pleasure.
To show the difference between the moves of a man and a king more
clearly, suppose, instead of a king, black had only a man on 29, in that
case, the man might go to 22, taking 25, and from 22 to 15, taking 18; but
here his exploits would end, as he could not move backward from 15 to
take 19, but, on the contrary, he must rest on 15; and, at the next move,
would himself be taken, by the white king, on 19, jumping over his head
into 10.
When all the men, on one side, are taken, or so hemmed in by the
opposite color, that they cannot move, the person who has played them
is beaten If, at the latter end of the game, one, two, or three, more or
less, of each color, be left on the board, and neither can prevail on the
other to risk, or if one who is weaker than, or has not the move of the
other, be determined to go to and fro in safe squares, where he can never
be taken, the game is called drawn, and given up, neither party wimming.
The way to give the finishing stroke to a game, where one color has two
kings, and the other but one, or where one is, in any respect, a little stronger
than the other, will be found in the following pages; as also hints for a
weak color making a drawn game, when the stronger adversary is in such
a situation, as to be unable to get out his pieces to make an attack on the
weaker party.
LAWS OF DRAUGHTS.
The following are a set of laws for the game, which have been sanctioned
by the first players of Draughts in the kingdom.
1. Each player takes the first move alternately, whether the last game
be won or drawn.
2
Any action which prevents the adversary from having a full view
of the men is not allowed.
3. The player who touches a man must play him.
4. In case of standing the huff, which means omitting to take a man
when an opportunity, for so doing, occurred, the other party may either take
the man, or insist upon his man, which has been so omitted by his ad-
versary being taken.

DRAUGHTS.
325
5. If either party, when it is his turn to move, hesitate above three
minutes, the other may call upon him to play; and if, after that, he delay
above five minutes longer, then he loses the game.
6. In the losing game, the player can insist upon his adversary takmg
all the men, in case opportunities should present themselves for their being
so taken.
7. Persons not playing are not to advise, or in any manner interfere with
the game of either party.
8. To prevent unnecessary delay, if one color have no pieces but
two kings on the board, and the other no piece but one king, the latter
can call upon the former to win the game in twenty moves: if he do not
finish it within that number of moves, the game is to be relinquished as
drawn.
9. If there be three kings to two on the board, the subsequent moves
are not to exceed forty.
GAMES FOR PRACTICE.
It is now time for us to lead our pupil from theory to practice; for this
purpose we shall proceed to lay before him a few games and situations,
which he can either play alone, or with another, on a marked board, such
as we have previously described. And here we feel it necessary to remark,
that it will not be sufficient merely to go over the moves indicated in the
following pages; by so doing, much time will be lost, and little learned: it
is indispensable, if the learner be desirous of obtaining any benefit from
these games, that he should carefully look to each series of moves, and, if
possible, improve upon them as he goes on. The position of a single piece
may totally defeat the best attacks, and it is not to be supposed that any
two players will ever, except by soine extraordinary accident, make all the
identical moves, set down in the ensuing games. Still, however, much
may be done by a few schemes of moves; especially, as toward the end,
the positions of the men are very frequently similar, and we feel convinced,
that by playing the following few games, (provided proper attention is given
to them) an insight into the game may be acquired sooner than by the
longest essay on the subject. We strongly recommend the young Draught-
player, if he be desirous of speedily acquiring some proficiency in the game,
to make himself a perfect master of the ends of, as well as any nice situations
that occur in, the following games, so as to be able to play them, as it were,
whenever an opportunity may occur. It is the advice of many experienced
Draught-players, that learners should provide themselves with a common-
place book for roting down any particular situations that may happen in
their progress, or such masterly moves, by older hands, as they may have
the good fortune to witness. Books for this purpose, containing represen-

326
DRAUGHTS.
ations of the board, so that the men placed in the proper positions for the
moves can be marked in, may be had, reasonably, at the ivory turners.
A book of this sort, containing charts of games, and memoranda of moves,
oy experienced persons, would be invaluable to the young Draught-player.
We shall reserve any further remarks on Draughts for our concluding ob-
servations, and now proceed at once to the tables and games.
The letters, N. C. F. T. at the head of each of the games, stand for
number, color, from, to.
GAME 1, in which White loses by the twelfth move.
N
C
F
T
N
C
F
T
1234 LO
W
W
6
W
В
8
W
9
10
W
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
mBmBmBmBmBmBmBmBmBmBmBmBABA
11
15
28
W
22
18
29
В
15
22
30
W
25
18
31
В
8
11
32
W
29
25
33
4
8
34
W
25
22
35
В
12
16
*36
W
24
20
37
10
15
38
W
27
24
39
16
19
40
W
23
16
41
15
19
42
W
24
15
43
9
14
44
W
18
9
45
11
25
46
W
32
27
47
5
14
48
W
27
23
49
6
10
50
W
16
12
51
8
11
52
W
28
24
53
25
29
&c.
BABABABABmBmBmBmBmBmBmZABAB
30
25
29
22
26
17
11
15
20
16
15
18
24
12
18
27
31
24
14
18
W
16
11
my
16
W
20
11
18
23.
W
11
23
27
W
8
4
27
31
W
4
31
27
W
24
20
27
23
W
8
11
23
18
W
11
8
18
15
W I
loses.

DRAUGHTS.
327
GAME 2, a drawn
game.
N
Q
F
T
N
C
F
T
1
2
W
3
4
6
7
В
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
ABABABABABABABABABABABAB-B-
11
15
28
22
18
29
15
22
30
W
25
18
31
8
11
32
W
29
25
33
4
8
34
W
25
22
35
12
16
36
W
24
20
37
В
10
15
38
W
21
17
39
В
7
10
40
W
27
24
41
8
12
42
W
17
13
43
В
9
4
44
W
18
9
45
В
5
14
46
W
24
19
47
В
15
24
48
W
28
19
49
В
14
17
50
W
32
27
51
10
14
52
W
27
24
53
BABABABABmBmBmBmBmBmBmBmBm;
W
30
25
6
9
W
13
6
1
10
W
22
13
14
18
W
23
14
16
30
W
25
21
10
17
W
21
14
30
25
W
14
9
11
15
W
Q2
9
6
9
W
13
18
15
15
W
6
2
7
10
W
2
6
10
14
W
6
9
В
25
21
W
31
26
14
17
В
3
7
&c.
W
drawn.
GAME 3, which is lost by 30th move.
N
C
F
T
N
C
F
T
1234
B
11
15
W
22
17
B
9
13
W
17
14
5673r
8
BUBW
10
17
21
14
В
8
11
24
19
D d
2
C

328
DRAUGHTS.
GAME 3, continued.
N
9
10
11
12
13
14
15
16
17
18
19
20
21
1222
23
21
O ABABAB-B-B-3-3-3
C
F
T
N
15
24
25
W
28
19
26
11
16
27
W
25
21
28
6
9
29
W
29
25
30
9
18
31
W
23
14
32
16
23
33
W
26
19
34
В
4
8
35
W
25
22
36
8
11
37
O ABABABABABABA
C
F
T
16
20
W
31
27
13
17
W
30
26
1
6
W
18
15
20
14
W
27
20
7
10
W
14
2
27
W
སྶ°
21
14
6
9
W
22
18
38
W
32
23
11
16
39
B
9
27
W
27
23
40
W
loses.
GAME 4, which is lost by 12th move.
N
C
F
T
N
C
F
T
1234fol
W
22
18
19
B
11
16
20
W
25
22
21
B
10
14
22
5
W
29
25
23
6
B
16
20
21
7
W
24
19
25
8
B
8
11
26
9
W
19
15
27
10
B
4
8
28
11
W
22
17
29
12
B
7
10
30
13
W
25
22
31
14
B
10
19
32
15
W
17
10
33
16
B
6
15
34
17
W
23
7
35
18
B
2
11
36
BABABABABmBmBmBmBm
W
21
17
1
6
W
17
13
3
W
28
24
12
16
W
26
23
8
12
W
23
19
16
23
W
31
26
10
W
26
19
11
16
W
18
11
16
23
W
27
18
loses.

DRAUGHTS.
329
CONCLUDING REMARKS.
Even those who have some knowledge of the game of Draugh's will, we
have no doubt, derive much benefit from a perusal of the foregoing pages,
and become enabled to defeat those by whom they have previously been
beaten. A person who has never acquired any insight into the game may,
we flatter ourselves, from the care which we have taken in preparing the
treatise, acquire considerable proficiency, by a proper attention to our rules
and instructions.
The few remarks which we are about to make, as to one circumstance
in Draughts, could not, we conceive, be so aptly introduced anywhere else
as here; we allude to the importance of having the move upon an antago-
nist. The value of this will, no doubt, have frequently occurred to the
reader, in the course of the preceding games; but there are situations, when
it is not only useless, but detrimental. To have the move when your men
are in a proper position, upon an open board, will often, in a short time,
give you the power of forcing your adversary into such a situation as will
render his defeat certain; but, having the move, when your men are hud-
dled in confusion together, and you are unprepared to point an attack from
any quarter, that is to say, when you are strong in number, but powerless
in position, will, not unfrequently, cause you to lose the game.
In order to know whether any one of your men have the move over one
of your adversary's, you must carefully notice their respective positions, and,
if your opponent have a black square on your right angle under his man,
you have the move upon him. This is a general rule, and will apply to
any number of pieces. To illustrate it with an instance: if white have a
man on 22, it being his turn to play, and black's man be on 11, white has the
inove. A modern writer on this subject, gives another method of ascertain-
ing whether a party, whose turn it is to play, has the move; namely, by
counting the squares and the men; and if the squares be odd, and the men
even, or the men odd, and the squares even, then the party whose turn it is
to play has possession of the move: thus, if there be a black man on 19,
on 26 a white king, on 28 a black king, and on 32 a white man, and white
have to play, he has he move, and may certainly win the game, if he act
judiciously; the opposite party's men being even, and the white squares, be-
tween them and his own, odd; there are three white squares from the black
king on 28 to the white king on 26, (viz. 24, 27, and 31,) and between the
black man on 19 and the white man on 32, two white squares, 23 and 27,
making together, five. White begins by moving his man to 27, the black
king goes to 32, the white man proceeds to 24, and is taken by the black
man on 19; the white king now goes to 23; the black king must next step to
27, having no other move, (his man being on 28,) and is taken by the white
king, who thus gets into 32, and wins the game, as black cannot move his mau

330
DRAUGHTS.
Persons who know but little of this game are sometimes found talking
lightly of it, as a trifle undeserving of attention; to such speakers we quote
the following passage from Dr. Johnson's dedication of Payne's Book on
Draughts: Triflers may think or make anything a trifle; but since i
is the great characteristic of a wise man to see events in their causes, to
obviate consequences, and ascertain contingencies, your lordship will think
nothing a trifle by which the mind is inured to caution, foresight, and cir-
cumspection.
In conclusion, we beg to assure our young readers, that, simple as it may
appear, they will never be able to attain any proficiency in this game,
without some study, and much caution.
E.
A-

-anu
CHESS
CHESS, of al sedentary
games, is undoubtedly the.
most eminent. It is played
in every civilized nation in
the world, from Siberia to
Rome-from Iceland to the
wilds of Africa; and has
been the delight of emper-
ors, kings, warriors, philoso-
phers, and mankind in gen-
eral, for ages past. Various
accounts have been given of
its origin. Some say, it was
first played at the siege of
Troy, being invented by Pa-
lamedes to amuse the Gre-
cian chiefs, disgusted with
the tediousness of the siege.
Others again, imagine it to
be the Roman Ludus La-
trunculorum; but the most
probable conjecture is that
of Bochartus, who makes it
of oriental extraction, and

332
CHESS.
to come to us from Persia, through Arabia; as most of the terms em
ployed in the game are either corruptions or translations from the Per-
sic or Arabic words. Thus, check is plainly derived from the Persian
schach, or king; and mat, in the saine language, signifies dead; hence
check-mate, or, the king is dead.
Although Chess can be traced back to the most remote antiquity, we
have no satisfactory proofs of the place where, or the person by whom
it was invented. But, whoever he was, it is certain that he must have
been a man of profound thought. It has been without a rival for ceu-
turies, and is as much admired in our day as it was a thousand years
ago. It may be called a representation of war in miniature; two lit-
tle armies, of different colors, are drawn up opposite each other in the
order of battle, with their castles, their kings and queens, their knights,
bishops, and common soldiers, prepared for mutual attack, and to take
prisoner the king of the opposite party.
Chess is highly beneficial to the improvement of the mind; nothing
in it is governed by chance-judgment is every thing. A player there-
fore cannot lay the blame of his losing on fortune, but must ascribe his
miscarriages to deficiency of judgment, or inattention; and for this
reason it is the most interesting of games. It acts strongly too on the
sense of honor; irascible persons should therefore avoid it, unless they
have learnt to acknowledge that the acutest minds may be guilty of an
oversight. Chess has one splendid advantage over almost all other
sedentary games that its lovers do not play at it for wagers, the hon-
or of the victory being the only reward of the conqueror.
THE VARIOUS PIECES.
SM
+
Bishop. Rook or Castle.
King.
Queen
Knight.
Pawn.
We now proceed to give a description of the various characters which
constitute the little armies on the chess-board. Each party has a king
queen, two rooks or castles, two hishops, two knights, and eight com
mon men, or pawns. The above are their representatives.

CHESS.
333
THE KING.
The king is the most important piece at Chess; the sole object of
the game is to hem him in, so that he cannot move without going into
such a situation as would render him liable to be taken if he were not
a king. He is then check-mated, and must surrender. He steps only
from one square to the next at a time, but in any direction whatever,
either forward, backward, sideways, or diagonally. He can also take
any of the enemy's men in any square adjoining to him, so that he does
not place himself in check; that is, in such a situation as, if he were
not a king, he could be taken by the enemy. The king however is ne-
ver actually taken; but, if he be checked by one piece, and can neither
take the hostile man, interpose any of his own, nor move into any oth-
er square without being in check from another, he loses the game.
Whenever the king is in check, the adversary must say "check," to
him, which is a warning either to defend himself by his other pieces,
to take the man who assaults him, or to move into a place of safety.
THE QUEEN.
The queen is, in point of power, the best piece on the board. She
moves, like the king, in all directions, and as far as she pleases, but at
one move, and provided the squares be unoccupied in her line of motion.
THE ROOK, OR CASTLE.
The rooks, or castles, are next in importance to the queen. Their
motion is backward, forward, and sideways. And they may move as
far as the field is open.
THE BISHOP.
in any
The bishop moves diagonally, as far as the squares are open,
direction. The bishop therefore always keeps the same colored squares
as that on which he is placed at the beginning of the game.
THE KNIGHT.
The knight is particularly useful at the beginning of the game, and
should be one of the first pieces brought into play. The knight moves
in a peculiar way, leaping from the square on which he stands into ei-
ther of the next that has a corner in contact with one of the farther cor-
ners of the square over which he leaps. He always moves therefore
from white to black, or the contrary. As, for an example, from B 1 to
A 3, C 3, or D 2. The move of the knight is one of the most difficult
points of chess to explain in writing; and we therefore recommend
our young friends to take an opportunity of looking over a gam? ot
chess while playing, and fix the whole of the moves in their minds

334
CHESS.
A knight may be placed on any one square of the board, and conveyed
hence into every one of the other squares in sixty-three moves.
We
subjoin an example of this curious problem at the end of the article.
THE PAWNS.
The pawns are of great consequence in defending the king; and are
very useful in attacking and repelling the pieces, under the manage-
ment of a good player. If a pawn can proceed across the field to the
rear line of the enemy, that is from 2 to 8, or from 7 to 1, he is exchan
ged for a queen, or any other piece of his color that he chooses to de-
mand. Thus, you may have a second queen, even though you should
have lost none of your pieces. The pawn moves strait forward, and
only a single square at a time; except on its being first moved, when
the player may advance it either one square or two, as from 2 to 3 or to
4, and from 7 to 6 or to 5; or when one takes a man from the enerny,
which is always done diagonally, or across the corners of the squares.
But a pawn cannot move two squares forward, when the square over
which he leaps is so viewed by an enemy's pawn, that the latter could
take hlm in that square. For example, the pawn G 2 cannot be mov-
ed to G 4, if there be an enemy's pawn on H 4 or F 4, without that
pawn's having option of taking him on G 3, as he passes.
THE
CHESS BOARD.
A B C D E F G H
The common draughts-board,
8 containing sixty-four squares,one
half white and one half black,
7 is also a chess-board. It is so
placed that each player has a
6 white square at his right-hand
corner. There are eight rows of
5 squares, which, in the cut, are
marked A to H; and eight rows
4 in the cross direction, I to 8.
Thus, any square may be readily
3 pointed out for instance, the
square r on the figure will be in-
2 dicated by D5; and if a man
were to be moved from a toy,
this would be expressed by the
words 'from D5 to F 3.' The
I
letters and figures should be written on the margin of the board, or a
pasteboard, for practising the games and situations, hereafter described.
There is another mode of indicating the squares, by the pieces that
accupy them at the commencement; this it may be as well to insert

CHESS.
335
The square in the corner, at the right hand of the player who has the
white men, is the white king's rook's square; that before it, the white
king's rook's second square; the next, his third square; and the fol-
lowing, his fourth square. This meets the black king's rook's fourth
square; and thus the row proceeds, through the black king's rook's
third and second squares, to the black king's rook's square, at the left-
hand corner of the player with black. The same mode is adopted by
all the rest; the pieces on the queen's side of the board being distin-
guished as the queen's rook, knight, and bishop.
PLACING THE MEN ON THE BOARD.
The rooks occupy the four corners of the board; the knights stand
next to these; the bishops next to the knights; the queens on D 1 and
D 8; and the kings on E1 and E 8. Thus, the pieces or officers, stand
opposite each other respectively, at different sides of the board : the
queens being on the squares of their own color, and the kings the con-
trary. The row immediately in front of the officers is occupied by the
pawns. The value of the men has been estimated as in the following
proportion to each other-the queen, 95; a rook, 60; a bishop, 39;
a knight, the same as a bishop; the king (estimated as a fighting
piece) 26; a pawn, 8, or rather more, from its chance of promotion, by
being moved to a square that entitles its player to exchange it for a
queen, or any other piece he chooses to demand.
LAWS OF THE GAME.
1. Each player marches his men forward, gradually, against those
of the enemy, or retreats when the game is open behind them, except
only as regards the pawns, which can only move forward. Each party
moves alternately, one man at a time.
2. In each game, the players have the first move alternately, except
where one gives the other the advantage of a piece or a pawn ; in
which case, the party by whom such piece or pawn is given is entitled
to the first move.
3. If you misplace your men at the beginning, and play four moves,
your adversary may permit you to begin the game afresh, or not as
he pleases.
4. If you touch a man, you must play it, except it would discover
check on your king; in which case you can only move the king, if it
be practicable. When
When you have taken your hand from your man, he
must remain where he is; but as long as you keep hold of him, you
are at liberty to place him where you please, though you may have set
him down upon a square.

336
CHESS.
5. If you touch one of your adversary's men, he may insist upon
your taking it, if you can; if not, you must move your king, if that be
possible, without putting him in check.
6.
You cannot castle after moving the rook or king; if you attempt
o do so, your adversary may insist on your moving one of those
pieces, at his option.
7: If you make a false move, such as moving one of your oppo-
nent's men in mistake for one of your own, taking off one of your own
pieces instead of his, &c. your opponent can oblige you to replace such
move, and move your king, if you can do so without placing him in
check; but if he have played before he notices your false move, nei-
ther of you can, afterwards, recall it.
8. If your opponent challenge you with a check, without, in fact,
your king being in check, and you, in consequence, move your king, or
any other man, you may retract such move, if you discover it before he
has made his next move.
9. If your adversary give you check without warning, or saying
check," you are not obliged to notice it till he does; but if, on his
next move, he warn you, each party must retract his last move, and the
check be provided for as if just given.
10. You must not check the opposite king with any piece, by mov-
ing which to do so you expose your own king to a check.
11. If the king be not in check, but cannot move without going into
check, and have no piece or pawn left, or even none that can be moved,
he is stale-mated, and the game is drawn.
PLAYING, CHECKING, CASTLING, &C.
It is usual to begin with advancing the king's pawn two squares ;
that is, from E 2 to E 4, or from E7 to E 5; because this opens the
way for the king's bishop and the queen. It is however perfectly op-
tional; this, as well as all the rest of his moves, being regulated either
by some plan which the player has formed for attacking his enemy, or
as he may find a necessity of defending himself from his enemy's at-
tack. The object of the game, which is to give the enemy check-mate,
can scarcely be effected without some settled plan. The player must
look forward through a considerable number of moves, which will be
requisite to bring his men into a given position, and also to provide,
from time to time, against his antagonist's attempts to frustrate his de-
sign, or attack him in turn. He must seek to penetrate his adversary's
plots from the moves he makes. He is not obliged to take a man
when it is in his power; but, when he does, the man, with which he
takes it, must be placed on the square occupied by the man taken.
•

CHESS.
337
When the king is in such a situation that another move could take
nim, were he not king, he is in check. The modes of extricating the
king from check are as follow:-If the man that checks him be in an
adjacent square, the king may take such man if he be not guarded;
hat is, if another man of his own color have it not in his power to
move into the square in which the man is placed if he be removed from
it; since, in this case, the king would place himself in check again.
For example, suppose the king in E 1, and an enemy's pawn, advanced
to D2, give him check; the king cannot take the pawn, if the enemy
have another pawn, or a bishop in C 3 or E 3, or a rook or queen any-
where in the open row D D, &c. The man that checks may also be
taken by some other man, to whose attack he is open; or a man
may be placed between the king and the checking man (unless it be
the knight) if there be a vacant square between them. Lastly, the
king may be moved into another square which is not commanded by
the adversary's pieces. The king is check-mated, and the game is lost,
if he cannot extricate himself by either of these moves. A king can-
not go into a square next the opposite king; he cannot therefore give
check; because, in doing this, he would go into check himself.
Castling is allowed once in a game. It consists in moving the king
two squares to the right or left, and bringing the rook on that side to
the square adjoining the king on the other. Thus the king may be
moved from É 1 to G 1, and the rook brought from H 1 to FI; or the
king may be moved to C 1, and the rook from A to D 1. For cast-
ling, that side is preferable on which the king will be most secure from
attack; for this purpose the three pawns on F, G, H 2, are kept in re-
serve, in order that he may retreat behind them; it being generally
stronger play to castle with the king's rook than the queen's. Castling
is not allowable when the king, or the rook, with which you would cas-
tle, has been moved; when the king is in check, or when the king
must pass over a square in which he would be checked. Suppose the
king would move from E to G 1, he must pass over F 1.
But, if
there be a queen or rook of the enemy anywhere on the row F, as far
as it is open; or, in short, if F1 be commanded by any one of the en-
emy's men, the king cannot castle on that side, neither can he do so
when there is a man between himself and the rook.
GENERAL INSTRUCTIONS.
If the king's pawn be advanced two squares, and the queen's one
square, an opening is made both for the queen and the queen's bishop
to the king's side of the board; and the king's pawn cannot be taken,
without the queen's pawn taking the adversary's man in turn, and sup-
EE

338
CHESS.
plying his place. If two pawns be advanced side by side, neither de
fends the other; this is sometimes done to further a plan of attack
the pawn sacrificed on these occasions is called the gambit pawn. Af
ter the pawns are advanced a certain way, the knights may be brought
forward, either to support them, or act upon the offensive.
The plan of attack should be gradually formed from the commence-
ment of the game, and each step taken should have a tendency to for-
ward it, unless when it is necessary to thwart the plau of the adver-
sary. The player must not suffer himself to be diverted from a well-
concerted project by any collateral advantage; for the taking of a
pawn or piece may prove injurious when it leads to a deviation from
the principal object. If your plan be discovered and frustrated, it is
better to form a new one than to persevere in the old. Your plan should
not only be concealed from your adversary, but you must also discover,
if possible, what your adversary can do to counteract your moves. A
plan may be most effectually concealed by excluding the queens and
rooks, or by executing it through the agency of inferior pieces or pawns,
or by masking the pieces intended to effect it behind men which are
apparently indifferent. The skilful player, if his moves be calculated
with precision, will sacrifice his most important pieces without hesita-
tion, to mislead his antagonist, or, when necessary to the accomplish-
ment of his plan; nay, he will often do this intentionally, to lead his
opponent into the hope of winning, and give his antagonist check-mate,
when he fancies he has the game in his hands. It is far more com-
mon for a player to conceal his purpose till it is out of his opponent's
power to frustrate it, and then to pursue it openly. To give check
without having it in your power to follow it up, is, in general, bad
play. If your checking piece can immediately be repulsed, you lose a
move; never proceed to an attack therefore without good preparation;
and if your attack proceed well, do not suffer yourself to be drawn a-
side after any bait that your antagonist may throw in your way. The
object in chess is, to give check-mate, and not to take pieces. Sacri-
fice your own willingly, when the loss of them will open the line of
defence adopted by your opponent.
If a man of the enemy be exposed, examine whether it were left sc
from necessity, oversight, or design. You do not always gain by tak-
ing a piece, you may be check-mated in consequence of taking even a
queen. Be not eager to take a pawn in front of your queen; for, as
your antagonist cannot take him, he is frequently a better protection
than a man of your own. If you cannot save a piece, endeavor to take
one of the enemy's; or, by improving your situation, obtain a compen-
sation for the loss. Examine which will be the best, when you can
take a piece two or more ways. If your antagonist can take the man

CHESS.
339
in return, take it with that man which is of the least value. To ex-
change man for man, occasionally, is good play, or even to exchange a
queen for a pawn, when this
when this pawn would prevent you from giving mate;
or to exchange man for man, when the enemy's man thus taken is one
particularly in action.
Guard your men sufficiently; and if one doubly guarded of the ene-
my's he exposed to a guarded man of yours, let yours he trebly guard-
ed. The more valuable men should be guarded by those of inferior
worth; for, if your opponent guard his inferior piece by another infe-
rior piece, you cannot employ your better piece to take your enemy's, as
it would be lost. A far advanced pawn should be well guarded, for
it is often indispensable to a check-mate, and may make a queen.
Castling is not always advantageous, as from the confined situation
in which it places the king, it sometimes (particularly when the ad-
versary has his knights in play) prevents his escaping out of check. It
is, however, possible to retain the power of doing so, and keep the re-
quisite pawns in their places. For as long as you have it in your pow-
er to castle, your opponent will be at a loss on which side to direct his
attack; when he has decided, and brought his main strength to hear
on one side, you can frustrate his design by castling on the other. It is
not always good play not to stir the three pawns in front of the king
that has castled; for liberty of moving may be necessary to get the
king out of check. Crowd not your men too much together, as this
restrains their movements. A man that cannot move is often worse
than lost, by standing in the way. Endeavor to crowd your antago-
nist's game, in which you may succeed, if he bring out his pieces too
early, by driving them back with your pawns. Endeavor to open your
game by exchanging men in those parts where you want room, if you
get unintentionally crowded.
Never make a move without examining whether you be endangered
by the last move of your antagonist; nor without calculating whether
it will allow your enemy to harm you by his next. Beware of your en-
emy's knights, as they command different squares at once in a peculiar
way. If a knight command the square of a queen or rook, at the same
time that he gives check, the piece must be lost unless the knight can
e taken; to avoid this, which is called forking, when a knight is near,
a good piece should never be kept on a square of the same color as that
occupied by your king. Do not let an enemy's pawn attack two of
your pieces at once. Beware of two, and still more of three pieces,
ihat manifest a design on the same square. Block up the way to
such square by one of your pawns or a guarded piece. Your queen
should never stand before your king, as, in such a situation, she may
be lost, by a guarded rook being brought in her front.
·

340
CHESS.
GAMES FOR PRACTICE.
*
At the moves to which a is set, a piece is taken; at † check is
given; means check-mate.
‡
FOOL'S MATE.
Move.
WHITE.
Move.
BLACK.
1 G 2
to G 4
1
E 7 to E 6
2 F 2
F 3
1
D 8 to
H 4
SCHOLAR'S mate.
1234
1 E 2 to
E 4
F
to
C 4
D1
to
H 5
123
E 7
to
E 5
2
F8
F 8
to
C 5
3
D 7
D 7
to
D 6
4 H 5
H 5
to. F 7*+
GAME 3.
1
E 2 to E 4
1
E 7
to
E 5
2 D2
....
D 3
2
G 7
G 6
3
G 1
....
F 3
3
F 7
• ...
F 5
4
E 4
F 5*
4
G 6
F 5*
5
F 3
...
E 5*
5
D7
D 6
6
D 1
H 5t
6
E 8
E 7
7
H 5
F 7‡
GAME 4-THE KING'S GAMBIT.
1234
E 2 to
to E 4
1
E 7
to
E 5
F 2
3 G1
F 1
5 D 2
F 4
2
E 5
....
....
F 4*
F 3
3
G 7
....
G 5
C 4
4
F 8
• ...
G 7
....
D4
5
D 7
D 6
r
6 B1
C 3
6
C 7
C 6
7
H 2
8 H 4
....
H 4
7
H 7
H 6
... •
G 5*
8
H 6
G 5*
9
HI
H 8*
9 G 7
H 8*
10
F 3
....
E 5
10 D 6
E 5*
11 D1
H 5
11
12 D 4
E 5*
D 8
12 F 6
... •
F 6
....
G 7
13 E 5
....
E 6
13 G 8
F 6
14
E 6
F 7*+
14
E 8
....
F 8
15
Ꮯ Ꭵ
F 4*
15
F 6
H 5*
16
F 4
D 6+

CHESS.
341
GAME 5-BLACK BEGINS.
WHITE.
BLACK.
1
E 7 to
E 5
1
E 2
to
E 4
2 G 8
....
F 6
2 B1
C 3
3
F 8
C 5
3
F1
C 4
4
Castles
4
G 1
F 3
5
F 8
E 8
6
6 C 7
....
C 6
6
7
D 7
....
D 5
7
...
Castles.
D 1. E 2
....
E 4.... D 5*
8
E 5
E 4
8
F 3
G 5
9
C 6
....
D 5*
9
C 3
•
D 5*
10
F 6
D 5*
10
E 2
....
H 5
11 D 5
12 G 8
13 E 8
....
F 6
11
H 5
....
F 7*+
....
H 8
12
F 7
G 8+
....
G 8*
13 G 5
....
F 7‡
GAME 6-WHITE BEGINS.
1
E 2 to
E 4
1
E 7
E 7
to
E 5
2 G 1
....
F 3
2
B7
C 6
3. F 1
C 4
3 F 8
C 5
4 C 2
C 3
4
D8
E 7
5
Castles
5
D7
D 6
6
D 2
....
D 4
6
C5
B 6
7
C1
....
G 5
7
F 7
F 6
8
G 5
....
H 4
8
G7
G 5
9 F 3
....
G 5*
9
F 6
G 5*
10
D 1
H 5t
10
E 8
D7
11 H 4
....
G 5*
11
E 7
G 7
12
C 4
....
E 6†
12 D 7
E 6*
•
.. D 5‡
13 H 5 .. E 8+
14 D 4
GAME 7-THE KING's Gambit.
13
...
G 8 .. E7
GAMBIT.
1 E 2
2 F 2
8 G 1
4 F1
to E 4
1
E 7
to
E 5
....
F 4
2
E 5
....
F 4
F 3
3
G 7
G 5
....
C 4
4
F 7
F 6
5
F 3
G 5*
5
F 6
G 5*
6 D 1
H 5t
6
E 8
....
E 7
7 H 5
F 7+
7
E 7
....
D 6
8
F 7
D 5t
8 D 6
...
.. E7
9
D 5
E 5+
·

342
CHESS.
GAME 8-THE KING'S GAMBIT.
WHITE.
BLACK.
1
E 2
E 2 to E 4
1
E 7 to E 5
2
F 2.... F 4
2
E 5
....
F 4*
3
G 1
....
F 3
3 H 7
H 6
4
F 1
....
C 4
4
G 7
G 5
5 H 2
....
H 4
5
F 7
F 6
6
F 3
....
G 5*
6
F 6
G 5*
7
D1
....
H 5t
7
E 8
....
E 7
8
H 5....
F 7+
8 E 7
....
D 6
9
F 7
D 5t
9
D 6
...
E 7
10
D 5
....
E 5+
GAME 9—THE KING'S GAMBIT.
1
E 2
to E 4.
1
E 7
to E 5
2
F 2
...
F 4
2
E 5
....
F 41
3
G 1
F 3
3
G 7
G 5
....
4 Fi.... C 4
4
G F
G4
5
C 4
....
F 7*+
5
E 8
·
F 7*
6
F 3
....
E 5t
6
F7
7
D1
G 4*+
7
E 6
...
E 6
E 5*
8
G4....
.... F 5
8
E5
D 6
9
D 2
....
D 4
9
F 8
....
G 7
10
11
12
C 1
F4
....
E 4 .. E 5
....
....
F 4*+
10
D 6
....
E 7
G 5t
11
G7
...
F 6
12
F 6
G 5*
13
F 5
14
G 5*+
13 E 7
E 8
G5.... H 5t
14 E8 .. E7
...
15 Castles, and will win the game, from the general
superiority of his position. The attack devel-
oped in this opening is very dangerous, and
difficult of defence.
STALE-MATE.
We have already stated, that if you have no pawn or piece, except
the king, on the board, that you can move consistently with the law
of chess, and, at the same time, if your king, not being already in check
cannot move without going into check, a stale-mate ensues, and the
game is drawn, being won by neither party.
CAPPED PAWN, OR MARKED PAWN.
A player sometimes engages to give mate with a particular pawn,
marked for the purpose. This is called a Capped Pawn, and is gen-
CHESS.
343
"

""
erally marked by a ring placed on it, from which it is sometimes term
ed the "ring pawn.
It is a variety of chess seldom introduced, and
can only be interesting between a good player and a mere beginner.
FORCED STALE MATE.
Forced stale-mate is where, in the progress of the game, one player
engages to force the other to give him stale-mate, or else to lose the
game. As this is rarely practised, we merely introduce it to render
our subject as complete as possible.
FORCED CHECK MATE.
In this game, that party wins who succeeds in obliging the other to
give him check-mate. This, we need scarcely observe, is quite the re-
verse of the usual game, and a mere device of experienced players,
to show their skill.
CURIOUS PROBLEMS.
It affords us gratification to be enabled to lay before our readers the
following few Diagrams, which we have personally proved, from a
very old and scarce Spanish author, Damiano, the earliest practical
writer on chess, with the accompanying explanations, translated from
the original, expressly for this work.
No. 1.
White offers to give check-mate in two moves.
B
White's first move will be the
pawn to A, and if Black then
check with the rook, White
will cover by his knight, and,
in so doing, check-mate the
Black king with the castle. It
Black, after White has moved
his pawn as above, place his
castle in C, White will make
his pawn a queen, and so check
mate the adversary. If, in the
first instance, instead of mov-
ing his rook, Black prefers
queening the pawn, and, in so
doing, giving check, White in-
terposes his knight on B, and
thus opens mate for the rook.
E e

344
CHESS.
No. 2.
White undertakes to mate in three moves.
I
White checks by playing
the knight to the square mar-
ked A. Black is compelled
to take the knight with his
castle. White then checks
with his castle at square R.
Black king takes the rook, and
is check-mated by White
moving his other rook to C.
XX
No. 3.
White undertakes to check-mate with the
pawn, in four moves.
D
To effect this, White's first
move is the king to A. His
second, the bishop to B. His
third, the bishop to C. And
on the fourth, he check-mates,
by placing the pawn on D.
Black throughout having na
choice, does not require to
have his moves specified.

CHESS.
345
No. 4.
While check-mates with his rook's pawn,
in five moves.
B
B
A
First. White checks with
his rook on A; he then moves
the same piece to B. Next,
check is given with the pawn
on C. Again on D. And mate
with the other pawn on E.
No. 5.
White to mate with a pawn in six moves.
A
D
White's first move is the
knight to A. His second,
check with the rook on B.
His third with the same on C.
Fourthly, he checks with the
pawn on D. Fifthly, with
the same pawn on E. And,
on the next move, check-mate
will be given by the other
pawn.

346
CHESS.
No. 6
White will give check-mate in seven moves.
C
D
E
With the right-hand knight
White checks on A. The
other knight is next moved to
B, and then White checks on
C. On the fourth move, the
White king plays to D. Check
is given with the left hand
pawn on E. Again with the
same on F. And then the fa-
tal check-mate must, of neces-
sity follow, from the other
pawn.
MOVING THE KNIGHT OVER ALL THE SQUARES ALTERNATELY.
The problem respecting the placing the knight on any given square,
and moving him from that square to any house on the board, has not
been thought unworthy the attention of the first mathematicians. Eu-
ler, Ozanam, De Montmart, De Moivre, De Majron, and others, have
all given methods by which this feat might be accomplished. It was
reserved however for the present century to lay this down on a general
plan; and the only English writer who has noticed this, is Mr. George
Walker, in his "Treatise on Chess." The plan is this:-Let the
knight he placed on any square, and move him from square to square
on the principle of always playing him to that point, from which, in
actual play, he would command the fewest other squares. Observing,
that in reckoning the squares commanded by him you must omit such
as he has already covered. If too there are two squares, on both of
which his powers would be equal, you may move him to either. Try
this on the board with some counters or wafers, placing one on every
square; and, when you clearly understand it, you may astonish your
friends by inviting them to station the knight on any square they like,
and engaging to play him, from that square, over the remaining sixty.
three in sixty-three moves. When the Automaton Chess-player was
last exhibited in England, this was made part of the wonders he ac-
complished, though as the above plan was not then known here, be

CHESS.
347
could not adopt it, hat
used something like
the method laid down
by Euler, and which
we subjoin.
Our young Chess-
player's instructor in
the game will show
him that as this is a
re-entering series of
numbers,or intermin-
able route, it does not
matter on which of
the squares theknight
is placed at starting,
as, by acquiring the
plan by heart, which
is soon done, he can
play him over all the
squares from any giv-
en point, his last
square being at the
distance of a knight's
move from his first.
It is obvious that this
EULER'S METHOD.
route may be varied many ways, and we have often amused ourselves
by trying to work it on a slate.
DOUBLE GAME OF CHESS.
The Double game of Chess, said to have been invented by Mr. C.
H. Wilkinson of Bath, in 1801, is played upon a board containing 128
squares. The hoard is divided into twelve compartments on each side,
leaving a blank space at each corner, equal to four squares. The men
are placed as usual, in the situations of A B C D, and should be of
different colors. Two sets of men will be requisite. The partners or
allies in the game sit side by side, as A B C D, so that they may be
able to communicate their intentions to each other. Supposing C D to
be the antagonists of A B-C D or A B must both be check-mated be-
fore one or the other he conquered. If any one of the players be
check-mated, his men remain powerless and inactive, and can neither
be moved nor be taken. But should his ally be able to relieve him,
he may immediately return to the charge, and the whole of his men
come into power as before.

348
CHESS.
C
D
The moves are the same
as in common Chess-
therefore the parties are
in fact exposed to a cross
fire, combined with the
resistance of his antago-
nist before him. If any
game be calculated to
make the players look a-
B hout them, this is the one.
The interest it excites is
beyond description, and is
greatly increased by af-
fording liberty of commu-
nication between the par-
ties interested. The dia-
gram exhibits at once the
form of the board and the
situation of the players
THE AUTOMATON CHESS PLAYER.
As our subject would hardly be deemed complete without some al-
luson to the celebrated automaton chess-player, which at two several
periods was exhibited in England, and also in this country, we remind
the reader to turn back to page 187 of this volume, and he will have a
full account of the
Automaton Chess-Plaper.
ਨਾਨ
38

CHESS.
349
CONCLUDING OBSERVATIONS.
Thus have we dallied and toyed with this royal game, until it has
reached a length which its importance alone could warrant.
Our duty
rather than our incination now urges us to conclude. Fain would we
have added a few rich and racy anecdotes of chess-playing, before we
closed, but our limits will not allow it. Willingly would we have spo-
ken of that famous king, who made his castle court a chess field, on
which the pieces played were living squires, some attired in murrey
and cloth of gold, others in costly vests of ethereal blue, powdered
with silver stars. While knights, armed cap-a-pied, gorgeous as for
a tournament, pranced over the checquers, at the bidding of the king
and his rival in the game, who governed the moves of that splendid
field from a canopied balcony above.
We should not have forgotten that irascible scion of royalty, in the
olden time, who, when beaten by his brother, took up the massive chess
board, and, most unfraternally, broke his victor's head. Nor that man,
who, by often playing with a hot and testy master, knew his tempera-
ment so well, that the instant he made a check-mate move, he flew
like an arrow from the room, to save his sconce from a similar fate to
that of the royal player, to whom we have just alluded. Nor, to that
great individual, who, being under sentence of death, received a pe-
remptory summons to the fatal block, when playing a game of chess
and begged that the officer who came to lead him to his doom would
bear witness that he had the best of the game.
Had we "ample scope and verge enough," we would, with a surpas-
sing pleasure-to ourselves at least, if not to our readers-relate the
mode and manner of our own acquirement of the game. It was under
the tall and stately elms of Gray's Inn Gardens where we first learnt
to know what check and check-mate meant. Many a night and oft
have we,
then just emerging from our boyhood, glided forth through a
private gateway into that quiet place, and spreading our board upon the
grass, played by the light of a full summer moon, until the world, and
all that moved upon it, except the kings, the queens, the knights,
and those" stout men at arms," on the pigmy field beneath us, were
forgotten. Our tutor in the game was a fellow-student of that science
which grave professors teach in all the inns of court. A world of wa-
ters is now between us; he became a roamer, and is now perhaps,
while we are thinking of the night when first we beat him, dreaming
of that little board beneath the elms of those cool and shady gardens,
though reposing, it may be, on a sandy pillow in the wilds of Africa
the roar of the great river-horse his rude lullaby, and the fearful Kaf-
firs tracking his course. Or, it may be, that he is calculating moves

350
CHES.
on the summit of the Andes; check-mating an Abyssinian chief; or
having assumed the turban of the Moslems, is squatting in a bower
and playing chess, in outward appearance
ا مؤلف.
A Turk, with an Arab.

DEAF AND DUMNE
ALPHABET.
нра
Though now grown old, she had a golden joy;
Her dim eye brightened oft, to see her boy-
Albeit by Heaven deprived of speech and hearing-
Throw by his homely toy,
And tellhis love in manner so endearing
Upon his nimble fingers, that she thought
Him more endowed than those bereft of nought.
THE art of teaching those who are Deaf and Dumb a mode of com-
prehending whatever it may be desirous to convey to their minds, and
of expressing their own wants and ideas to their more favored fellow
creatures, is one of the greatest triumphs that humanity can boast.
It has the great advantage of being remarkably simple; so that a
mother, brother, sister, or school-fellow, by a little perseverance, may
give the deaf and dumb youth the means of communicating his wishes
on all occasions. Our limits will not allow us to enter into any de-
tails, beyond the acquirement of the Alphabet, to which we add an en-
graving, showing the position of the hands to express each letter.
F

352
THE DEAF AND DUMB ALPHABET.
THE ALPHABET.
A, E, I, O, U. The vowels a, e, i, o, and u, are expressed by touching,
with the fore-finger of the right hand, the thumb, or one of the fingers of the
left, according to the letter required to be expressed.
A is made by touching the top of the thumb; e, by touching that of the
fore-finger; i, by touching that of the middle finger; o, by touching that of
the ring, or fourth finger; and u, by touching that of the little finger.
B. Join the fore-finger and thumb of each hand, and place the backs of
the two fore-finger nails together.
C. Curve the fingers and thumb toward each other, so as to resemble as
much as possible the shape of the letter.
D. Curve the fingers and thumb of the right hand, but not quite so much
as for C, and place the tops of the fore-finger and thumb against the side of
the fore-finger of the left hand, which is to be kept straight.
F. Place the fore-finger of one hand across the back of the two first
fingers of the other.
G and J. Clench the hands, and place one fist upon the other.
H. Draw the palm of one hand across the palm and fingers of the other,
beginning near the ball of the thumb, and going along the hands to the tips
of the fingers, precisely as if you were brushing something off the palm of
one hand with the other.
K. Curve the fore-finger toward the thunb, and place the second joint
of the fore-finger so curved, against the back of the second joint of the fore-
finger of the other hand.
L. Lay the fore-finger of the right hand straight upon the palm of
the left.
M. Lay the three first fingers of the right hand upon the palm of the
left.
N Lay the two first fingers of the right hand upon the palm of the
left.
P. Bend the thumb and fore-finger as for D, only make a lesser curve,
and place the tops of the thumb and fore-finger to the two first joints of the
fore-finger of the other hand.
Q. Place the tops of the fore-finger and thumb together; curve the fore-
finger of the other hand, and place it on the inside of the fore-finger and
thumb, precisely where they touch each other.

THE DEAF AND DUMB ALPHABET.
353
a
@
B
C
u
N
R
と
​W
13
K
P
L
G
T
X
Y
น
D
H
A
M
V

354
THE DEAF AND DUMB ALPHABET,
R. Curve the fore-finger of the right hand, and place it on the palm of
the left.
S. Curve the little fingers of each hand, and hitch them together.
T.
Place the top of the fore-finger of the right hand against the lower
edge of the left hand, between the little finger and the wrist.
V. This letter is made nearly as N, with this difference only, that for 1,
the two fore-fingers of the right hand are placed apart, upon the palm of the
left, instead of close together, as is the case for N.
W. Join the hands, with the fingers of one between those of the other.
X. Cross the two fore-fingers at the second joint.
Y. Place the fore-finger of the right hand between the thumb and fore-
finger of the left, which inust both be extended.
Z. Raise one hand toward the face, and place the palm of the other
under the elbow of the arm which is so elevated.
It is usual to mark the conclusion of each word by snapping the middle
finger and thumb of the right hand: this, it may readily be imagined, ren-
iers the dumb language much more intelligible.
Numbers are counted by the fingers in the most simple way; one
finger held up, signifies 1; two fingers, 2; the open hand, 5; the two
hauds, 10, &c

BOY'S OWL BOOR.
Accommodation, the triple, 215
Accomplices, the four, 200
Advance and Retreat, 290
Æolian Harp, 223
INDEX. Bor
Alphabet, Deaf and Dumb, 353
Amalgamation and Separation, 177
Amusements, Arithmetical, 95
Amusements, Optical, 109
Amusements, Chemical, 125
Anagram, Combinations of an, 107
Anagrams, 252
Anamorphosis, 123
Angler, 263
Anglers, Rules for, 271
Apparition, 119
Appels, (in fencing,) 302
Arch-board, game of, 11
Archer's Position, 48
Archery, 43
Arithmetical Amusements, 95
Arithmetical Mousetrap, 108
Arrows, construction of, described,
45
Ascham, (in Archery,) 46
Automata, 187
Automaton Canary, 193
Awn of Barley Hydrometer, 225
Back, to swim and float on the, 69
Baits, 265
Baits, Natural, 268
Balanced Stick, 158
Ball, the great wooden, 71
Balls, games with, 15
Bandy Ball, 18
Basket and stones, 107
Baste the Bear, 29
Battledore and Shuttlecock, 27
Batsman, 52
Bats and Balls, 52
Beats on the blade, (in fencing,) 301
Belt, Archer's, 46
Bird in the Box, 160
Blindman's Buff, 29
Blue Bottle, 180
Bogle Bodkin, 161
Book, the Flying, 66
Bost-about, 9
Bottle lifted by a straw, 157
Bottle ejectment, 157
Bottle Imps, 160
Bottle, mysterious, 162
Bow, construction of, described 44
Bow, to string, 47
Bowing Beau, 162
Bowler, 52
Bow-string described, 45
Brace, (in Archery,) 46
Breast to Mouth, 73
{ Bridge of Knives, 153
Buchan, Dr. his remarks op Bath-
ing, 76

INDEX.
Buck, game of, 37
Butterflies, to take Impression of,
„n paper, 224
Butts, (in Archery,) 46
Camera Lucida, 114
Camera Obscura, 110
Camera Obscura, Magnifying, 112
Camera Obscura, Prismatic, 112
Canary, Automaton, 193
Cancelled figure, guessed, 105
Candle ends, eatable, 153
Candle invisibly extinguished, 136
Candle of Ice, 180
Candle lighted by smoke, 155
Candle lighted by a glass of water,
187
Card in a Cherry-stone, 203
Card in the Mirror, 204
Card in the Pocket-book, 206
Card in the Egg, 202
Card made to jump out of the pack,
199
Card, marching, 205
Card, noted, named, 198
Card nailed to the wall, 201
Card Puzzle, 219
Card thought of, to tell blindfold,
196
Cards, Tricks with, 195
Card turned into a bird, 199
Card revealed by a pinch of snuff,
201
Card under the Hat, 201
Carte and Tierce, simple Parades
of, 291
Carte, low, 293
Carte, Thrusts of, 292
Carte over the arm, 292
Casting the line, 270
Cat and Mouse, 28
Catch Ball, 17
Catch-Penny, 73
Century, Magical, 104
Certain Game, 104
Chair, to take from under you with
out falling, 72
Chairing the leg, 67
Chameleon, Mineral, 182
Charades, 232
Chemical Samson, 187
Cherry Cheat, 215
Chess, 321
Chinese Shadows, 121
Clout Shooting, 49
Coin, doubled, 158
Colors, transmutation of, 134
Combinations of an Anagram, 107
Combustion and Explosion, 129
Combustion in and under Water,
131
Combustion by concentration of the
Sun's rays, 130
Comical Cards, 229
Confederate Signals, 205
Confederate Water-drop, 200
Conflagration, mimic, 179
Conjuror's Joke, 155
Conqueror, Game of, 10
Conundrums, 236
Copying Machine, substitute for,
226
Corks and Bladders, 82
Counter changed, 163
Cramp, when swimming, how to re
lieve, 91
Cricket, Game of, described, 51
Cricket Balls, 52
Cricket Bats, 52
Cricket, Laws of, 54
Cross, curious, 213
Crystallization upon Cinders, 227
Crystallization of Salts, 126
Crystals, magnificent, 226
Cut Lace joined, 163
Cut over the point, 300

INDEX.
Deaf and Lumb Alphabet, 353
Deaf made to hear, 224
Deception, simple, 165
Demi-amputation, 170
Dice guessed unseen, 105
Dick, Duck, and Drake, 30
Dinner party, 106
Disarming, 304
Disengaging, (in Fencing,) 294
Disengagements in Octave and
Semi-circle, 299
Disengagements in Prime and
Seconde, 299
Diving, 90
Dot and carry two, 66
Double Dozen, 197
Double Funnel, 171
Dove-cote, 281
Dragoon, prancing, 161
Draughts, 321
Extension, (in Fencing,) 292
Faded Rose restored, 179
Fascinated Bird, 156
Feet to show, the, in swimming, 90
Feints, 300
Fencing, 289
Finger-feat, 70
Fingers, to step through your own,
65
Fire, Green, 132
Fire, Green, under Water, 131
Fire, Red, 132
Fire, Yellow, 132
Fire under Water, 152
Fire and Wine Bottle, 171
Fishing Rods, 264
Fishing Lines, 264
Fishing Hooks, 265
Fives, Game of, 15
Draughts, Games for practice in, Flight Shooting, 49
325
Draughts, Laws of, 324
Draughts, Rules for playing, 322
Drawing the Oven, Game of, 36
Dropping the 'Kerchief, 37
Duck, Game of, 35
Dye, Wonderful, 178
Eclipse Glass, 223
Eels, 267
Egg, travelling, 158
Egg Box, 169
Egg, sentinel, 153
Egg, dancing, 180
Egg in the Phial, 280
Egg-shells, engraving on, 229
Elements, the four, 182
Enchanted Cock, 155
Engaging, (in Fencing,) 290
Engraving on Egg-shells, 229
Enigmas, 241
Exploding Taper, 136
ff
Flight of the Ring, 170
Floating Beacon, 154
Floats, 265
Flowers, various, to produce from
one stem, 227
Flute Player, 190
Fly-fishing, natural, 268
Fly-fishing, artificial, 269
Flying Steps, 64
Flying Book, 66
Foils, 289
Foil, how to hold the, 289
Follow my Leader, 24
Foot-Ball, 17
Forcing a Card, 196
Forty-five, the famous, 214
Franklin's Advice to Swimmers,
77
French and English, 31
Fruit and Flowers made to grow in
Winter, 224

INDEX.
Game of the Bag, 101
Game of the Ring, 100
Game, the certain, 104
Games with Marbles, 9
Games with Balls, 15
Gas-factor, 138
Gas, Laughing, 229
Gathering of the Clans, 198
Geometrical Money, 212
Glass, to cut, 228
Glizades, 301
Globe Box, 172
Glove, Archer's, 45
Glow-worm in Gas, 136
Goblet, perilous, 155
Goff, Game of, 18
Grease-box Archer's, 46
Guards of Carte and Tierce, 290
Guinea Pigs, 281
Gymnastic Exercises, 59
Gymnastic Recreations, 65
Gymnastics, 57
Half-crown upheld, 162
Hand, to dip in water without wet-
ting, 181
Handkerchief Hearth, 176
Handkerchief, mutilated, restored,
170
Harlequin Inks, 227
Hat Ball, 16
Hatched Bird, 172
Heart and Ball Puzzle, 220
Heart, the buried, 205
Heat and Cold, 128
Hide and Seek, 34
Hippas, 34
Hodge and his Hay, 221
Holes, (at Marbles,) 10
Hooks, Fishing, 265
Hoop, 28
Hop Scotch, 32
Hop, Step, and Jump, 36
Horizontal Bar, 61
Horse-dealer's bargain, 106
Humming-Top, 13
Hunt the Slipper, 35
Hydrometer, 225
Hydrometer, the awa of Barley
225
Ignition by compression, 186
Ignition by percussion, 186
Illuminator and Extinguisher, 187
Illusions, singular, 124
Impossibility made possible, 213
Increase Pound, Game of, 12
Inks, Harlequin, 227
Inks, Sympathetic, 127
Invisible Girl, 191
Javelin, 66
Jumping, 60
Jumping Rope, 36
Kaleidoscope, 141
King of the Castle, 33
Kite, 26
Knock Out, Game of, 10
Knuckle down, 66
Ladder to ascend, 64
Lady, the slighted, 210
Lame Lamplighters, Game of, 30
Lamp without flame, 136
Laughing Gas, 229
Lantern to read by at night, 121
Lead Tree, 133
Leap before you look, 7
Leap, deep, 62
Leap, deep, with the Pole, 63
Leap, high, 62
Leap, high, with the pole, 62
Leap, long, 62
Leap, long, with the Pole, 63
Leap Frog, 21

INDEX
Leg, chairing the, 67
Leg or Slip, (in Cricket,) 53
Legerdemain, 149
Lifting at Arm's length, 70
Lines, fishing, 264
Little Gas-factor, 138
Liquid produced from two Solids,
137
Liquid, colorless, made of various
colors without touching, 182
Locked Jaw, 167
Logogriphs, 253
Long Field, off-side, (in Cricket,)
5-1
Long Field, on-side, (in Cricket,)
54
Long Leap, 62
Long Pudding, 168
Long Reach, 67
Long Stop, (in Cricket,) 53
Long Slip, (in Cricket,) 53
Lop-eared Rabbit, 275
Luininous Writing in the dark, 132
Magic Lantern, 116
Magic Lantern, to paint the glasses
for, 117
Magic Lantern, to exhibit 117
Magic Lantern, nebulous, 119
Magic Shrub, 136
Magic Spoon, 178
Magic Twelve, 199
Magician Mahometan, 192
Magnificent Crystals, 226
Marbles, Games with, 9
Marvellous Mirror, 122
Mask of Flame, 186
Mating Pigeons, 285
Metal inelted on paper over a can-
dle, 178
Metallic dissolvents, 132
Metallic mixtures, melted by fric-
tion, 176
Metallic vegetation, 183
Metamorphosis, hideous, 177
Microscope, solar, 121
Middle Wicket to cover 53
Milk rendered luminous, 183
Mineral Chameleon, 182
Minor Sports, 7
Mirror Marvellous, 122
Mirror, Multiplying, 160
Miscellaneous Sports, 29
Money Box, 173
Money Game, 100
Money Geometrical, 212
Mouse in the pack of Cards, 204
Moving Pyramid, 157
Multiplied Money, 124
Nerve trick, 200
Nine Holes, Game of, 16
Northern Spell, 20
Number thought of, to tell, 97, 98
Number Nine, remarkable proper
ties of, 102, 103
Numbers, two or more thought of,
to tell, 99
Obedient Watch, 169
Odd Score, 202
Oil, to separate from water, 181
Ombres Chinoises, 121
Optical Amusements, 109
Oyster Wager, 221
Pack, the painted, 203
Pall Mall, 36
Palm-Spring, 69
Paper Furnace, 157
Paper, incombustible, 179
Paper Oracle, 181
Paper, brown, to burn by phospho
rus and friction, 187
Parades of Carte and Tierce, 291
Parades of Seconde and Prime, 292

INDEX
Parades of Octave and Semi-circle,
291
Paradoxes and Puzzles, 207
Parallel Bars, 61
Pea-shooter, 26
Peg Top, 14
Perch, 267
Perpetual Motion, 179
Phantasmagoria, 120
Protean Liquid, 179
Pulley, 72
Puss in the Corner, 23
Puzzle the Card, 219
Puzzle, Scale and Ring, 220
Puzzling Rings, 216
Pyramid, 12
Pyramid, moving, 157
Phantasmagoria, to make transpa- Quaint Query, 212
rent screens for, 120
Philosophy cheated, 165
Phosphoric Fish, &c. 183
Phosphoric Oyster Shells, 185
Phosphoric Plants, 185
Phosphorus Steam Bath, 187
Phosphorescent Spar, 186
Phosphoric Wood, 184
Pigeon Lofts, 284
Pigeons 283
Quiver, construction of, describ
ed, 46
Rabbitry and Hutches, 276
Rabbits, 273
Rabblts, Wild, 274
Rabbits, Domestic, 274
Rabbits, Lop-eared, 275
Picture frames, made of paper, 224 Rabbits, on feeding, 277
Pigeons, feeding of, 285
Rabbits, on breeding, 279
Rabbits, diseases of, 280
Rebusses, 246
Pigeons, diseases and remedies of, Recreations, Gymnastic, 65
286
Piquet pack, 197
Plank, to climb, 64
Plank for swimming, 85
Plaster Busts, &c., to bronze, 227
Point, (in Cricket) 53
Point, to cover, 53
Poised Penny, 152
Poker Puzzle, 72
Pole, perpendicular or slant, to as-
cend, 64
Polemoscope, 114
Poor-house Problem, 215
Pop-gun, 25
Porpoise, (in swimming) 89
Portraits, visible and invisible, 170
Pouch, Archer's 46
Prisoner's Base, 22
Profit and Loss, 212
Prostrate and Perpendicular, 66
Regal Alliance, 202
Re-illumination, Wonderful, 156
Reprieve, partial, 214
Return on the Extension, 301
Ribbon, color of, removed and
restored, 181
Riddler, 231
Ring Taw, Game of, 11
Ring suspended by a burnt thread
156
Rings and Ribbons, 154
Rings, the Puzzling, 216
River on fire, in miniature, 186
Rods, fishing, 264
Rope, to climb the, 63
Rope for swimming, 85
Rose, faded, restored, 179
Roses, to preserve till Christmas
226
Rounders, Game of, 20

INDEX.
Roving, 49
Running, 60
Saddle my Nag, 23
Salamander, 174
Salts, crystallization of, 126
Salute, (in Fencing,) 296, 304
Samson, chemical, 178
Seconde Thrust, (in Fencing,) 293
See-saw, 33
Sentinel Egg, 153
Seven in Two, 213
Sheep-fold, 212
Shilling, penetrative, 173
Short Slip, (in Cricket,) 53
Shrub, magic, 136
Shuffled Seven, 197
Sibyl's Cave, 181
Signals, confederate, 205
Silver Tree, 134
Sixpence, animated, 156
Skating, 139
Sliding, 30
Slighted Lady, 210
Sling, 25
Snow Statue, 38
Solar Microscope, 121
Solid produced from two Liquids,
137
Solutions to Enigmas, &c. 257
Sovereign and Sage, 106
Spans and Snops, 9
Spoon, Magic, 178
Sports of Agility and Speed, 21
Sports with Toys, 25
Square hole and round stopper, 220
Square of Triangles, 222
Steam Bath, 187
Stone, wet, made to produce fire,
177
Stooping Stretch, 69
Storm and Calm, 158
Striker, (Cricket,) 52
Striking out, (in swimming,) 82
Sucker, 28
Swimming, 75
Swimming like a Dog, 88
Swimming on the side, 88
Swimming out of depth, 87
Swimining, to turn in, 90
Swimming, times and places for, 93
Swinning under water, 91
Swinging, 31
Sympathetic Inks, 127
Tantalus trick, 71
Taper, exploding. 136
Targets, 47
Tassel, (in Archery,) 45
Tempest, to represent, 118
Thaumatrope, 27
Thread the Needle, 34
Thread, knotted, 159
Thread, restored, 168
Thread, incombustible, 177
Thrust of the Wrist, 301
Thrust, Time, 301
Thumb String, 154
Thumb, trial of the, 63
Tierce, 293
Tin Tree, 133
Tip-cat, Game of, 31
Toper's Tripod, 159
Tops, Games with, 13
Touch, Game of, 24
Transmutation of Colors, 134
Stepping through your own fingers, Transmutation, metallic, 178
65
Steps, flying, 64
Stilts, 73
Stool Ball, 18
Trap, Bat, and Ball, 19
Tricks with Cards, 195
Triumph, 65
Trouble-wit, 208

INDEX.
Trout, 266
Tumble-down Dick, 70
Turn-over, (Gymnastics) 68
Turn over, (cards,) 202
Two to one,
70
Ups and Downs, 201
Varieties, 223
Vaulting, 63
Volcano, sub-aqueous, 178
Wafers, wonderful, 63
Walking, 60
Warning, Game of, 23
Watch, obedient, 169
Watch-spring Gun, 28
Water, agitated, to calm, 228
Water bewitched, 152
Water, entering the, 81
Water, to tread, 88
Water, to beat, 90
Water made to boil by cold, and
cease to boil by heat, 137
Well of Fire, 131
Whip Top, 13
Whoop, 34
Wicket, single, 55
Wicket-keeper, 53
Wickets, 52
Will o' the Wisp, 131
Wine Merchant and Clerk, 211
Wine upon Water, 155
Wizard's Chariot, 164
Wolf, Goat, and Cabbages, 214
Wooden Ball, the Great, 71
Wooden Bottle, Game of, 37
Words, eighteen, in twenty-three
Letters, 216
Wowski, a fancy Rabbit, 275

New York.-O. S. Francis & Co., 554 Broadway.
PARLOUR
MACIC


CONTENTS
Transmutations.
Page
Page
The Spectral Lamp
17
Wine changed into Water
Curious Change of Colours
ours
18
The Protean Light
18
Two colourless transparent Liquids
become black and opaque
The Chameleon Flowers
19
Singular effect of Tears
Beauties of Crystallization
To crystallize Camphor
Crystallized Tin
To change the Colours of Flowers
Changes of the Poppy
•
To change the Colour of a Rose
Light changing White into Black
The visibly growing Acorn
Changes in Sap-Green.
•
To revive apparently dead Plants
·
19
Two colourless Fluids make a co-
loured one.
19
20
Change of Colour by colourless
Fluids
•
20
20
21
21
21
21
27228:
Two Liquids make a Solid
23
Crystals in hard Water
Varieties of Crystals
Heat from Crystallization
Splendid Sublimation
24
24
Artificial Ice
24
Magic Inks
24
Chameleon Liquids
25
Two Bitters make a Sweet
The Magic Dyes
25
23
To change Blue Liquid to White'
Veritable "Black" Tea
Restoration of Colour by Water
The Magic Writing
Two Solids make a Liquid
•
A solid opaque Mass made a trans-
[arent Liquid
23 Two cold Liquids make a hot one
23
Quadruple Transmutation
Quintuple Transmutation
Combination of Colours
Union of two Metals without Heat
Magic Breath
Visible and Invisible
** * * ******* **2288888
26
26
27
27

10
CONTENTS
Sight and Sound.
Page
Page
Artificial Mirage
Motion of the Eye
Single Vision with two Eyes
Two Objects seen as one
Optical Illusion
Only one Object can be seen at a
time
Straight Objects seen crooked
Pin-hole Focus
36
·
Optical Deceptions
Accuracy of Sight
Visual Deception
·
Handwriting upon the Wall
Imitative Haloes
39
•
To read a Coin in the Dark.
To make a Prism
•
Optical Augmentation
41
Gold Fish in a glass Globe
Colours produced by the unequal
Action of Light upon the Eyes
Optical Deception
Coloured Shadows
Colours of Scratches
Ocular Spectra
Beautiful Colours of Mother of Pearl 44
Black
Luminous Cross
White Letters seen further than
Artificial Rainbow
Fringe about a Candle.
The Double Coloured Reflection
•
Ring of Colours round a Candle 46
Simple and cheap Opera-glass
Multiplying Theatres
•
•
45
•
•
•
3733 BODA83883-*I* ****** ***GOOTH
35
34
35
The Phenakisticope or Stoboscope
To look at the Sun without injury
Brilliant Water Mirror
Apparatus for Writing in the Dark
Portable Microscope
48
49
50
51
51
Optical Illusion under Water
51
36
The Magic Wheels
52
37
Acoustic Rainbow
53
37
Transmission of Sound
53
Progress of Sound
55
Sound turning Corners
55
39
39
To tell the Distance of Thunder.
Hearing by the Touch.
56
56
•
40
Conversation for the Deaf
Glass broken by the Voice
56
•
57
•
40
Figures produced by Sound.
Transmitted Vibration
57
58
42
Double Vibration .
58
Champagne and Sound
58
42
Music from Palisades
59
•
43
Theory of the Jew's Harp
43
Music of the Snail
43
To tune a Guitar without the as-
44
sistance of the Ear
Music from Glass or Metal Rods.
The Tuning-fork a Flute-player.
61
45
Musical Bottles
•
45
Theory of Whispering
Theory of the Voice
46
Sound along a Wall
46
Sounds more audible by Night than
by Day
47
Musical Echo
47
Ventriloquism
*33 238323) 8J
59
60
60
60
62
62
62
63
63
63
64
Light and Heat.
To colour the Flame of a Candle
73
69 70 70 1 1 2
71
71
72
To divide the Flame of a Candle
Cane Wick Lamp
Camphor and Platinum Lamp
Platinum and Ether Lamp
Floating Light
Substitute for a Wax Taper
73
74
•
74
74
75
#5
Flashes of Light upon revolving
Wheels
Decomposition of Light
Solar Refraction
Incantations .
•
To imitate the Light of the Sea
.nstantaneous Lights
•

CONTENTS.
11
4
Page
Phosphorescent Fish
75
.
The Luminous Spectre
Light, a Painter
76
Effect of Light upon Crystalliza-
tion
Effect of Light on Plants
Instantaneous Light upon Ice
White Light from Zinc
Brilliant Light from two Metals
Brilliant Light from Steel
Lighted Tin.
Light from Gilt Buttons
Light from a Flower
Light from Sugar
Light from the Potato
22 22NNEN
75
76
Magic of Heat
76
77
777
77
77
•
78
•
78
Shadows made darker by increased
Light.
Miniature Thunder and Lightning 82
The Burning Glass
Repulsion by Heat
Heat passing through Glass
Metals unequally influenced by Heat 84
Spontaneous Combustion
Inequality of Heat in Fire Irons
Expansion of Metal by Heat
Evaporation of a Metal
Pago
81
84
85
•
85
85
78
•
A Floating Metal on Fire
86
78
Heat and Cold from Flannel
79
Ice melted by Air.
Light from the Oyster
79
To hold a hot Tea-kettle on the
+
Light from Derbyshire Spar
79
Hand.
Light from Oyster-shells
80
Incombustible Linen
Rings of Light in Crystal
80
The Burning Circle
To strike Light with Cane
80
Water of different Temperatures in
Cause of Transparency
Transparency of Gold.
Tint changed by Thickness
80
the same Vessel
81
Warmth of different Colours
81
Substitute for Fire
88♡ ♡♡8 KAKRRAKI%%%%%-
86
86
86
87
87
87
87
Gas and Steam.
Laughing Gas
The Luminous Wand
•
To make Carbonic Acid Gas
Carbonic Acid Gas in Wine or Beer
Vessels
·
To extinguish Flame with Gas
Effect of Hydrogen on the Voice.
Magic Taper
The Gas Candle
Gas Bubbles .
•
Gas-light in the Day-time
Miniature Balloons
91
•
Miniature Gas-lighting
Musical Gas.
Miniature Will-o'-the-wisp
Phosphoric Illumination
Combustion of Iron in Oxygen Gas
Glow-worm in Oxygen Gas.
Luminous Charcoal
Brilliant Combustion in Oxygen.
•
283 283EZERURSAAAXOR
¡
Flame from Cold Metals
99
92
Phosphorus in Chlorine
99
92
Caoutchouc Balloons
100
•
92
To increase the Light of Coal Gas
Gas from Indian Rubber
100
100
93
Ether Gas
101
•
93
Magic Vapour
101
•
•
94
9.4
Gas from the union of Metals
Invisible Gases made Visible
101
•
102
•
94
Light under Water
102
•
95
Gaseous Evanescence
102
·
95
Violet-coloured Gas
102
•
95
To collect Gases
103
96
The Deflagrating Spoon
103
97
What is Steam?
103
•
97
The Steam Engine simplified
104
To boil Water by Steam
104
98
Distillation in Miniature
105
98
Candle or Fire Crackers
105
98
Steam from the Kettle.
105

12
CONTENTS.
Fire, Water, and Air.
Page
Pagi
Coloured Flames
109
Yellow Flame
110
Orange-coloured Flame
110
Pyramid of Alum
Visible Vibration.
Charcoal in Sugar
•
•
120
121
122
Emerald Green Flame
110
Floating Needles .
122
Instantaneous Flame
110
The Cup of Flame
To cool Flame by Metal
Proof that Flame is Hollow
Camphor sublimed by Flame
Green Fire
•
Brilliant Red Fire
Purple Fire
Silver Fire
•
The Fiery Fountain
111
111
•
111
•
•
Water in a Sling
Attraction in a Glass of Water
To prevent Cork floating in Water
Instantaneous Freezing
122
122
•
123
123
•
111
To freeze Water with Ether
123
•
112
Production of Nitre
124
•
112
Curious Transposition
124
•
112
Animal Barometer
121
113
Magic Soap
124
•
113
The Artificial Conflagration
113
Inflammable Powder
113
Combustion without Flame
114
Combustion of three Metals
114
To make Paper Incombustible
Singular Experiments with Glass
Tubes.
114
Equal Pressure of Water
To empty a Glass under Water
To empty a Glass of Water with-
out touching it
•
Decomposition of Water
Water heavier than Wine
125
125
125
126
126
114
To inflate a Bladder without Air
Air and Water Balloon
126
126
•
Aquatic Bomb
115
Heated Air Balloon
127
•
Heat not to be estimated by Touch 115
Flame upon Water
116
•
The Pneumatic Tinder box.
The Bacchus Experiment
*127
•
127
•
•
Rose-coloured Flame on Water
116
The Mysterious Circles
128
•
To set a Mixture on Fire with
Prince Rupert's Drops
130
Water
116
Vegetable Hygrometer.
130
Waves of Fire on Water
116
The Pneumatic Dancer
131
•
Explosion in Water
117
•
Water from the Flame of a Can-
The Ascending Snake.
The Pneumatic Phial
132
132
dle
117
Resin Bubbles
133
Formation of Water by Fire
117
Moisture of the Atmosphere.
133
Boiling upon Cold Water
117
Climates of a Room
133
•
Currents in Boiling Water
118
Bubbles in Champagne
131
Hot Water lighter than cold
118
Proofs that Air is a heavy Fluid
Fluid.
134
Expansion of Water by Cold
The Cup of Tantalus
118
To support a Fea on Air
135
119
Pyrophorus, or Air-tinder
135
Initative Diving Bell
119
Beauty of a Soap-bubble
136
The Water-proof Sieve
120
Why a Guinea falls more quickly
More than full
•
120
than a Feather through the Air
137
To cause Wine and Water to
Solidity of Air
138
change Places
120
•
Breathing and Smelling
139

CONTENTS.
13
Sleights and Subtleties.
Page
Pago
The Ring and the Handkerchief
The Knotted Handkerchief.
143
Walnut-shell without injuring
144
the Shell
157
•
The Invisible Springs
The Miraculous Apple.
The Self-balanced Pail
146
•
The Magical Mirrors
158
147
The Enchanted Bottle.
159
148
The Armed Apparition.
159
The Phantom at command
148
To extract the Silver out of a Ring
The Miraculous Shilling
150
The Locomotive Shilling
151
that is thickly gilded, so that the
Gold may remain entire
160
•
The Penetrative Sixpence
152
Curious Experiment with a Glass
The Vanishing Sixpence
152
of Water
160
To make a Sixpence balance and
A Luminous Bottle, which will
spin on its Edge on the Point of
a Needle
153
show the Hour on a Watch in
the Dark
160
The Multiplying Coin.
153
The Wonderful Hat
161
•
The Magic Rat Trap
153
To bring a Person down upon a
The Velocity of Motion
154
Feather
161
The Exploding Bubble
155
The Apparent Impossibility
162
The Magic Picture
155
An Omelet cooked in a Hat over
Artificial Lightning
156
the Flame of a Candle
162
Three Objects discernible only
The Impossible Omelet
163
with both Eyes
156
Go if you can
163
To tell by a Watch Dial the
Hour when a Person intends to
rise
The Figure Puzzle
163
The Visible Invisible
163
156
•
The Double Meaning
164
To make a Ring suspend by a
Thread, after the Thread has
been burned
To melt a Piece of Money in a
•
Quite tired out
164
Something out of the Common
164
•
157
To rub one Sixpence into two
Magic Circle
165
165
Melange.
Illusions of Touch
169 Colder than Ice
173
Illusion of the Taste
170
Contra-crystallization
173
The General Bleacher.
170
One and one do not make two
174
Influence of coloured Glass on
To copy Writing instantly
174
•
bulbous Roots
171
The Rival Dials
174
The Spinning-top" asleep""
171
To spin Indian Rubber
174
To judge of Weights
172
Indelible Writing
175
•
Quicksilver and Oil united.
172
Vegetable Anatomy
175
To dissolve the Soda in Glass
172
To tell what o'clock it is by the
Waterproof Paper
173
Moon .
176
To dissolve Gold or Platinum
173
The Physiognotype
:
177

14
CONTENTS.
Page
Pagt
Infinite Divisibility of Matter
177
To break a Stone with a Blow of
Holding the Breath
178
the Fist
185
Sand in the Hour-glass
178
Mimic Frost-work
185
Resistance of Sand
179
To melt Lead in a Piece of Paper
186
Glass broken hy Sand
180
Hydrostatic Balance
186
•
To bleach Ivory
180
Metallic Reduction
187
Vanishing Shells.
180
Electrical Attraction and Repul-
The Magic Egg
The Magic Whirlpool
180
sion
187
•
181
Alchemical Electricity.
188
Magic Porcelain
183
The Electric Balls
189
A Galvanic Tongue
184
The Electric Dance
189
Drinking Porter out of Pewter
184
Electric Light
189
Electric or Galvanic Preserva-
tion
184
Light from the Diamond
Electric Light from Brown Paper
Sudden Production of Light.
190
190
185
Electricity of the Cat
•
190

Ø
TRANSMUTATIONS.
THE SPECTRAL LAMP.

IX some common salt with spirit of wine in a
platinum or metallic cup; set the cup upon
a wire frame over a spirit-lamp, which should
be enclosed on each side, or in a dark lantern;
when the cup becomes heated, and the spirit
ignited, it will burn with a strong yellow
flame; if, however, it should not be perfectly yellow, throw
more salt into the cup. The lamp being thus prepared, all
other lights should be extinguished, and the yellow lamp intro-
duced, when an appalling change will be exhibited; all the
objects in the room will be but of one colour; and the complex-
ions of the several persons, whether old or young, fair or
brunette, will be metamorphosed to a ghastly, death-like yellow;
whilst the gayest dresses, as the brightest crimson, the choicest
lilac, the most vivid blue or green-all will be changed into
one monotony of yellow each person will be inclined to laugh
:
2
17
18
TRANSMUTATIONS.
at his neighbour, himself insensible of being one of the spectral
company.
Their astonishment may be heightened by removing the yellow
light to one end of the room, and restoring the usual or white
light at the other; when one side of each person's dress will
resume its original colour, while the other will remain yellow;
one cheek may bear the bloom of health, and the other the yellow
of jaundice. Or if, when the yellow light only is burning, the
white light be introduced within a wire sieve, the company and
the objects in the apartment will appear yellow, mottled with
white.
Red light may be produced by mixing with the spirit in the
cup over the lamp, salt of strontian instead of common salt; and
the effect of the white or yellow lights, if introduced through a
sieve upon the red light, will be even more striking than the
white upon the yellow light.
CURIOUS CHANGE OF COLOURS.
Let there be no other light than a taper in the room; then put
on a pair of dark-green spectacles, and having closed one eye,
view the taper with the other. Suddenly remove the spectacles,
and the taper will assume a bright-red appearance; but, if the
spectacles be instantly replaced, the eye will be unable to distin-
guish any thing for a second or two. The order of colours will,
therefore, be as follows:-green, red, green, black.
THE PROTEAN LIGHT.
Soak a cotton wick in a strong solution of salt and water, dry
it, place it in a spirit lamp, and, when lit, it will give a bright
yellow light for a long time. If you look through a piece of blue
38


TRANSMUTATIONS.
19
glass at the flame, it will lose all its yellow light, and you will
only perceive feeble violet rays. If, before the blue glass, you
place a pale yellow glass, the lamp will be absolutely invisible,
though a candle may be distinctly seen through the same glasses.
THE CHAMELEON FLOWERS.
Trim a spirit-lamp, add a little salt to the wick, and light it.
Set near it a scarlet geranium, and the flower will appear yellow.
Purple colours, in the same light, appear blue.
TO CHANGE THE COLOURS OF FLOWERS.
Hold over a lighted match, a purple columbine, or a blue
larkspur, and it will change first to pink, and then to black. The
yellow of other flowers, held as above, will continue unchanged.
Thus, the purple tint will instantly disappear from a heart's-ease,
but the yellow will remain; and the yellow of a wall-flower will
continue the same, though the brown streak will be discharged.
If a scarlet, crimson, or maroon dahlia be tried, the colour will
change to yellow; a fact known to gardeners, who by this mode
variegate their growing dahlias.
CHANGES OF THE POPPY.
Some flowers which are red, become blue by merely bruising
them. Thus, if the petals of the common corn-poppy be rubbed
upon white paper, they will stain it purple, which may be made
green by washing it over with a strong solution of potash in water.
Put poppy petals into very dilute muriatic acid, and the infusion
will be of a florid red colour; by adding a little chalk, it will
become the colour of port wine; and this tint, by the addition of
potash, may be changed to green or yellow.


20
TRANSMUTATIONS.
TO CHANGE THE COLOUR OF A ROSE.
Hold a red rose over the blue flame of a common match, and
the colour will be discharged wherever the fume touches the
leaves of the flower, so as to render it beautifully variegated, or
entirely white. If it be then dipped into water, the redness,
after a time, will be restored.
LIGHT CHANGING WHITE INTO BLACK.
Write upon linen with permanent ink, (which is a strong
solution of nitrate of silver,) and the characters will be scarcely
visible; remove the linen into a dark room, and they will not
change; but expose them to a strong light, and they will be in-
delibly black.
THE VISIBLY GROWING ACORN.
Cut a circular piece of card to fit the top of a hyacinth glass,
so as to rest upon the ledge, and exclude the air. Pierce a hole
through the centre of the card, and pass
through it a strong thread, having a small
piece of wood tied to one end, which
resting transversely on the card, pre-
vents its being drawn through. To the
other end of the thread attach an acorn;
and, having half filled the glass with
water, suspend the acorn at a short dis-
tance from the surface.
The glass must be kept in a warm
room; and, in a few days, the steam
which has generated in the glass will
hang from the acorn in a large drop.
Shortly afterwards, the acorn will burst.
the root will protrude and thrust itself

TRANSMUTATIONS.
21
into the water; and, in a few days more, a stem will shoot out
at the other end, and, rising upwards, will press against the
card, in which an orifice must be made to allow it to pass
through. From this stem, small leaves will soon be observed
to sprout; and, in the course of a few weeks, you will have a
handsome oak plant, several inches in height.
CHANGES IN SAP GREEN.
Sap green is the inspissated juice of the buckthorn berries: if
a little carbonate of soda be dropped into it, the colour will be
changed from green to yellow; it may be reddened by acids,
and its green colour restored by chalk.
TO REVIVE APPARENTLY DEAD PLANTS.
Make a strong dilution of camphor in spirit of wine, which
add to soft water, in the proportion of a drachm to a pint. If
withered or apparently dead plants be put into this liquid, and
allowed to remain therein from two to three hours, they will
revive.
SINGULAR EFFECT OF TEARS.
If tears are dropped on a dry piece of paper, stained with the
juice of the petals of mallows or violets, they will change the
paper to a permanently green colour.
BEAUTIES OF CRYSTALLIZATION.
Dissolve alum in hot water until no more can be dissolved in
it; place in it a smooth glass rod and a stick of the same size;
next day, the stick will be found covered with crystals, but the
glass rod will be free from them: in this case, the crystals cling
to the rough surface of the stick, but have no hold upon the

22
TRANSMUTATIONS.
smooth surface of the glass rod. But if the rod be roughened
with a file at certain intervals, and then placed in the alum and
water, the crystals will adhere to the rough surfaces, and leave
the smooth bright and clear.
Tie some threads of lamp-cotton irregularly around a copper
wire or glass rod; place it in a hot solution of blue vitriol, strong
as above, and the threads will be covered with beautiful blue
crystals, while the glass rod will be bare.
Bore a hole through a piece of coke, and suspend it by a
string from a stick placed across a hot solution of alum; it will
float; but, as it becomes loaded with crystals, it will sink in the
solution according to the length of the string. Gas-coke has
mostly a smooth, shining, and almost metallic surface, which the
crystals will avoid, while they will cling only to the most ir-
regular and porous parts.
If powdered turmeric be added to the hot solution of alum, the
crystals will be of a bright yellow; litmus will cause them to be
of a bright red; logwood will yield purple; and common writing
ink, black; and the more muddy the solution, the finer will be
the crystals.
To keep coloured alum crystals from breaking, or losing their
colour, place them under a glass shade with a saucer of water;
this will preserve the atmosphere moist, and prevent the crystals
getting too dry.
If crystals be formed on wire, they will be liable to break off,
from the expansion and contraction of the wire by changes of
temperature.

TRANSMUTATIONS.
23
TO CRYSTALLIZE CAMPHOR.
Dissolve camphor in spirit of wine, moderately heated, until
he spirit will not dissolve any more; pour some of the solution
into a cold glass, and the camphor will instantly crystallize in
beautiful tree-like forms, such as we see in the show-glasses of
camphor in druggists' windows
CRYSTALLIZED TIN.
Mix half an ounce of nitric acid, six drachms of muriatic acid,
and two ounces of water; pour the mixture upon a piece of tin
plate previously made hot, and, after washing it in the mixture,
it will bear a beautiful crystalline surface, in feathery forms.
This is the celebrated moirée metallique, and, when varnished,
is made into ornamental boxes, &c. The figures will vary ac-
cording to the degree of heat previously given to the metal.
CRYSTALS IN HARD WATER.
Hold in a wine-glass of hard water, a crystal of oxalic acid,
and white threads will instantly descend through the liquid,
suspended from the crystal.
VARIETIES OF CRYSTALS.
The
Make distinct solutions of common salt, nitre, and alum; set
them in three saucers in any warm place, and let part of the water
dry away or evaporate; then remove them to a warm room.
particles of the salt in each saucer will begin to attract each
other, and form crystals, but not all of the same figure: the
common salt will yield crystals with six square and equal faces,
or sides; the nitre, six-sided crystals; and the alum, eight-sided
crystals; and if these crystals be dissolved over and over again,
they will always appear in the same forms.

24
TRANSMUTATIONS.
HEAT FROM CRYSTALLIZATION.
Make a strong solution of Epsom salts in hot water, and while
warm, bottle it, cork it closely, and it will remain liquid: draw
out the cork, when the salts will immediately crystallize, and, in
the process, the remaining liquid and the bottle will become very
warm.
SPLENDID SUBLIMATION.
Put into a flask a small portion of iodine; hold the flask over
the flame of a spirit-lamp, and, from the state of rich ruby crystals,
the iodine, on being heated, will become a ruby-coloured trans-
parent gas; but, in cooling, will resume its crystalline form
ARTIFICIAL ICE.
Mix four ounces of nitrate of ammonia, and four ounces of
subcarbonate of soda with four ounces of water, in a tin vessel,
and in three hours the mixture will produce ten ounces of ice
MAGIC INKS.
Dissolve oxide of cobalt in acetic acid, to which add a little
nitre; write with this solution; hold the writing to the fire, and it
will be of a pale rose colour, which will disappear on cooling.
Dissolve equal parts of sulphate of copper and muriate of
ammonia in water; write with the solution, and it will give a
yellow colour when heated, which will disappear when cold.
Dissolve nitrate of bismuth in water; write with the solution,
and the characters will be invisible when dry, but will become
egible on immersion in water

TRANSMUTATIONS.
25
Dissolve in water muriate of cobalt, which is of a bluish-green
colour, and the solution will be pink; write with it, and the
characters will be scarcely visible; but, if gently heated, they wil
appear in brilliant green, which will disappear as the paper cools.
CHAMELEON LIQUIDS.
Put a small portion of the compound called mineral chameleon
into several glasses, pour upon each water at different tempera-
tures, and the contents of each glass will exhibit a different
shade of colour. A very hot solution will be of a beautiful green
colour; a cold one, a deep purple.
Make a colourless solution of sulphate of copper; add to it a
little ammonia, equally colourless, and the mixture will be of an
intense blue colour; add to it a little sulphuric acid, and the blue
colour will disappear; pour in a little solution of caustic am-
monia, and the blue colour will be restored. Thus may the
liquid be thrice changed at pleasure.
THE MAGIC DIES.
Dissolve indigo in diluted sulphuric acid, and add to it an
equal quantity of solution of carbonate of potass. If a piece of
white cloth be dipped in the mixture, it will be changed to blue;
yellow cloth, in the same mixture, may be changed to green;
red to purple, and blue litmus paper to red.
Nearly fill a wine-glass with the juice of beet-root, which is
of a deep red colour; add a little lime water, and the mixture
will be colourless; dip into it a piece of white cloth, dry it rapidly,
and in a few hours the cloth will become red.
3

26
TRANSMUTATIONS.
WINE CHANGED INTO WAter.
Mix a little solution of subacetate of lead with port wine;
filter the mixture through blotting paper, and a colourless liquid
will pass through; to this add a small quantity of dry salt of
tartar, when a spirit will rise, which may be inflamed on the
surface of the water.
TWO COLOURLESS TRANSPARENT LIQUIDS BECOME BLACK
AND OPAQUE.
Have in one vessel some sulphuric acid, and in another an
infusion of nut-galls; they are both colourless and transparent;
mix them, and they will become black and opaque.
TWO COLOURLESS FLUIDS MAKE A COLOURED ONE.
Put into a wine-glass of water, a few drops of prussiate of
potash; and into a second glass of water, a little weak solution
of sulphate of iron in water: pour the colourless mixtures together
into a tumbler, and they will be immediately changed to a bright
deep blue colour.
Or, mix the solution of prussiate of potash with that of nitrate
of bismuth, and a yellow will be the product.
Or, mix the solution of prussiate of potash with that of sulphate
of copper, and the mixture will be of a reddish brown colour.
CHANGE OF COLOUR BY COLOURLESS FLUIDS.
Three different colours may be produced from the same in-
fusion, merely by the addition of three colourless fluids. Slice
a little red cabbage, pour boiling water upon it, and when cold,
decant the clear infusion, which divide into three wine-glasses :
to one, add a small quantity of solution of alum in water; to the
second, a little solution of potash in water; and to the third, a few

TRANSMUTATIONS.
27
drops of muriatic acid. The liquor in the first glass will assume
a purple colour, the second a bright green, and the third a rich
crimson.
Put a drachm of powdered nitrate of cobalt into a phial contain-
ing an ounce of the solution of caustic potass; cork the phial,
and the liquid will assume a blue colour, next a lilac, afterwards
a poach colour, and lastly a light red.
TO CHANGE A BLUE LIQUID TO WHITE.
Dissolve a small lump of indigo in sulphuric acid, by the aid
of moderate heat, and you will obtain an intense blue colour: add
a drop of this to half a pint of water, so as to dilute the blue;
then pour some of it into strong chloride of lime, and the blue
will be bleached with almost magical velocity.
VERITABLE "BLACK" TEA.
Make a cup of strong green tea; dissolve a little green cop-
peras in water, which add to the tea, and its colour will be black
RESTORATION OF COLOUR By water.
Water being a colourless fluid, ought, one would imagine,
when mixed with other substances of no decided colour, to pro-
duce a colourless compound. Nevertheless, it is to water only that
blue vitriol, or sulphate of copper, owes its vivid blueness; as
will be plainly evinced by the following simple experiment. Heat
a few crystals of the vitriol in a fire shovel, pulverize them, and
the powder will be of a dull and dirty white appearance. Pour a
little water upon this, when a slight hissing noise will be heard,
and at the same moment the blue colour will instantly reappear.
Under the microscope, the beauty of this experiment will be
Increased, for the instant that a drop of water is placed in contact
•

28
TRANSMUTATIONS.
with the vitriol, the powder may be seen to shoot into blue prisms.
If a crystal of prussiate of potash be similarly heated, its yellow
colour will vanish, but reappear on being dropped into water.
THE MAGIC WRITING.
Dissolve a small portion of green copperas in water, and soak
in it sheets of writing paper, so as to allow them to be taken out
whole, and then dried; then, cover the paper with very finely
powdered galls, and write on it with a pen dipped in water; when
dry, brush off the galls, and the writing will appear.
TWO LIQUIDS MAKE A SOLID.
Dissolve muriate of lime in water until it will dissolve no more;
make also a similar solution of carbonate of potash; both will be
transparent fluids; but if equal quantities of each be mixed and
stirred together, they will become a solid mass.
TWO SOLIDS MAKE A LIQUID.
Rub together, in a mortar, equal quantities of the crystals of
Glauber's salts and nitrate of ammonia, and the two salts will
slowly become a liquid.
A SOLID OPAQUE MASS MADE A TRANSPARENT LIQUID.
Take the solid mixture of the solutions of muriate of lime and
carbonate of potash, pour upon it a very little nitric acid, and the
solid opaque mass will be changed to a transparent liquid.
TWO COLD LIQUIDS MAKE A HOT ONE.
Mix four drachms of sulphuric acid (oil of vitriol) with one
drachm of cold water, suddenly, in a cup, and the mixture will be
nearly half as hot again as boiling water.

TRANSMUTATIONS.
29
QUADRUPLE TRANSMUTATION.
Dissolve a small piece of nickel in nitric acid, and it will
appear of a fine grass-green colour; add to it a little ammonia,
and a blue precipitate will be formed; this will change to a
purple-red in a few hours, and the addition of any acid will
conve to an apple-green.
QUINTUPLE TRANSMUTATION.
Heat potassium over the flame of a spirit-lamp, and the colour
will change from white to a bright azure, thence to a bright
blue, green, and olive.
COMBINATION OF COLOURS.
Cut out a disc or circle of pasteboard, and cover it with paper
half green and half black; cause the disc to be rapidly turned
round, (like the shafts of a toy windmill,) and the colours will
combine and produce white.
UNION OF TWO METALS WITHOUT HEAT.
Cut a circular piece of gold-leaf, called “dentist's gold," about
half an inch in diameter; drop upon it a globule of mercury
about the size of a small pea, and if they be left for a short time,
the gold will lose its solidity and yellow colour, and the mercury
its liquid form, making a soft mass of the colour of mercury.
MAGIC BREATH.
Half fill a glass tumbler with lime-water; breathe into it fre-
anently, at the same time stirring it with a piece of glass. The
fluid, which before was perfectly transparent, will presently
become quite white, and, if allowed to remain at rest, real chalk
will be deposited.

30*
TRANSMUTATIONS.
TWO BITTERS MAKE A SWEET.
It has been discovered, that a mixture of nitrate of silver with
nypo-sulphate of soda, both of which are remarkably bitter, will
produce the sweetest known substance.
VISIBLE AND INVISIBLE.
Write with French chalk on a looking-glass; wipe it with a
handkerchief, and the lines will disappear; breathe on it, and
they will reappear. This alteration will take place for a great
number of times, and after the lapse of a considerable period,

SIGHT AND SOUND.
ammo&180mm
ARTIFICIAL MIRAGE.
HE mirage is an optical phenomenon, produced
by the refractive power of the atmosphere.
The appearance presented is that of the double
image of an object in the air; one of the images
being in the natural position, and the other
inverted, so as to resemble a natural object
and its image in the water. The mirage is commonly vertical.
or upright, that is, presenting the appearance, above described,
of one object over another, like a ship above its shadow in the
water. Sometimes, however, the image is horizontal, or upon
the water; and at other times, it is seen on the right or left hand
of the real object, or on both sides.
All the effects of the mirage may be represented artificially to
the eye. For this purpose, provide a glass tumbler two-thirds
full of water, and pour spirit of wine upon it; or pour into a
tumbler some syrup, and fill it up with water: as the water and
33

34
SIGHT AND SOUND.
spirit or the syrup and water incorporate, they will produce a
refractive power; then, by looking through the mixed or inter-
mediate liquids at any object held behind the tumblers, its
inverted image may be seen. The same effect, Dr. Wollaston
has shown, may be produced by looking along the side of a
red-hot poker at a word or object ten or twelve feet distant. At
a distance less than three-eighths of an inch from the line of the
poker, an inverted image was seen; and within and without
that, an erect image.
The above phenomena may likewise be illustrated by holding
a heated iron above a tumbler of water until the whole becomes
changed; then withdraw the iron, and, through the water, the
phenomena of the mirage may be seen in the finest manner.
Or, look directly above the flame of a candle, or over the glass
of a lighted lamp, and a tremulous motion may be observed;
because the warm air rises, and its refracting power being less
than that of the colder air, the currents are rendered visible by
the distortion of objects viewed through them. The same effect
is observable over chimney pots, and slated roofs which have
been heated by the sun.
MOTION OF THE EYE.
On entering a room, we imagine that we see the whole side
of it at once, as the cornice, the pattern of the paper-hanging,
pictures, chairs, &c., but we are deceived; for each object is
rapidly, but singly presented to the eye by its constant motion.
If the eye were steady, vision would be lost. For example, fix
the eye on one point, and you will find the whole scene become
more and more obscure till it vanishes. Then, if you change
the direction of the eye ever so little, at once the whole scene
will be again perfect before you.

SIGHT AND SOUND.
35
SINGLE VISION WITH TWO EYES.
As we have two eyes, and a separate image of every externał
object is formed in each, it may be asked, Why do we not see
double? The answer is, It is a matter of habit. Habit alone
teaches us that the sensations of sight correspond to any thing
external, and shows to what they correspond. Thus, place a
wafer on a table before you; direct your eyes to it, that is, bring
its image on both retina to those parts which habit has ascer-
tained to be the most sensible and best situated for seeing dis-
tinctly, and you will see only the single wafer. But, while
looking at the wafer, squeeze the upper part of one eye down-
wards by pressing on the eyelid with the finger, and thereby
forcibly throw the image on another part of the retina of that
eye, and double vision will be immediately produced; that is,
two wafers will be distinctly seen, which will appear to recede
from each other as the pressure is stronger, and approach, and
finally blend into one, as it is relieved. The same effect may
be produced without pressure, by directing the eyes to a point
nearer to or farther from them than the wafer; the optic axes, in
this case, being both directed away from the object seen.
TWO OBJECTS SEEN AS ONE.
On a sheet of black paper, or other dark ground, place two
white wafers, having their centres three inches distant. Verti-
cally above the paper, and to the left, look with the right eye, at
twelve inches from it, and so that, when looking down on it, the
line joining the two eyes shall be parallel to that joining the
centre of the wafers. In this situation close the left eye, and
look full with the right perpendicularly at the wafer below it,
when this wafer only will be seen, the other being completely
invisible. But if it be removed ever so little from its place,

36
SIGHT AND SOUnd.
either to the right or left, above or below, it will become imme-
diately visible, and start, as it were, into existence. The dis-
tances here set down may, perhaps, vary slightly in different eyes.
Upon this curious effect Sir John Herschel observes, "It will
cease to be thought singular, that this fact of the absolute invisi-
bility of objects in a certain point of the field of view of each
eye, should be one of which not one person in ten thousand is
apprized, when we learn that it is not extremely uncommon to
find persons who have for some time been totally blind with one
eye without being aware of the fact."
ONLY ONE OBJECT CAN BE SEEN AT A TIME.
Look at the pattern of the paper-hanging of a room, a picture,
or almost any other object in it; then, without altering your
position, call to mind the magnificent dome of St. Paul's Cathe-
dral: the pattern of the paper-hanging, or the subject of the
picture, though actually impressed on the retina of the eye, will
be momentarily lost sight of by the mind; and, during the instant,
the recollected image of the dome rising from the dingy roofs of
London will be distinctly seen, but in indistinct colouring and
outline. When the object of the recollection is answered, the
dome will quickly disappear, and the paper-hanging pattern or
the picture again resume the ascendency.
STRAIGHT OBJECTS SEEN CROOKED.
Look through a series of vertical bars, as those of a palisade,
or of a Venetian window-blind, at the wheel of a carriage passing
along the street, and the spokes of the wheel, instead of appearing
straight, as they naturally would do if no bars intervened, seem to

SIGHT AND SOUND.
37
oe of a curved form. The velocity of the wheel must not be so
great as to prevent the eye from following the spokes as they
revolve.
Again, when the disk of the wheel, instead of being marked by
a number of radiant lines, has only one radius marked upon it, it
presents the appearance, when rolled behind the bars, of a number
of radii, each having the curvature corresponding to its situation,
their number being the same as that of the bars through which
you
look at the wheel. It is, therefore, evident that the several
portions of one and the same line, seen through the intervals of
the bars, form on the retina of the eye so many different radii.
OPTICAL ILLUSION.
Shut one eye; direct the other to any fixed point, as the head
of a pin, and you will indistinctly see all other objects. Suppose
one of these to be a strip of white paper, or a pen lying upon a
table covered with a green cloth: either of them will disappear
altogether, as if taken off the table; for the impression of the
green cloth will entirely extend itself over that part of the retina
which the image of the pen occupied. The vanished pen will,
however, shortly reappear, and again vanish; and the same effect
will take place when both eyes are open, though not so readily
as with one eye.
PIN-HOLE FOCUS.
Make a pin-hole in a card, which hold between a candle and a
piece of white paper, in a dark room, when an exact representation
of the flame, but inverted, will be seen depicted upon the paper,
and be enlarged as the naner is drawn from the hole; and if, in a

38
SIGHT AND SOUND.
dark room, a white screen or sheet of paper be extended at a
few feet from a small round hole, an exact picture of all external
objects, of their natural colours and forms, will be seen traced
on the screen; moving objects being represented in motion, and
stationary ones at rest.
OPTICAL DECEPTIONS.
Prick a hole in a card with a needle; place the same needle
near the eye, in a line with the card-hole, look by daylight at
the end of the needle, and it will appear to be behind the card,
and reversed.
Prick a hole with a pin in a black card, place it very near the
eye, look through it at any small object, and it will appear larger
as it is nearer the eye; while, if we observe it without the card,
it will appear sensibly of the same magnitude at all parts of the
room.
ACCURACY OF SIGHT.
Rule a short line upon a slate, and upon another slate rule
another line, one-eleventh longer than the first: a person pos-
sessing what is called "a true eye," may perceive the difference
in length, even though fifty or sixty seconds elapse between
looking at the first and the second lines. If they differ only
one-twentieth, then an interval of thirty-five seconds may elapse
without destroying the judgment; but if it be longer the estimate
will be incorrect. When the difference between the lines amounts
only to one-fiftieth, an interval of three seconds between the
examination of each, is the longest that can be allowed without
interfering with the correctness of the comparison.

SIGHT AND SOUND.
39
VISUAL DECEPTION.
Let a room be only lit by the feeble gleam of a fire, almost
extinguished, and the eye will see with difficulty the objects in
the apartment, from the small degree of light with which they
happen to be illuminated. The more exertion is made to ascer-
tain what these objects are, as by fixing the eye more steadily
upon them, the greater will be the difficulty in accomplishing it.
The eye will be painfully agitated, the object will swell and
contract, and partly disappear, but will again become visible
when the eye has recovered from its delirium.
HANDWRITING UPON THE WALL.
Cut the word or words to be shown, out of a thick card or
pasteboard, place it before a lighted lamp, and the writing will
be distinctly seen upon the wall of the apartment.
IMITATIVE HALOES.
Look at a candle, or any other luminous body, through a plate
of glass, covered with vapour, or dust in a finely divided state,
and it will be surrounded with a ring of colours, like a halo
round the sun or moon. These rings increase with the size of
the particles which produce them; and their brilliancy and
number depend on the uniform size of these particles.
Or, haloes may be imitated by crystallizing various salts upon
thin plates of glass, and looking through the plate at a candle or
the sun. For example, spread a few drops of a strong solution
of alum over a plate of glass, so as to crystallize quickly and
co er it with a crust scarcely visible to the eye. Then place

40
SIGHT AND SOUND.
the eye close behind the smooth side of the glass plate, look
through it at a candle, and you will perceive three fine haloes at
different distances, encircling the flame.
TO READ A COIN IN THE DARK.
By the following simple method, the legend or inscription upon
a coin may be read in absolute darkness. Polish the surface of
any silver coin as highly as possible; touch the raised parts with
aqua-fortis, so as to make them rough, taking care that the parts
not raised retain their polish. Place the coin thus prepared upon
red-hot iron, remove it into a dark room, and the figure and in-
scription will become more luminous than the rest, and may be
distinctly seen and read by the spectator. If the lower parts of
the coin be roughened with the acid, and the raised parts be
polished, the effect will be reversed, and the figure and inscrip
tion will appear dark, or black upon a light or white ground.
This experiment will be more surprising if made with an old
coin, from which the figure and inscription have been obliterated;
for, when the coin is placed upon the red-hot iron, the figure
and inscription may be distinctly read upon a surface which had
hitherto appeared blank.
This experiment may be made with small coins upon a heated
poker, a flat-iron, or a salamander. The effect will be more per-
fect if the red-hot iron be concealed from the eye of the spectator:
this may be done by placing upon the iron a piece of blackened
tin, with a hole cut out the size of the coin to be heated.
TO MAKE A PRISM.
Provide two small pieces of window-glass and a lump of wax
Soften and mould the wax, stick the two pieces of glass upon it,
so that they meet, as in the cut, where w is the wax, g and g

SIGHT AND SOUND.
41
the glasses stuck to it, (Fig. 1.) The end view (Fig. 2) will
Fig. 1.
9
Fig. 2.
show the angle, a, at which the
pieces of glass meet; into which
angle put a drop of water.
To use the instrument thus made,
make a small hole, or a narrow
horizontal slit, so that you can see the sky through it, when you
stand at some distance from it in the room. Or a piece of paste-
board placed in the upper part of the window-sash, with a slit
cut in it, will serve the purpose of the hole in the shutter. The
slit should be about one tenth of an inch wide, and an inch or
two long, with even edges. Then hold the prism in your hand,
place it close to your eye, and look through the drop of water, when
you will see a beautiful train of colours, called a spectrum; at one
end red, at the other violet, and in the middle yellowish green.
The annexed figure will better explain the direction in which
h
Fig. 3..
to look: here, e, is the eye
of the spectator; p, is the
prism; h, the hole in the
shutter or pasteboard; s, the
spectrum. By a little prac-
tice, you will soon become
accustomed to look in the
right direction, and will
see the colours very bright and distinct.
By means of this simple contrivance, white light may be
analyzed and proved to consist of coloured rays, and several of
its properties be beautifully illustrated.
OPTICAL AUGMENTATION.
Take a glass rummer that is narrow at bottom and wide at top.
4

42
SIGHT AND SOUND.
}
into which put a half-sovereign, and fill the glass three-fourths
with water; place on it a piece of paper, and then a plate, and
turn the glass upside down quickly, that the water may not
escape: by looking sideways at the glass you will perceive a
sovereign at the bottom, and higher up the half-sovereign, floating
near the surface. Fill the glass with water, and the large piece
only will be visible.
GOLD FISH IN A GLASS GLOBE.
A single gold fish in a globe vase is often mistaken for two
fishes, because it is seen as well by the light bent through the
upper surface of the water, as by straight rays passing through
the side of the vase.
COLOURS PRODUCED BY THE UNEQUAL ACTION OF LIGHT UPON
THE EYES.
If we hold a slip of white paper vertically, about a foot from the
eye, and direct both eyes to an object at some distance beyond it,
so as to see the slip of paper double, then, when a candle is brought
near the right eye, so as to act strongly upon it, while the left eye
is protected from its light, the left-hand slip of paper will be of a
tolerably bright green colour, while the right-hand slip of paper,
seen by the left eye, will be of a red colour. If the one image
overlaps the other, the colour of the overlapping parts will be
white, arising from a mixture of the complementary red and green.
When equal candles are held equally near to each eye, each of
the images of the slip of paper is white. If, when the paper is
seen red and green by holding the candle to the right eye, we
quickly take it to the left eye, we shall find that the left image
of the slip of paper gradually changes from green to red, and the
right one from red to green, both of them having the same tin
during the time that the change is going on.

SIGHT AND SOUND.
43
OPTICAL DECEPTION.
Look steadily at a carpet having figures of one colour, green
for example, upon a ground of another colour, suppose red, and
you will sometimes see the whole of the green pattern, as if the
red one were obliterated; and at other times you will see the whole
of the red pattern, as if the green one were obliterated. The
former effect takes place when the eye is steadily fixed on the green
part, and the latter when it is steadily fixed on the red portion.
COLOURED SHADOWS.
Provide two lighted candles, and place them upon a table be-
fore a whitewashed or light papered wall: hold before one of the
candles a piece of coloured glass, taking care to remove to a
greater distance the candle before which the coloured glass is not
placed, in order to equalize the darkness of the two shadows. If
you use a piece of green glass, one of the shadows will be green,
and the other a fine red; if you use blue glass, one of the shadows
will be blue, and the other a pale yellow.
COLOURS OF SCRATCHES.
An extremely fine scratch on a well-polished surface may be
regarded as having a concave, cylindrical, or, at least, a curved
surface, capable of reflecting light in all directions; this is evident,
for it is visible in all directions. Hence, a single scratch or furrow
in a surface may produce colours by the interference of the rays
reflected from its opposite edges.. Examine a spider's thread in
the sunshine, and it will gleam with vivid colours. These may
arise from a similar cause, or from the thread itself, as spun by the
animal, consisting of several threads agglutinated together, and
thus presenting, not a cylindrical, but a furrowed surface.

44
SIGHT AND SOUND.
OCULAR SPECTRA.
One of the most curious affections of the eye is that in virtue
of which it sees what are called ocular spectra, or accidental
colours. If we place a red wafer on a sheet of white paper, and,
closing one eye, keep the other directed for some time to the
centre of the wafer, then, if we turn the same eye to another part
of the paper, we shall see a green wafer, the colour of which will
continue to grow fainter and fainter as we continue to look at it.
By using differently coloured wafers, we obtain the following
results:
WAFER.
Black
SPECIMEN.
White.
White
Red
Black.
Bluish green.
Orange
Yellow
Blue.
Green
Blue.
Indigo
Violet
Indigo.
Violet, with a little Red.
Orange Red.
Orange Yellow.
Bluish Green.
BEAUTIFUL COLOURS OF MOTHER-OF-PEARL.
This substance, obtained from the shell of the pearl oyster, is
much admired for the fine play of its colours. To observe them
accurately, select a plate of regularly-formed mother-of-peari, with
its surface nearly parallel, and grind this surface upon a hone, or
upon a plate of glass with the powder of slate, till the image of
the candle reflected from the surfaces is of a dull reddish white
colour, when it will glow with all the colours of the rainbow. The


SIGHT AND SOUND.
45
colours of inother-of-pearl may be communicated to soft black
wax; and to clean surfaces of lead and tin, by hard pressure or the
blow of a hammer. Or dissolve gum arabic or isinglass in water,
and allow it to harden upon a surface of mother-of-pearl, when it
will take a perfect impression from it, and exhibit all the colours
in the finest manner. Or place the isinglass between two finely-
polished surfaces of mother-of-pearl, and you may obtain a film
of artificial mother-of-pearl, which, when seen by the light of a
candle, or by an aperture in the window, will shine with the
brightest hues.
WHITE LETTERS SEEN FARTHER THAN BLACK.
Paint the same letters of the same size precisely on two boards,
the one white on a black ground, and the other a black on a white
ground; the white letters will appear larger, and be read at a
greater distance than the black.
ARTIFICIAL RAINBOW.
Observe the various colours which are reflected from the glass
drops usually suspended from a lustre or chandelier, and you will
witness a mimic rainbow. A rainbow may also be made by a
garden engine, if the water be thrown high in the air, and the
spectator stand between it and the sun.
FRINGE ABOUT A CANDLE.
Provide two small pieces of plate glass, moisten two of their
sides with water, and put them together; then look through
them at a candle, and you will perceive the flame surrounded
with beautifully coloured fringes: these are the effect of moisture,
intermixed with portions of air, and exhibiting an appearance
similar to dew.

16
SIGHT AND SOUND.
THE DOUBLE-COLOURED REFLECTION.
Provide a circular piece of coloured glass, and pierce its centre
by means of a common awl, well moistened with oil of turpentine:
encircle the glass with the fingers and thumb, hold it in the sun-
shine or the strong light of a lamp, and the following beautiful
effects will be produced. If the glass be red, the luminous spot
in the centre will be reflected green; if the glass be green, the
spot will be red; if blue, orange; and if yellow, indigo.
LUMINOUS CROSS.
Place a lighted candle before a looking-glass, and there will
appear a luminous cross radiating from the flame of the candle.
This is produced by the direction of the friction by which the
glass is polished; the scratches placed in a horizontal direction,
exhibiting the perpendicular part of the cross, and the vertical
scratches the horizontal part.
RINGS OF COLOURS ROUND A CANDLE.
Look at a candle through a plate of glass upon which you have
gently breathed, or over which are scattered particles of dust, or
any fine powder, and you will perceive the flame surrounded with
beautiful rings of colours. By using the seed of the lycopodium, or
by placing a drop of blood diluted with water between two pieces
of glass, the rings of colour will be still more finely exhibited
Round the luminous body there will be seen a light area,
terminating in a reddish dark margin; this will be succeeded by
a ring of bluish-green, and then by a red ring; these two last
colours succeeding each other several times when the particles
are of uniform diameter, as are the seeds of the lycopodium, each
› which is but the 850th part of an inch in diameter.

SIGHT AND SOUnd.
47
A
SIMPLE AND CHEAP OPERA-GLASS.
In this new instrument no tubes are necessary, as in the ordi-
nary opera-glass; their place being supplied by a slender, elastic,
conical spring of wire, into the upper extremity
of which is inserted the eye-glass; the object-
glass being fixed to the other extremity, as showr
in the engraving. The two glasses must, of
course, be kept parallel to each other when in
use; which is very easily effected.
In using this opera-glass, rest the finger and
thumb of one hand on the rim of the object-glass,
B, whilst, with the thumb and finger of the other
hand you hold the rim of the eye-glass, A. The
spring tube may then be drawn out or shut up to
very minute distances. Thus, the ordinary sliding tubes are
superseded; nor is any external covering necessary, as the hand
in grasping the instrument serves the purpose. If, however, a
covering be preferred, a piece of silk may be sewn to the spirals
of the spring.
This kind of opera-glass may be made very cheaply. It may
be shut into a small space for the pocket, merely by pressing the
object-glass and the eye-glass together.
MULTIPLYING THEATRES.
Place two pieces of looking-glass, one at each end, parallel to
one another, and looking over or by the edge of one of them, the
images of any objects placed on the bottom of the box will appear
continued to a considerable distance.
Or, line each of the four sides of the box with looking-glass,
and the bottom of the box will be multiplied to an astonishing

48
SIGHT AND SOUnd.
extent, there being no other limitation to the number of images but
what is owing to the continued loss of light from reflection. The
top of the box may be almost covered with thin canvass, which
will admit sufficient light to render the exhibition very distinct.
The above experiments may be made very entertaining by
placing on the bottom of the box some toy, as sentry soldiers,
&c.; and, if these be put in motion, by wires attached to them,
or passing through the bottom or side of the box, it will afford a
still more entertaining spectacle. Or the bottom of the box may
be covered with moss, shining pebbles, flowers, &c.; only, in
all cases, the upright figures between the pieces of looking-glass
should be slender and not too numerous, else they will obstruct
the reflected light.
In a box with six, eight, or more sides, lined with looking-
glass, as above, the different objects in it will be multiplied to
an almost indefinite extent.
A
D
C
APPARATUS FOR WRITING IN THE DARK
In this ingenious contrivance, A is a
frame of wood, into the back and front
of which are inserted two thin boards,
the front one, B, reaching about half the
height of the frame, and the back one
being movable, by sliding in grooves,
for better fixing the paper to be written
on, C, to a roller at top, with a handle
and ratchet working into a spring,
To use the apparatus, the paper is to be fixed on the roller,
and a strip of lead, or other weight, suspended from the bottom
of the paper, to keep it smooth: then, by resting the right hand

SIGHT AND SOUND.
49
on the edge of the board B, and turning with the left hand the
ratchet, the distance of the lines may be regulated by the number
of clicks caused by the spring on the ratchet. D, is a foot to
support the apparatus, which, however, should be light enough
to be held in the hand as a slate.
PORTABLE MICROSCOPE.
This cheap and useful instrument consists of a handle of hard
wood, a, which is screwed into a brass piece, d, having at its top
a ring, with screws on back and front, into
which are to be screwed two cells with
lenses of different foci. There is also a
projecting piece formed on the side of the
brass piece, d, in which is a hole to receive
the screwed end of a cylindrical rod of
brass, c. Upon this rod a springing slit
socket, e, slides backwards and forwards,
and is also capable of being turned round.
This socket has affixed to it, on one side, a
"l
projecting part, with a screwed cavity in it, to receive a short
screwed tube, with a small hole in its centre, made to fit the
steel stem of the spring forceps; a corresponding hole being
made at the bottom of the screwed cavity, where is lodged a
piece of perforated cork; which, being pressed upon by the
action of the screw, closes upon the steel stem of the forceps,
and steadies them and the objects held in them. The stem of
the forceps being removed from its place in the short tube; and
the rod, c, with the sliding socket upon it, being unscrewed from
its place in the handle; they, and the handle and lenses, can all
be packed in a black paper case which is only three and a half
'nches long, one inch broad, and half an inch thick.
5

50
SIGHT AND SOUND.
This microscope possesses three different magnifying powers,
aamely, those of two lenses separately, and the two in combi-
nation.
Microscopes of a still simpler nature are small globules of
glass, formed by smelting the ends of fine threads of glass in the
flame of a candle; and small globular microscopes of great mag-
nifying power, made of hollow glass about the size of a small
walnut, may be purchased very cheaply at the opticians'.
THE PHENAKISTICOPE, OR STUBOSCope.
This amusing instrument consists of a turning wheel, upon
which figures are seen to walk, jump, pump water, &c. The
disc or wheel should be of stout card-board, upon which should
be painted, towards the edge, figures in eight or ten postures.
Thus, if it is wished to represent a man bowing, the first position
is a man standing upright; in the second, his body has a slight
inclination; in the third, still more; and so on, to the sixth posi-
tion, where the body is most bent: the four following represent
the figure recovering its erect posture; so that the fifth and
seventh, the fourth and eighth, the third and ninth, and second
and tenth figures have the same posture. Between each of the
figures on the wheel should be a slit, three-fourths of an inch
long and one-fourth of an inch wide, in a direction parallel with
the radii of the wheel, and extending to an equal distance from
the centre.
To work this instrument, place the figured side of the wheel
before a looking-glass, and cause it to revolve upon its centre;
then look through the slits or apertures, and you may observe, in
the glass, the figures bowing continually, and with a rapidity
proportionate to the rate at which the wheel turns. The illusion
depends on the circumstance that the wheel between each aper-

SIGHT AND SOUND.
51
ture is covered, while the figure goes further. That the decep-
tion may be complete, it is necessary that every part of the figures
not bowing shall be at an equal distance from the centre of the
wheel and from the slits; also that the figures possess equal
thickness and colour.
TO LOOK AT THE SUN WITHOUT INJURY.
Provide a wine-glass filled with plain water, which will keep
off the heat so effectually that the brightest sun may be viewed
some time through it without any inconvenience. If a little
black ink be added to the water, the image of the sun will appear
through it as white as snow; and when the ink is still more
diluted, the sun will be of a purple hue.
A
BRILLIANT WATER MIRROR.
Nearly fill a glass tumbler with water, and hold it, with your
pack to the window, above the level of the eye, as in the en-
graving. Then look obliquely, as in the direc-
tion E, a, c, and you will see the whole surface
shining like burnished silver, with a strong
metallic reflection; and any object, as a spoon,
A C B, immersed in the water, will have its
immersed part, C B, reflected on the surface,
as in a mirror, but with a brilliancy far sur-
passing that which can be obtained from quick-
silver, or from the most highly-polished metals
E
OPTICAL ILLUSION UNDER WATER.
Procure a large gallipot; place on the bottom, next the side
furthest from you, a sixpence, and next to it, but towards the
centre, a shilling; move to such a distance as will render the

52
SIGHT AND SOUND.
coins invisible; then let another person pour water gently in,
and as it rises in the gallipot, it will cause both the sixpence and
shilling to be seen, without your approaching nearer to the galli-
pot, or moving it towards you.
THE MAGIC WHEELS.
Cut out two card-board cog-wheels of equal size; place them
upon a pin, and whirl them round with equal velocity in opposite
directions; when, instead of producing a hazy tint, as one wheel
would do, or as the two would if revolving in the same direction,
there will be an extraordinary appearance of a fixed wheel. If
the cogs be cut slantwise on both wheels, the spectral wheel, as
it may be called, will exhibit slanting cogs; but if one of the
wheels be turned so that the cogs shall point in opposite direc-
tions, then the ectral wheel will have straight cogs. If wheels
with radii, arms, be viewed when moving, the deception will
be similar and however fast the wheels may move, provided it be
with ea velocity, the magic of a fixed wheel will be presented.
Or, cut a card-board wheel with a certain number of teeth or
cogs at its edge; a little nearer the centre cut a series of aper-
tures resembling the cogs in arrangement, but not to the same
number; and still nearer the centre cut another series of aper-
tures, different in number and varying from the former. Fix
this wheel upon another, with its face held two or three yards
from an illuminated mirror; spin it round, the cogs will disap-
pear, and a grayish belt, three inches broad, will become visible:
but, on looking at the glass through the moving wheel, appear-
ances will entirely change; one row of cogs or apertures wil.
appear fixed, as if the wheel were not moving, while the other
two will appear in motion; and by shifting the eye, other and
new cffects will appear.

SIGHT AND SOUND.
53
These amusing deceptions were first experimented by Mr.
Faraday. The simple apparatus for their exhibition may be
purchased, for a trifling sum, of any respectable optician.
ACOUSTIC RAINBOW.
A sounding-plate, made of brass, nine inches long, and half a
line in thickness, covered with a layer of water, may be employed
to produce a rainbow in a chamber which admits the sun. On
drawing a violin bow strongly across the plate, so as to produce
the greatest possible intensity of tone, numerous drops of water fly
perpendicularly and laterally upwards. The size of the drops is
smaller as the tone is higher. The inner and outer rainbows are
very beautifully seen in these ascending and descending drops,
when the artificial shower is held opposite to the sun. When the
eyes are close to the falling drops, each eye sees its appropriate
rainbow; and four rainbows are perceived at the same time, par-
ticularly if the floor of the room is of a dark colour. The experi-
ment succeeds best, if, when a finger is placed under the middle
of the plate, and both of the angular points at one side are sup-
ported, the tone is produced at a point of the opposite side, a
fourth of its length from one of its angles. An abundant shower
of drops is thus obtained.
TRANSMISSION Or sound.
Suspend any sonorous body, as a bell, a glass, a silver spoon,
or a tuning-fork, from a double thread, and put with the finger
the extremities of the thread, one in each ear; if the body be
then struck, the apparent loudness and depth of the sound will
De surprising.
Again, if you shut your ears altogether, you will yet feel verv

54
SIGHT AND SOUND.
!
sensible of the impression of any sound conveyed through the
mouth, the teeth, or the head: if you put one end of a small stick
or rod in the mouth, and touch with the other extremity a watch
lying on the table, the beatings will become quite audible, though
the ears be actually shut. So, also, if a log of wood be scratched
at one end with a pin, a person who applies his ear to the other
end will hear the sound distinctly.
Fogs and falling rain, but especially snow, powerfully obstruct
the free propagation of sound; and the same effect is produced by
a coating of fresh-fallen snow on the ground, though when glazed
and hardened at the surface by freezing, it has no such influence.
Over water, or a surface of ice, sound is propagated with re-
markable clearness and strength. Dr. Hutton relates, that on a
quiet part of the Thames, near Chelsea, he could hear a person
distinctly at 140 feet distance, while on the land the same could
only be heard at 76 feet. Lieutenant Forster, in the third polar
expedition of Captain Parry, held a conversation with a man
across the harbour of Port Bowen, a distance of 6696 feet, or
about a mile and a quarter. This, however remarkable, falls
short of what is related by Dr. Young, on the authority of the
Rev. W. Durham, viz. that, at Gibraltar, the voice has been heard,
ten miles perhaps, across the strait.
The cannonade of a sea-fight between the English and Dutch,
in 1672, was heard across England as far as Shrewsbury, and
even in Wales, a distance of upwards of 200 miles from the
scene of action.
At Carisbrook Castle, in the Isle of Wight, is a well 210 feet
in depth, and twelve feet in diameter, into which if a pin be
dropped, it will be distinctly heard to strike the water. The
interior is lined with very smooth masonry.

SIGHT AND SOUND.
55
PROGRESS OF SOUnd.
A stretched string, as that of a piano-forte, may be made to
vibrate not only from end to end, but in aliquot parts, the portions
being separated by points of rest which interrupted the progress
of the sound. This kind of effect may be shown by shaking a
long piece of cane in the air, when there will be one, two, or
three points of rest, according to the mode of vibrating it.
An elastic surface has, likewise, some parts in motion and
others at rest; and these parts may be made visibly distinct, by
strewing pieces of bristle over them upon the sounding-board of
an instrument.
When a bow is drawn across the strings of a violin, the im-
pulses produced may be rendered evident by fixing a small steel
bead upon the bow; when looked at by light or in sunshine, the
bead will seem to form a series of dots during the passage of
the bow.
SOUND TURNING CORNERS.
Take a common tuning-fork, strike it, and hold it (when set in
vibration) about three or four inches from the ear, with the flat
side towards it, when the sound will be distinctly heard; let a strip
of card, somewhat longer than the flat of the tuning-fork, be inter-
posed at about half an inch from the fork, and the sound will be
almost entirely intercepted by it; and if the card be alternately
removed and replaced in pretty quick succession, alternations of
sound and silence will be produced; proving that sound is by no
means propagated with so much intensity round the edge of the
eard as straight forward. Indeed, to be convinced of this fact,
you have only to listen to the sound of a carriage turning a corner
from the street in which you happen to be, into an adjoining one

56
SIGHT AND SOUND.
Even where there is no obstacle in the way, sounds are by no
means equally audible in all directions from the sounding body;
as you may ascertain by holding a vibrating tuning-fork or pitch-
pipe near your ear, and turning it quickly on its axis.
TO TELL THE DISTANCE OF THUNder.
Count, by means of a watch, the number of seconds that elapse
between seeing the flash of lightning and hearing the report of the
thunder; allow somewhat more than five seconds for a mile, and
the distance may be ascertained. Thus, say the number of seconds
is
5)20
4 miles distant;
or the distance may be estimated by remarking the number of
beats of the pulse in the above interval; provided, of course, that
we know the rate at which the pulse beats in a certain time. In
a French work, it is stated that if the pulse beat six times, the
distance of the thunder will be about 30,000 feet, or five miles
and a half; thus reckoning 5000 feet for each pulsation.
In a violent thunder-storm, when the sound instantly succeeds
tne flash, the persons who witness the circunstance are in some
danger: when the interval is a quarter of a minute, they are secure
HEARING BY THE TOUCH.
If a deaf person merely place the tips of his finger-nails on the
window-shutters or door of a room in which instruments are
playing, he may enjoy their concert of harmony.
CONVERSATION FOR THE DEAF.
If two persons stop their ears closely, they may converse with
each other by holding a long stick between their teeth, or by

SIGHT AND SOUND.
57
resting their teeth against them. The person who speaks may
rest the stick against his throat or his breast; or he may rest the
stick, which he holds in his teeth, against a glass tumbler or
china basin, into which the other speaks. The sound may also
be heard when a thread is held between the teeth by both per-
sons, so as to be somewhat stretched.
GLASS BROKEN BY THE VOICE.
On vibrating bodies, which present a large surface, the effects
of sounds are very surprising. Persons with a clear and power-
ful voice have been known to break a drinking-glass by singing
the proper fundamental note of their voice close to it. Looking-
glasses are also said to have been broken by music, the vibrations
of the atoms of the glass being so great as to strain them beyond
the limits of their cohesion.
FIGURES PRODUCED BY SOUND.
Stretch a sheet of wet paper over the mouth of a glass tumbler
which has a footstalk, and glue or paste the paper at the edges.
When the paper is dry, strew dry sand thinly upon its surface.
Place the tumbler on a table, and hold immediately above it, and
parallel to the paper, a plate of glass, which you also strew with
sand, having previously rubbed the edges smooth with emery
powder. Draw a violin bow along any part of the edges, and as
the sand upon the glass is made to vibrate, it will form various
figures, which will be accurately imitated by the sand upon the
paper; or if a violin or flute be played within a few inches of
the paper, they will cause the sand upon its surface to form
regular lines and figures.

58
SIGHT AND SOUND.
TRANSMITTED VIBRATION.
Provide a long, flat glass ruler or rod, as in the engraving, and
cement it with mastic to the edge of a drinking-glass fixed into a
wooden stand; support the other end of the rod very lightly on a
G
piece of cork, and strew
its upper surface with
sand; set the glass in vi-
bration by a bow, at a
point opposite where the rod meets it, and the motions will be
communicated to the rod without any change in their direction.
If the apparatus be inverted, and sand be strewed on the under
side of the rod, the figures will be seen to correspond with those
produced on the upper surface.
DOUBLE VIBRATION.
Provide two discs of metal or glass, precisely of the same di-
mensions, and a glass or metal rod; cement the two discs at their
centres to the two ends of the rod, as in
the engraving, and strew their upper sur-
faces with sand. Cause one of the discs,
viz. the upper one, to vibrate by a bow,
and its vibration will be exactly imitated
by the lower disc, and the sand strewed
over both will arrange itself in precisely
the same forms on both discs. But if,
separately, they do not agree in their tones, the figures on them
will not correspond.
CHAMPAGNE AND SOUND.
Pour sparkling champagne into a glass until it is half full,
when the glass will lose its power of ringing by a stroke upon its

SIGHT AND SOUND.
59
edges, and will emit only a disagreeable and puffy sound. Nor
will the glass ring while the wine is brisk and filled with air-
bubbles; but as the effervescence subsides the sound will be-
come clearer and clearer, and when the air bubbles have entirely
disappeared, the glass will ring as usual. If a crumb of bread
be thrown into the champagne, and effervescence be repro-
duced, the glass will again cease to ring. The same experiment
will also succeed with soda water, ginger wine, or any other
effervescing liquid.
MUSIC FROM PALISADES.
If a line of broad palisades, set edgewise in a line direct from
the ear, and at even distances from each other, be struck at the
end nearest the auditor, they will reflect the sound of the blow,
and produce a succession of echoes: these, from the equal distance
of the palisades, will reach the ear at equal intervals of time,
and will, therefore, produce the effect of a number of impulses
originating in one point. Thus a musical note will be heard.
THEORY OF THE JEWS-HARp.
If you cause the tongue of this little instrument to vibrate, it
will produce a very low sound; but if you place it before a cavity
(as the mouth) containing a column of air, which vibrates much
faster, but in the proportion of any simple multiple, it will then
produce other higher sounds, dependent upon the reciprocation
of that portion of the air. Now, the bulk of air in the mouth
can be altered in its form, size, and other circumstances, so as to
produce by reciprocation many different sounds; and these are
the sounds belonging to the Jews-harp.

60
SIGHT AND SOUND.
A proof of this fact has been given by Mr. Eulenstein, whe
fitted into a long metallic tube a piston, which, being moved,
could be made to lengthen or shorten the efficient column of air
within at pleasure. A Jews-harp was then so fixed that iz
could be made to vibrate before the mouth of the tube, and it was
found that the column of air produced a series of sounds, accord-
ing as it was lengthened or shortened; a sound being produced
whenever the length of the column was such that its vibrations
were a multiple of those of the Jews-harp.
MUSIC OF THE SNAIL.
Place a garden-snail upon a pane of glass, and in drawing
itself along, it will frequently produce sounds similar to those of
musical glasses.
TO TUNE A GUITAR WITHOUT THE ASSISTANCE OF THE EAR.
Make one string to sound, and its vibrations will, with much
force, be transferred to the next string: this transference may be
seen by placing a saddle of paper, like an inverted v, (4,) upon the
string, at first in a state of rest. When this string hears the
other, the saddle will be shaken, or fall off; when both strings
are in harmony, the paper will be very little or not at all shaken.
MUSIC FROM GLASS OR METAL RODS.
Provide a straight rod of glass or metal; strike it at the en 1 in
the direction of its length, or rub it lengthwise with a moistened
finger, and it will yield a musical sound, which, unless its length be
very great, will be of an extremely acute pitch; much more so

SIGHT AND SOUND.
61
than in the case of a column of air of the same length, as in a
flute. The reason of this is the greater velocity with which
sound is propagated in solids than in the air. If the rod be metal,
the friction will be found to succeed best when made with a bit
of cloth, sprinkled with powdered resin; or, if of glass, the cloth
or the finger may be moistened and touched with some very fine.
sand or pumice powder.
Generally speaking, a fiddle-bow, well resined, is the readiest
and most convenient means of setting solid bodies in vibration.
To bring out their gravest or fundamental tones, the bow must
be pressed hard and drawn slowly; but, for the higher harmo-
nies, a short, swift stroke, with light pressure, is most proper.
THE TUNING-FORK A FLUTE-PLAYER.
Take a common tuning-fork, and on one of its branches fasten
with sealing-wax a circular piece of
card, of the size of a small
wafer, or sufficient nearly
to cover the aperture of a
pipe, as the sliding of the
upper end of a flute with the mouth stopped; it may
be tuned in unison with the loaded tuning-fork (a
C fork) by means of the movable stopper or card,
or the fork may be loaded till the unison is perfect. Then set
the fork in vibration by a blow on the unloaded branch, and hold
the card closely over the mouth of the pipe, as in the engraving,
when a note of surprising clearness and strength will be heard
Indeed, a flute may be made to "speak" perfectly well, by
holding close to the opening a vibrating tuning-fork, while
the fingering proper to the note of the fork is at the same time
performed.

62
SIGHT AND SOUND.
MUSICAL BOTTLES.
Provide two glass bottles, and tune them by pouring water into
them, so that each corresponds to the sound of a different tuning-
fork. Then apply both tuning-forks to the mouth of each bottle
alternately, when that sound only will be heard, in each case,
which is reciprocated by the unisonant bottle, or, in other words,
by that bottle which contains a column of air susceptible of vi-
brating in unison with the fork.
THEORY OF WHISPERING.
Apartments of a circular or elliptical form are best calculated
for the exhibition of this phenomenon. If a person stand near
the wall, with his face turned to it, and whisper a few words, they
may be more distinctly heard at nearly the opposite side of the
apartment, than if the listener were situated nearer to the speaker.
THEORY OF THE VOICE.
Provide a species of whistle, common as a child's toy or a
sportsman's call, in the form of a hollow cylinder, about three-
fourths of an inch in diameter, closed at both ends by flat circular
plates, with holes in their centres. Hold this toy between the
teeth and lips; blow through it, and you may produce sounds
varying in pitch with the force with which you blow. If the air
be cautiously graduated, all the sounds within the compass of a
double octave may be produced from it; and, if great precaution
be taken in the management of the wind, tones even yet graver
may be brought out. This simple instrument or toy, has, indeed,
the greatest resemblance to the larynx, which is the organ of voice.
A speaking-machine has been invented in Germany, with which

SIGHT AND SOUnd.
63
have been distinctly pronounced the words, mamma, papa, mother,
father, summer. This instrument consists of a pair of bellows,
to which is adapted a tube terminating in a bell, the aperture of
which is regulated by the hand, so as to produce the articulate
sounds.
SOUND ALONG A WALL.
Whisper along the bare wall of an apartment, and you will be
heard much further than in the middle of the room; for the trough
or angle between the wall and the floor, forms two sides of a square
pipe which conveys the sound.
SOUNDS MORE AUDIBLE BY NIGHT THAN BY DAY.
The experiment with the glass of champagne (page 56) has
been employed by Humboldt, in explanation of the greater
audibility of distant sounds by night than by day. This he attri-
butes to the uniformity of temperature in the atmosphere by night,
when currents of air no longer rise and disturb its equilibrium ;
as the air-bubbles in the champagne interfere with the vibration
within the glass. Again, the universal and dead silence generally
prevalent at night, renders our auditory nerves sensible to sounds
which would otherwise escape them, and which are inaudible
among the continual hum of noises which is always going on in
the day time.
MUSICAL ECHO.
If a noise be made in a narrow passage, or apartment of
regular form, the echoes will be repeated at equal very small
intervals, and will always impress the ear with a musical note
This is, doubtless, one of the means which blind persons have of
judging of the size and shape of any room they happen to be in.

64
SIGHT AND SOUnd.
VENTRILOQUISM.
The main secret of this surprising art simply consists in first
making a strong and deep inspiration, by which a considerable
quantity of air is introduced into the lungs, to be afterwards acted
upon by the flexible powers of the larynx, or cavity situated behind
the tongue, and the trachea, or windpipe; thus prepared, the
expiration should be slow and gradual. Any person, by practice,
can, therefore, obtain more or less expertness in this exercise:
in which, though not apparently, the voice is still modified by
the mouth and tongue; and it is in the concealment of this aid,
that much of the perfection of ventriloquism lies.
But the distinctive character of ventriloquism consists in its
imitations being performed by the voice seeming to come from the
stomach hence its name, from venter, the stomach, and loquor,
to speak. Although the voice does not actually come from that
region, in order to enable the ventriloquist to utter sounds from
the larynx without moving the muscles of his face, he strengthens
them by a powerful action of the abdominal muscles. Hence, he
speaks by means of his stomach; although the throat is the real
source from whence the sound proceeds. It should, however, be
added, that this speaking distinctly, without any movement of the
lips at all, is the highest perfection of ventriloquism, and has but
rarely been attained. Thus, MM. St. Gille and Louis Brabant,
two celebrated French ventriloquists, appeared to be absolutely
mute while exercising their art, and no change in their counte
nances could be discovered.
It has lately been shown, that some ventriloquists have acquired
by practice the power of exercising the veil of the palate in such a
manner, that, by raising or depressing it, they dilate or contract
the inner nostrils. If they are closely contracted, the sound pro-

SIGHT AND SOUND.
65
duced is weak, dull, and seems to be more or less distant; if, on
the contrary, these cavities are widely dilated, the sound will be
strengthened, the voice become loud, and apparently close to us.
Another of the secrets of ventriloquism is the uncertainty with
respect to the direction of sounds. Thus, if we place a man and
a child in the same angle of uncertainty, and the man speaks
with the accent of a child, without any corresponding motion in
his mouth or face, we shall necessarily believe that the voice
comes from the child. In this case, the belief is so strengthened
by the imagination; for if we were directed to a statue, as the
source from which we were to expect sounds to issue, we should
still be deceived, and refer the sounds to the lifeless stone or
marble. This illusion will be greatly assisted by the voice being
totally different in tone and character from that of the man from
whom it really comes. Thus, we see how easy is the deception
when the sounds are required to proceed from any given object,
and are such as they actually yield.
The ventriloquists of our time, as M. Alexander and M. Fitz-
James, have carried their art still further. They have not only
spoken by the muscles of the throat and the abdomen, without
moving those of the face, but have so far overcome the uncer
tainty of sound as to become acquainted with modifications of
distance, obstruction, and other causes, so as to imitate them with
the greatest accuracy. Thus, each of these artists has succeeded
in carrying on a dialogue; and each, in his own single person
and with his own single voice, has represented a scene appa-
rently with several actors. These ventriloquists have likewise
possessed such power over their faces and figures, that, aided by
rapid changes of dress, their personal identity has scarcely beca
recognised among the range of personations.
6.

66
SIGHT AND SOUND.
་
Vocal imitations are much less striking and ingenious than the
feats of ventriloquism. Extraordinary varieties of voice may be
produced, by speaking with a more acute or grave pitch than
usual, and by different contractions of the mouth. Thus may be
imitated the grinding of cutlery on a wheel, the sawing of wood,
the frying of a pancake, the uncorking of a bottle, and the
gurgling noise in emptying its contents.

LIGHT AND HEAT.
FLASHES OF LIGHT UPON REVOLVING WHEELS.
ROVIDE a circle of card-board, six inches in di-
ameter; divide it into sixteen parts, and paint
them alternately red and black. Provide a
second circle or disc of the same size, and
paint on it, in large characters, the words "At
rest," on a white ground. Connect both discs
with the simple apparatus for causing them to turn round, used
in the construction of a toy windmill. Next fill a basin with
water, and provide a few small pieces of phosphuret of lime:
darken the room, hold the discs over the basin, and turn them
round; let the phosphuret of lime be put into the water, and
bubbles of light will rise to its surface. If they come up slowly
both discs will appear stationary during their turning round; but
when the bubbles come up quickly, the black and red spaces wil!
exhibit a dancing motion, and sometimes two black spaces will

69

70
LIGHT AND HEAT.
eem joined into one, to the exclusion of the intervening red, and
vice versa : the words on the second disc will also cross each other
in various directions, when the flashes of light interfere; and i::
both cases confusion will be excited by an impression being made
on the retina before preceding impressions have departed.
DECOMPOSITION OF LIGHT.
Sir Isaac Newton first divided a white ray of light, and found
it to consist of an assemblage of coloured rays, which formed an
image upon a wall, and in which were displayed the following
colours: red, orange, yellow, green, blue, indigo, and violet.
Sir Isaac then showed that these seven colours, when again pui
together or combined, recomposed white light. This may be
proved by painting a card wheel in circles with the above colours,
and whirling it rapidly upon a pin, when it will appear white.
Light may also be decomposed by the following beautiful ex-
periment: Form a tube about ten inches long and one inch in
diameter, of paper, one side of which is of a bright blue colour.
This may be done by wrapping the paper once round a cylinder
of wood, and securing the edges of the paper with paste. The
coloured side of the paper must be the interior of the tube. Apply
this tube to one eye, the other being closed, and on looking at the
ceiling, a circular orange spot will be seen, which is the result
of decomposition: the white light from the ceiling enters the
tube, the blue is retained, and the red and yellow rays enter the
eye, and produce the impression of orange.
SOLAR REFRACTIONS.
The theory of solar refraction may be beautifully illustrated as
follows: Put a shilling into a basin, and pour some water on it,
when the silver will be refracted through the medium; and if the
3%

LIGHT AND HEAT.
71
vessel be filled, you may withdraw to any distance from which
the surface of the water will be visible, and, by the refraction
from it, you can still observe the shilling.
INCANTATIONS.
Dissolve crystals of nitrate of copper in spirit of wine; light
the solution, and it will burn with a beautiful emerald-green
flame: pieces of sponge soaked in this spirit, lighted and sus-
pended by fine wires, produce the lambent green flames now so
common in incantation scenes: strips of flannel saturated with
it, and applied round copper swords, tridents, &c., produce, when
lighted, the flaming swords and fire-forks brandished by the
demons in such scenes: indeed, the chief consumption of nitrate
of copper is for these purposes.
TO IMITATE THE LIGHT OF THE SEA.
It is well known, that on dark, stormy nights, the sea emits a
brilliant light, the effect of which may be thus imitated: Scrape
off four drachms of the substance of putrefying fish, as whiting,
herring, or mackerel, and put it into a white glass bottle, contain-
ing two ounces of sea-water, or of pure water with two drachms
of common salt dissolved in it; set the bottle in a dark place,
and in three days a ring of light will be seen on the surface of
the liquid, and the whole, if shaken, will become luminous, and
continue so for some time. If it be set in a warm place, the
light will be brighter; if the liquid be frozen, the light will dis
appear, but will reappear on being thawed.
If more salt be added to the solution, the light will disappear,
but instantly burst forth from absolute darkness by dilution with
water. Lime-water, common water, beer, acids, even very dilute

72
LIGHT AND HEAT.
alkaline leys, as pearl-ash or soda and water, will permanently
extinguish this spontaneous light.
INSTANTANEOUS LIGHTS.
The oxygenated or chlorate matches are first dipped in melted
sulphur, and then tipped with a paste made of chlorate of potass,
sulphur, and sugar, mixed with gum-water, and coloured with
vermilion frankincense and camphor are sometimes mixed with
the composition, and the wood of the match is pencil-cedar, so
that a fragrant odour is diffused from the matches in burning.
To obtain light, a match is very lightly dipped in a bottle con-
taining a little asbestos soaked in oil of vitriol.
Lucifers consist of chips of wood tipped with a paste of chlorate
of potass mixed with sulphuret of antimony, starch, and gum
water: when a match is pinched between the folds of glass
paper and suddenly drawn out, a light is instantly obtained.
Prometheans consist of small rolls of waxed paper, in one end
of which is a minute quantity of vitriol, in a glass bulb, sealed
up, and surrounded with chlorate of potass: when the end thus
prepared is pressed so as to break the bulb, the vitriol comes in
contact with the composition, and produces light instantly.
For cigar-smokers, Prometheans are made with touch-paper:
like
this ignites from the composition, and glows without flame,
a slow match; and as the wind will not extinguish it, a dry cigar
may be readily lighted at it.
Lucifers and Prometheans must be used with caution, and
should never be carelessly left about: by letting them fall upon
a sanded floor, and being accidentally trod upon, they may take
fire, and thus do great mischief.

LIGHT AND HEAT.
73
TO COLOUR THE FLAME OF A CANDle.
Take a piece of packthread, or cotton thread; boil it in clean
water to free it from saline particles, and dry it; wet one end,
and take upon it a little of either of the salts hereafter named, in
fine powder or strong solution. Then dip the wetted end of the
thread into the cup of a burning wax candle, and apply it to the
exterior of the flame, not quite touching the luminous part, but
so as to be immersed in the cone of invisible but intensely heated
air which envelopes it. Immediately, an irregular sputtering
combustion of the wax on the thread will take place, and the
invisible cone of heat will be rendered luminous, with a pecu-
liarly coloured light, according to the salt employed.
Thus, common salt will give a bright yellow; muriate of
potass will give a beautiful pale violet; muriate of lime will give
a brick red; muriate of strontia will give a magnificent crimson;
muriate of lithia will give a red; muriate of baryta will give a
fine pale apple green; muriate of copper will give a beautiful
bluish green; and green copperas will give a white light.
TO DIVIDE THE FLAME OF A CANdle.
Provide about a foot square of brass or iron wire gauze, of the
fineness of thirty meshes to the square inch: lower the gauze
upon the flame of a wax candle, which will not rise through the
meshes, but in its place will be the inflammable smoke of the
dame: apply to this a piece of lighted paper, and it will be kin-
dled, and the candle will burn with flame above and beneath the
gauze. In this case the gauze so cools the flame as to extin-
guish it; and upon this principle is constructed the Davy Safety
Lamp, in which the light is surrounded with wire gauze.

74
LIGHT AND HEAT.
To vary this experiment, place a chip of camphor in the centre
of a piece of wire gauze about a foot square, and hold it over the
flame of a candle or lamp; when the vapour of the camphor will
burn brightly upon the lower surface of the gauze, but cannot
rise through it in consequence of its cooling power. Thus, the
camphor lies upon the gauze in an uninflamed state, though it is
sufficiently heated to yield inflammable vapour to feed a flame
beneath.
CANE WICK LAMP.
Cut a piece of cane about one inch long; set it upright in
spirit of wine, with a small portion just above the surface: the
spirit will then rise through the tube of the cane, which being
lighted, will burn as a wick.
CAMPHOR AND PLATINUM LAMP.
Place a small piece of camphor, or a few fragments, upon the
bottom of a glass, and lay upon the camphor a piece of coiled or
pressed up platinum wire, heated in the flame of a lamp; when
the platinum will glow brilliantly as long as any camphor re-
mains, and frequently light up into a flame.
XX
PLATINUM AND ETHER LAMP.
Put into a small hyacinth-glass a teaspoonful of
ether, and suspend in it, by wire, a coil of fine pla-
tinum wire, first heated in the flame of a spirit-lamp;
the wire will then glow with a red heat, and some
of it may become white-hot; in the latter case, flaine
will be produced by the ether burning.
3

LIGHT AND HEAT.
75
FLOATING LIGHT.
Cut a chip of camphor; light it, and set it on a basin of water,
when it will continue to burn and float until it is consumed.
SUBSTITUTE FOR A WAX TAPER.
Steep a loosely twisted cotton skein in a solution of nitre; dry
it, and it will readily kindle by the sparks produced from the flint
and steel. If, however, the cotton be further prepared by coating
portions of it, at regular intervals, alternately with sulphur and
white wax, and the sparks be struck upon the sulphur, it will
readily kindle, and as readily light the wax; and the flame will
endure long enough for sealing a letter.
PHOSPHORESCENT FISH.
Place a very stale fish in a dark room, and it will give out a
strong light, because of the numerous animalcula whose growth
the putrefaction has promoted.
THE LUMINOUS Spectre.
Phosphorus in its pure state should be very cautiously
handled; as, unless used very moderately, it will burn the skin.
By adding to it, however, six parts of olive oil, it may be em-
ployed with perfect safety. If every part of the face, except the
eyes and mouth, which should be kept shut while applying it, be
anointed with this mixture, it will give the party a most frightful
appearance in the dark. The eyes and mouth will seem black,
and all the other parts of the face will appear lighted with a
sickly, pale-bluish flame.

76
LIGHT AND HEAT.
เ
LIGHT, A PAINTER.
Strain a piece of paper or linen upon a wooden frame, and
sponge it over with a solution of nitrate of silver in water; place
it behind a painting upon glass, or a stained window-pane, and
the light, traversing the painting or figures, will produce a copy
of it upon the prepared paper or linen; those parts in which the
rays were least intercepted being the shadows of the picture.
EFFECT OF LIGHT UPON CRYSTALLIZATION.
Place a solution of nitre in a small basin of water, in a room
which has the light admitted only through a small hole in the
window-shutter; crystals will then form most abundantly upon
the side of the basin exposed to the aperture through which the
light enters; and often the whole mass of crystals will turn
towards it. This peculiar effect may also be seen in the crystals
in camphor glasses in druggists' windows, which are always
most copious upon the side exposed to the light.
EFFECT OF LIGHT ON PLANTS.
Shut a plant up in a room into which light is only admitted
through a small hole in the window-shutter, and set the plant out
of the direction of this light; it will in a short time turn itself,
and even grow downwards, that it may expose its leaves to the
light.
If plants be kept in darkness, they will soon become bleached;
then, if they be exposed to the sun, for three, four, or five hours,
the leaves and stalks will become as intensely green as if the
plants had been reared in the sun. Again, if a lighted lamp be
introduced into a dark room, wherein a plant has been shut up

LIGHT AND HEAT.
77
and bleached, it will become green, and direct itself towards the
lamp. If such a plant be removed from the room, exposed for
some time to the sun, and then returned to darkness, it will no
longer support the privation of light, but will fade and perish.
INSTANTANEOUS LIGHT UPON ICE.
Throw upon ice a small piece of potassium, and it will burst
into flame. In one experiment, the operator pressed the potas-
sium on the ice with a penknife, when the whole length of the
ice became ignited.
WHITE LIGHT FROM ZINC.
As a substance for light, zinc is far superior to any of the
metals. The light which it yields on burning is as bright as that
of the sun, and as white, so that the eye can scarcely endure it;
and the effect is much increased by the great quantity of silvery
smoke which reflects the fire, and thus widely increases the
sphere of illumination. Zine may be used in thin sheets, or in
filings.
BRILLIANT LIGHT FROM TWO METALS.
Wrap a small piece of platinum in a piece of tin-foil of the
same size, and expose them upon charcoal to the action of the
blow-pipe; when the union of the two metals will be accom-
panied by a rapid whirling, and by a remarkably brilliant light.
If the globule thus melted be allowed to drop into a basin of
water, it will remain for some time red-hot at the bottom of it.
BRILLIANT LIGHT FROM STEEL.
Pour into a watch-glass a little sulphuret of carbon, and light
it; hold in the flame a brush of steel wire, and it will burn
beautifully. A watch-spring may also be burnt in it.
جمع ہے

78
LIGHT AND HEAT.
LIGHTED TIN.
Place upon a piece of tinfoil a few powdered crystals of nitrate
of copper; moisten it with water; fold up the foil gently, and
wrap it in paper so as to keep out the air; lay it upon a plate,
and the tin will soon inflame.
LIGHT FROM GILT BUTTONS.
Provide a new and highly-polished gilt button, and hold it in
a strong light, closely but obliquely, over a sheet of white paper,
when it will present radiations exactly like the spokes of a car-
riage wheel; the radiations being sixteen in number, and a little
contracted in the centre opposite the eye of the button, and pre-
senting altogether a beautiful appearance.
LIGHT FROM A FLOWER.
Hold a lighted candle to the flower of the fraxinella, and it
will dart forth little flashes of light. This beautiful appearance
is caused by the essential and inflammable oil contained in small
vessels at the extremities of the flower, which vessels burn at
the approach of any inflamed body, setting at liberty the essential
oil, as that contained in orange-peel is discharged by pressure.
LIGHT FROM SUGAR.
Simply break a bit of lump sugar between the fingers in the
dark, and light will be produced at the moment of fracture.
Or, if powdered loaf sugar be put into a spoon, fused, and
kindled in the flame of a lamp, it will exhibit a fine jet of flame.

LIGHT AND HEAT.
79
LIGHT FROM THE POTATO.
Place a few potatoes in a dark cellar, and when they become
in a state of putrefaction, they will give out a vivid light suffi-
cient to read by. A few years since, an officer on guard at
Strasbourg thought the barracks were on fire, in consequence of
the light thus emitted from a cellar full of putrefying potatoes.
LIGHT FROM THE OYSTER.
Open an oyster, retain the liquor in the lower or deep shell,
and if viewed through a microscope, it will be found to contain
multitudes of small oysters, covered with shells, and swimming
nimbly about; one hundred and twenty of which in a row would
extend but one inch. Besides these young oysters, the liquor
contains a variety of animalculæ, and myriads of three distinct
species of worms, which shine in the dark like glow-worms.
Sometimes their light resembles a bluish star about the centre of
the shell, which will be beautifully luminous in a dark room.
LIGHT FROM DERBYSHIRE Spar.
Pound, coarsely, some of the dark blue or the fetid variety of
Derbyshire spar; heat it in a dark room, in a platinum spoon,
over the low flame of a spirit-lamp, and the spar will shine with
a beautiful purple tint.
Pounded swinestone, calcareous spar, and powdered quartz,
will also give out light, if strewn upon a fire-shovel which has
been heated red-hot, and has just ceased glowing.
A variety of fluor spar, found in granite in Siberia, will shine
in the dark when warmed, with a remarkably strong phospho-

80
LIGHT AND HEAT.
!
rescent light, increasing as the temperature is raised. The light
augments when the spar is plunged into water; and in boiling
water, the spar becomes so luminous that the letters of a printed
book can be seen in a dark room near the glass containing it.
Another variety of fluor spar, also found in Siberia, is of a
pale violet colour, and emits a white light merely by the heat
of the hand; and wher put into boiling water, it will give out a
green light.
LIGHT FROM OYSTER SHELLS.
Put oyster-shells into a common fire; burn them for about half
an hour; then remove them into a dark room, when many of the
shells will exhibit beautiful specimens of prismatic colours.
RINGS OF LIGHT IN CRYSTAL.
This is one of the most striking of optical exhibitions, and may
be thus simply produced: Provide a sheet of clear ice, about an
inch thick, frozen in still weather; let the light fall through the
ice upon a pane of window-glass, or a polished table, and by
placing a fragment of plate-glass near the eye as a reflector, the
most beautiful rings of light may be observed.
TO STRIKE LIGHT WITH CANE.
་
Strike a piece of ratan cane with a steel, and it contains so
much silex, or flint, that it will exhibit sparks of ligh' in the dark.
CAUSE OF TRANSPARENCY.
Moisten a piece of paper, and it will appear more transparenı
than when in its natural state; the cause of which is as follows: a
LIGHT AND HEAT.
81
piece of dry paper has its pores obstructed with finely interwoven
threads; these are broken by the liquor, which also fills the pores
as so many small tubes, and permits the light to pass through it;
whereas the dry threads had hitherto prevented its passage.
TRANSPARENCY Of gold.
All bodies are more or less transparent. Thus, though gold is
one of the densest metals, yet, if a piece of the thinnest gold leaf
be held up to a candle, the light will pass through it; and, that
it passes through the substance of the metal, and not through
cracks or holes too small to be detected by the eye, is evident
from the colour of the transmitted light, which is green.
TINT CHANGED BY THICKNESS.
Provide a piece of plain and polished smalt-blue glass, such
as sugar-basins and finger-glasses are made of. It should be of
unequal thickness. Look through this glass at a strong light, as
that from the crack of a window-shutter, in a darkened room,
and, at the thinnest part, the colour will be purely blue. As the
thickness increases, a purple tinge will come on, which will be-
come more and more ruddy; and, if the glass be very thick, the
colour will pass to a deep red.
SHADOWS MADE DARKER BY INCREASED LIGHT.
IIold a finger between a candle and the wall, and it will cast
a shadow of a certain darkness; then place another candle in
the same line with the other from the wall, and the shadow wi'l
appear doubly dark, although there will be more light in the
room than before. Then separate the candles, and place them sa
as to produce two shadows of the finger, one partly overlapping
the other, and that part will be of double darkness, as compared
with the remainder.

6

82
LIGHT AND HEAT.
MINIATURE THUNDER AND LIGHTNING.
To imitate thunder, provide a thin sheet of iron; hold it by
one corner between the finger and thumb, and allow it to hang
freely by its own weight. Then shake the hand horizontally, so
as to agitate the corner in a direction at right angles to the surface
of the sheet. Thus you may produce a great variety of sounds,
from the deep growl of distant thunder to those loud claps which
rattle in rapid succession immediately over our heads. The same
effect may be produced by sheets of tinned iron or tin-plate, and
by thin plates of mica; but the sound is shorter and more acute.
Partial flashes of lightning, aurora borealis, &c. may be beauti-
fully imitated by taking in a spoon about a dram of the seeds of
lycopodium, and throwing them against a lighted candle, all other
light being excluded from the room.
A similar effect may be produced, by laying some powdered
resin on a piece of paper, and fillipping it with the finger against
the flame of a candle.
THE BURNING GLASS.
If, when the sun shines brightly, a piece of paper be held in
the focus of the rays drawn by the burning-glass, it will take
fire. This experiment succeeds best with brown or any dark-
coloured paper: for, though the glass will collect an equal num-
ber of rays upon white as upon coloured paper, the white paper
reflects the rays instead of allowing them to enter it; hence the
white is not so soon burnt as the coloured paper, which, absorbing
more light than it reflects, soon becomes heated and takes fire.
MAGIC OF HEAT.
Melt a small quantity of the sulphate of potass and copper in
a spcon over a spirit-lamp; it will be fused at a heat just below

LIGHT AND HEAT.
83
redness, and produce a liquid of a dark-green colour. Remove
the spoon from the flame, when the liquid will become a solid of
a brilliant emerald-green colour, and so remain till its heat sinks
nearly to that of boiling water, when suddenly a commotion will
take place throughout the mass, beginning from the surface, and
oach atom, as if animated, will start up and separate itself from
the rest, till, in a few moments, the whole will become a heap
of powder.
REPULSION BY HEAT.
Provide two small pieces of glass; sprinkle a minute portion of
sulphur upon one piece, lay thin slips of wood around it, and place
upon it the other piece of glass. Move them slowly over the flame
of a lamp or candle, and the sulphur will become sublimed, and
form grey nebulous patches, which are very curious microscopic
objects. Each cluster consists of thousands of transparent glo-
bules, imitating, in miniature, the nebula which we see figured
in treatises on astronomy. By observing the largest particles, we
shall find them to be flattened on one side. Being very transpa
rent, each of them acts the part of a little lens, and forms in its
focus the image of a distant light, which can be perceived even
in the smaller globules, until it vanishes from minuteness. If they
are examined again after a certain number of hours, the smaller
globules will generally be found to have retained their transpa-
rency, while the larger ones will have become opaque, in conse
quence of the sulphur having undergone some internal sponta-
neous change. But the most remarkable circumstance attending
this experiment is, that the globules are found adhering to the
upper glass only; the reason of which is, that the upper glass is
somewhat cooler than the lower one; by which means we see
that the vapor of sulphur is very powerfully repelled by heated

34
LIGHT AND HEAT.
glass. The flattened form of the particles is owing to the force
with which they endeavour to recede from the lower glass, and
their consequent pressure against the surface of the upper one.
This experiment is considered by its originator, Mr. H. F. Talbot,
F. R. S. to be a satisfactory argument in favour of the repulsive
power of heat.
HEAT PASSING THROUGH GLASS.
The following experiment is also by Mr. Talbot :-Heat a
poker bright-red hot, and having opened a window, apply the
poker quickly very near to the outside of a pane, and the hand
to the inside; a strong heat will be felt at the instant, which will
cease as soon as the poker is withdrawn, and may be again re-
newed, and made to cease as quickly as before. Now, it is well
known, that if a piece of glass is so much warmed as to convey
the impression of heat to the hand, it will retain some part of
that heat for a minute or more; but, in this experiment, the heat
will vanish in a moment. It will not, therefore, be the heated
pane of glass that we shall feel, but heat which has come through
the glass, in a free or radiant state.
METALS UNEQUALLY INFLUENCED BY HEAT.
All metals do not conduct heat at the same rate, as may be
proved by holding in the flame of a candle at the same time, a
piece of silver wire, and a piece of platina wire, when the silve:
wire will become too hot to hold, much sooner than the platina.
Or, cut a cone of each wire, tip it with wax, and place it upon a
heated plate, (as a fire shovel,) when the wax will melt at differ-
ent periods.

LIGHT AND HEAT.
85
SPONTANEOUS COMBUSTION.
Mix a little chlorate of potass with spirit of wine in a strong
saucer; add a little sulphuric acid, and an orange vapour will
arise and burst into flame.
INEQUALITY OF HEAT IN FIRE-IRONS.
Place before a brisk fire a set of polished fire-irons, and besides
them a rough unpolished poker, such as is used in a kitchen, or
instead of a bright poker. The polished irons will remain for a
long time without becoming warmer than the temperature of the
room, because the heat radiated from the fire is all reflected, or
thrown off, by the polished surface of the irons, and none of it is
absorbed. The rough poker will, however, become speedily hot,
so as not to be used without inconvenience. Hence, the polish of
fire-irons is not merely ornamental but useful.
EXPANSION OF METAL BY HEAT.
Provide an iron rod, and fit it exactly into a metal ring; heat
the rod red-hot, and it will no longer enter the ring.
Observe an iron gate on a warm day, when it will shut with
difficulty; whereas, it will shut loosely and easily on a cold day.
EVAPORATION OF A METAL.
Rub a globule of mercury upon a silver spoon, and the two
metals will combine with a white appearance; heat the spoon care-
fully in the flame of a spirit-lamp, when the mercury will volatilize
and disappear, and the spoon may then be polished until it recovers

86
LIGHT AND HEAT.
its usual lustre: if, however, the mercury be left for some time
on the spoon, the solid texture of the silver will be destroyed
throughout, and then the silver can only be recovered by heating
it in a ladle.
A FLOATING METAL ON FIRE.
Throw a small piece of that marvellous substance potassium
into a basin of water, and it will swim upon the surface, and burn
with a beautiful light, of a red colour mixed with violet. When
moderately heated in the air, potassium takes fire, and burns with
a red light.
HEAT AND COLD FROM FLANNEL.
Put a piece of ice into a basin, which wrap up in many folds
of flannel, and the ice may be preserved for some time by the
fireside.
ICE MELTED BY AIR.
If two pieces of ice be placed in a warm room, one of them
may be made to melt much sooner than the other, by blowing on
It with a pair of bellows.
TO HOLD A HOT TEA-KETTLE ON THE HAND.
Be sure that the bottom of the kettle is well covered with soot;
when the water in it boils, remove it from the fire, and place it
upon the palm of the hand; no inconvenience will be felt, as the
soot will prevent the heat being transmitted, from the water within
and the heated metal, to the hand.

LIGHT AND HEAT.
87
INCOMBUSTIBLE LINEN.
Make a strong solution of borax in water, and steep in it linen,
muslin, or any article of clothing; when dry, they cannot easily
be inflamed.
THE BURNING CIRCLE.
Light a stick, and whirl it round with a rapid motion, when its
burning end will produce a complete circle of light, although that
end can only be in one part of the circle at the same instant.
This is caused by the duration of the impression of light upon
the retina. Another example is, that during the twinkling of the
eye we never lose sight of the object we are viewing.
WATER OF DIFFERENT TEMPERATURES IN THE SAME VESsel.
Of heat and cold, as of wit and madness, it may be said that
“thin partitions do their bounds divide." Thus, paint one-half of
the surface of a tin-pot with a mixture of lamp-black and size, and
leave the other half, or side, bright; fill the vessel with boiling
water, and by dipping a thermometer, or even the finger, into it
shortly after, it will be found to cool much more rapidly upon the
blackened than upon the bright side of the pot.
WARMTH OF DIFFERENT COLOURS.
Place upon the surface of snow, as upon the window-sill, in
bright daylight or sunshine, pieces of cloth of the same size and
quality, but of different colours, black, blue, green, yellow, and
white: the black cloth will soon melt the snow beneath it, and
sink downwards; next the blue, and then the green; the yellow
but slightly; but the snow beneath the white cloth will be as firm
as at first.

88
LIGHT AND HEAT.
SUBSTITUTE FOR FIKE.
Put into a cup a lump of quick-lime, fresh from the kiln, pour
water upon it; and the heat will be very great. A pailful of
quick-lime, if dipped in water, and shut closely into a box con-
structed for the purpose, will give out sufficient heat to warm a
room, even in very cold weather.

GAS AND STEAM.
LAUGHING GAS.
HE above fanciful appellation has been given to
nitrous oxide, from the very agreeable sensa-
tions excited by inhaling it. In its pure state
it destroys animal life, but loses this noxious
quality when inhaled, because it becomes
blended with the atmospheric air which it
meets in the lungs. This gas is made by putting three or four
drachms of nitrate of ammonia, in crystals, into a small glass re-
tort, which being held over a spirit-lamp, the crystals will melt,
and the gas be evolved.
Having thus produced the gas, it is to be passed into a large
bladder having a stop-cock; and when you are desirous of exhibit-
mg its effects, you cause the person who wishes to experience
them, first to exhale the atmospheric air from the lungs, and then
91

92
GAS AND STEAM.
quickly placing the cock in his mouth, you turn it, and bid him
inhale the gas. Immediately, a sense of extraordinary cheerful-
ness, fanciful flights of imagination, an uncontrollable propensity
to laughter, and a consciousness of being capable of great muscular
exertion, supervene. It does not operate in exactly the same
manner on all persons; but in most cases the sensations are agree-
able, and have this important difference from those produced by
wine or spirituous liquors, that they are not succeeded by any de-
pression of mind.
THE LUMINOUS WAND.
Cover a long slip of wood, halfway, with sulphur, by immer-
sion while in a melted state. Having prepared a jar of nitrous
oxide gas, as in preceding experiment, light the sulphur, and
plunge the wand into the jar. The gas will extinguish the flame.
Withdraw the wand, light it again, and when the flame is very
brilliant, immerse it again in the jar. It will this time burn with
great splendour, and of a beautiful red colour.
TO MAKE CARBONIC ACID GAS.
Put about an ounce of marble in small lumps, into an eight
ounce phial, with about an equal quantity of water; pour in a
little muriatic acid, and carbonic acid gas will be evolved.
CARBONIC ACID GAS IN WINE OR BEER VESSELS.
The apparently empty or upper part of vessels in which wine
or beer is working, is filled with this deleterious gas; for its
great weight prevents its ascent from the fermenting liquid. A
variety of striking but simple experiments may be made with the

GAS AND STEAM.
93
gas in this condition. Lighted paper, or a candle dipped into it,
will be immediately extinguished; and the smoke remaining in
the carbonic acid gas will render its surface visible, which may
be thrown into waves by agitation, like water. In consequence
of the great weight of the carbonic acid gas, it may be taken
from a vat of fermenting liquor, in a jug or bottle, and in the latter,
if well corked, it may be conveyed to great distances; or the gas
may be drawn out of a vessel by a cock, like a liquid.
TO EXTINGUISH FLAME WITH GAS.
The effects produced by pouring carbonic acid gas from one
vessel to another, have a very singular appearance: if a lighted
candle be placed in a jar, and the gas be poured upon it, the flame
will be extinguished in a few seconds, though the eye is inca-
pable of distinguishing that any thing is poured out.
EFFECT OF HYDROGEN ON THE VOICE.
Make a hole through a wine cork of sufficient size to admit a
smaller cork; through which make another hole, and fix it into
the larger one. Tie the corks thus fixed into the neck of a
bullock's bladder, previously exhausted of air; let a tube from
a bottle generating hydrogen pass very tightly through the
aperture in the small cork, and the gas will distend and fill the
bladder. The instant it is full, withdraw the inner cork, and
either prevent the escape of the gas by means of the thumb, or
cork it closely, till the operator is ready to breathe the gas; to
do which, he should put the open cork into his mouth, and take
one inspiration, when, on immediately speaking, his voice will
be remarkably shrill. The effect will pass off in a few seconds

94
GAS AND STEAM.
MAGIC TAPER.
Provide a piece of copper wire, about ten inches long, and fix
at one end of it a piece of wax taper: take a pint bottle of hydro-
gen, and place the mouth downwards; light the taper, introduce
it into the bottle, and the gas will take fire, and burn slowly
towards the mouth, where it is in contact with the air. If, how-
ever, the taper be passed up into the bottle, it will be extin-
guished; but, on gently withdrawing it through the burning
hydrogen, the wick will be rekindled. This may be done several
times in succession with the same portion of gas.
THE GAS CANDLE.
Provide a strong glass bottle which will contain about eight
ounces, or half a pint, into which put a few pieces
of zinc; then mix half an ounce of sulphuric acid
with four ounces of water, and pour it into the bottle
upon the zinc; fit the mouth closely with a cork.
through which put a metal tube which ends upward
in a fine opening: the mixture in the bottle will soon
effervesce, and hydrogen gas will rise through the
tube. When it has escaped for about a minute, ap-
ply a lighted paper to the tube, and the gas will burn
like a candle, but with a pale flame. Its brightness
may be increased to brilliance, by sifting over it a
small quantity of magnesia.
GAS BUBBLES.
Provide a bladder, fill it with hydrogen gas, to be made as for
the last experiment, and fit the end of a tobacco-pipe closely
into the bladder; dip the bowl of the pipe into soap and water, and,
GAS AND STEAM.
95
by pressing the bladder, soap-bubbles will be formed, filled with
hydrogen gas; which bubbles, or balloons, will rise in the air, and
keep there for some time.
GAS-LIGHT IN THE DAY-TIME.
Light a stream of hydrogen gas, and it will be scarcely visible
in the daylight; but place in it a small coil of platinum wire, or
project a little oxide of zine through the flame, and it will becoine
very luminous.
MINIATURE BALLOONS.
One of the simplest and most beautiful experiments in aërosta-
tion, is to take a turkey's maw, or stomach, properly prepared, and
to fill it either with pure hydrogen gas, or the carburetted hy-
drogen produced from coal. If the balloon be then allowed to
escape in the open air, it will ascend rapidly in the atmosphere :
but the best method of showing the experiment, is to let the
balloon off a high staircase, and observe it ascend to the cupola
or light, where it will remain near the highest point till the
escape of the gas allow it to descend. The prepared maw for
this balloon may be purchased of any optician.
MINIATURE GAS-LIGHTING.
Bicarburetted hydrogen is the principal constituent of the gas
burned in the streets: it is procured from coal, and the process
may readily be performed on a small scale. Put about two ounces
of pounded coal into an earthen retort, and fix a glass tube into
the neck, terminating in an aperture of one-fifth of an inch in
diameter; heat the retort red-hot, and apply the flame of a taper
96
GAS AND STEAM.
to the orifice of the tube, when the gas will burn with a bright
white light, very different from that afforded by the combustion
of hydrogen; a circumstance owing to the presence of particles
of carbon in the carburet, which being intensely ignited are highly
luminous.
It is no less strange than true, that bicarburetted hydrogen,
the substance which we so largely consume to illuminate our
towns, is ether when united to water in one proportion, and
spirit when combined with it in another; a fluid which constitutes
the strength of all wines, beer and fermented liquors.
MUSICAL GAS.
Into a half-pint glass bottle, put some zinc, granulated by
being melted in a ladle, and then poured gradually into water
Add some sulphuric acid, diluted with eight parts
by weight of water. Then pass a glass tube with
a capillary bore through a cork, which you have
previously made to closely fit the bottle, and cork
the bottle well. In a short time the atmospheric
air will be expelled, and hydrogen gas will rise
through the tube; you then apply a light, and the gas
will become ignited. If you now hold another glass
tube, about eighteen or twenty inches long and sufficiently
wide to enclose the other tube very loosely, over the
flame, (see engraving,) the little speck of flame wil
sport along the larger tube, and musical sounds will be
produced, which may be varied by using other tubes of
different dimensions, and made of different materials; the wide
tubes forming the lower, and the narrow tubes the upper notes.




GAS AND STEAM.
97
MINIATURE WILL-O'-THE-WISP.
Put a small piece or two of the phosphuret of lime into a saucer
of water, when bubbles of phosphuretted hydrogen gas will rise
to the surface, explode into flame, and cause a white smoke; repre-
senting, on a small scale, the ignis fatuus, or will-o'-the-wisp,
as seen over marshy ground, or stagnant pools of water.
PHOSPHORIC ILLUMINATION.
A light so brilliant that the eye can scarcely bear to contem-
plate it, is produced by the immersion of phosphorus in oxygen
gas. To perform this experiment, you place a piece of phosphorus
in a copper cup, of the circumference of a sixpence, which is
fastened to a thick piece of iron wire, attached to a cork which fits
a bottle (as in the foregoing experiment) filled with oxygen gas.
Set fire to the phosphorus, and quickly plunge it into the bottle;
when the splendour of the combustion will be surpassingly beau-
tiful.
It is necessary to observe, that the heat is so excessive, that if
the piece of phosphorus in this experiment be larger than a small
pea, there will be great danger of breaking the bottle.
COMBUSTION OF IRON IN OXYGEN CAS.
Twist a piece of fine iron wire, such as is used by piano-forte
makers, round a cylindrically-shaped piece of wood or metal, which
will give it a spiral form; or a broken watch-spring, which may be
bought for a trifle of the watchmakers, will answer the same
purpose. Fasten round one end of it some waxed cotton thread or
twine, and attach the other end to a cork, which fits a glass jar or
bottle, that will hold a quart, filled with oxygen gas. Having
made the wire red-hot by setting light to the thread, plunge it into
9

98
GAS AND STEAM.
the bottle. Do not cork the bottle, but let the cork merely lie or
the mouth, and to prevent its being burned, a small piece of lead
should be fastened to the bottom of it. The iron will instantly
begin to burn with great brilliancy, throwing out luminous scin-
tillations.
To prevent the bottle from being broken by the sparks, a small
quantity of sand should be previously poured into it.
GLOWWORM IN OXYGEN GAS.
If a glowworm be placed in a jar of oxygen gas, in a dark room,
it will shine with a brilliancy far surpassing that which it ex-
hibits in atmospheric air.
LUMINOUS CHARCOAL.
Attach a small piece of charcoal to the end of a copper wire;
make it red-hot, and immerse it in a jar of oxygen gas. The
charcoal will burn with great brilliance, throwing out splendid
scintillations. The bark of the wood converted into charcoal must
be selected, otherwise there will be no scintillations.
BRILLIANT COMBUSTION IN OXYGEN.
Place in a bottle of oxygen gas a lighted taper, and it will burn
with a flame of increased brilliancy.
Extinguish the taper immediately; put it into the same or
another bottle of oxygen, and it will be again lighted provided a
spark remain on the wick.
Bend a piece of iron wire in a spital form, and tie on to one
end some cotton or flax; sprinkle some flour of sulphur on it, set
it on fire, dip it into a bottle of oxygen gas, and beautiful corus
rations will be thrown off the wire.

GAS AND STEAM.
99
FLAME FROM COLD METALS.
Provide a bottle of the gas chlorine, which may be purchased
of any operative chemist, and with it you may exhibit some
brilliant experiments.
For example, reduce a small piece of the metal antimony to a
very fine powder in a mortar; place some of this on a bent card,
then loosen the stopper of the bottle of chlorine, and throw in the
antimony, it will take fire spontaneously, and burn with much
splendour; thus exhibiting a cold metal spontaneously bursting
into flame.
If, however, a lump of antimony be dropped into the chlorine,
there will be no spontaneous combustion, nor.immediate change :
but, in the course of time, the antimony will become incrusted
with a white powder, and no chlorine will be found in the bottle.
Or, provide copper in fine leaves, known as "Dutch metal;'
slightly breathe on one end of a glass rod, about ten inches long,
and cause one or two leaves of the metal to adhere to the damp
end; then open a bottle of chlorine, quickly plunge in the leaves,
when they will instantly take fire, and burn with a fine red light.
leaving in the bottle a greenish-yellow solid substance.
A small lump of copper, or "Dutch metal," will not burn as
above, but will be slowly acted upon, like the antimony.
Immerse gold leaf in a jar of chlorine gas, and combustion with
a beautiful green flame will take place.
PHOSPHORUS IN CHLORINE.
Put into a deflagrating spoon about four grains of phosphorus,
and let it down into a bottle of chlorine, when the phosphorus
will ignite instantaneously.

100
GAS AND STEAM.
Or, fold a slip of blotting-paper into a match five inches long;
dip it into oil of turpentine, drain it an instant, drop it into another
bottle of chlorine, when it will burst into flame, and deposit much
carbon.
;
CAOUTCHOUC BALLOONS.
Put a little ether into a bottle of caoutchouc, close it tightly,
soak it in hot water, and it will become inflated to a considerable
size. These globes may be made so thin as to be transparent.
A piece of caoutchouc, the size of a walnut, has thus been
extended to a ball fifteen inches in diameter; and a few years
since, a caoutchouc "balloon, thus made, escaped from Phila
delphia, and was found 130 miles from that city.
TO INCREASE THE LIGHT OF COAL GAS.
Lay a piece of wire-gauze upon the glass chimney of a com-
mon argand gas burner, when the flame will be enlarged to twice
its former dimensions, and its light fully doubled. If the experi-
ment be made with a common argand oil-lamp, the flame will be
often enlarged, but so discoloured as to yield less light
GAS FROM INDIAN RUBBER.
Put caoutchoucine, or the spirit distilled from caoutchouc or
Indian rubber, into a phial, little more than sufficient to cover the
bottom, and the remainder of the phial will be filled with a heavy
vapour; pour this off the spirit into another phial, apply to it a
piece of lighted paper, and the vapour will burn with a brilliant
flame
GAS AND STEAM.
101
;

ETHER GAS.
Let fall a few drops of ether into a large drinking-glass, and
cover it with a plate for a few minutes; during this time the glass
will be filled with vapour from the ether, so that, on removing
the plate, and applying a piece of lighted paper at the mouth of
the glass, the invisible vapour will take fire; thus proving how
readily a volatile fluid, such as ether, combines with the air.
MAGIC VAPOUR.
Provide a glass tube, about three feet long and half an inch
in diameter, nearly fill it with water, upon the surface of which
pour a little coloured ether; then close the open end of the tube
carefully with the palm of the hand, invert it in a basin of water,
and rest the tube against the wall: the ether will rise through
the water to the upper end of the tube; pour a little hot water
over the tube and it will soon cause the ether to boil within,
and its vapour may thus be made to drive nearly all the water
out of the tube into the basin; if, however, you then cool the
tube by pouring cold water over it, the vaporized ether will again
become a liquid, and float upon the water as before.
GAS FROM THE UNION OF METALS.
Nearly fill a wine glass with diluted sulphuric acid, and place
in it a wire of silver and another of zinc, taking care that they
do not touch each other; when the zinc will be changed by the
acid, but the silver will remain inert. But, cause the upper ends
of the wires to touch each other, and a stream of gas will issue
from them

102
GAS AND STEAM.
INVISIBLE GASES MADE VISIBLE.
Pour a little sulphuric acid upon some common salt in a saucer,
Into another saucer put a mixture of about two parts of quick-
lime and one of salammoniac, both in powder, adding to these a
very small quantity of boiling water. Each saucer apart will
yield an invisible gas: but the moment they are brought closely
together, very visible vapours will be the result.
LIGHT UNDER WATER.
Put into an eau de Cologne bottle two drachms of chlorate of
potass, and upon that salt about a dozen chips of phosphorus,
and fill up the bottle with cold water: provide a glass tube which
will reach to the potass, through which pour half an ounce, by
measure, of strong sulphuric acid, when a gas will instantly rise,
give to the liquid a deep yellow colour, and inflame the phospho-
rus in a striking manner
GASEOUS EVANESCENCE.
Add a tea-spoonful of fuming nitric acid to two tea-spoonfuls
of spirit of wine, in a cup, and the liquids will presently disap-
pear in the form of vapour.
VIOLET-COLOURED GAS.
Put three or four grains of iodine into a small clean Florence
cil flask, and close it with a cork. Warm the flask gently over
a candle, or before the fire, and the iodine will become converted
into a beautiful violet-coloured vapour, which condenses again
into brilliant metallic crystals, when the flask is suffered to be-
come cold. The experiment may be repeated with the same flask
for any number of times.

GAS AND STEAM.
103
늑
​Or, upon a small sheet of any metal, place a few grains of
Iodine, and add a chip of dry phosphorus; when the latter will
inflame, and the iodine pass off in a violet vapour.
TO COLLECT GASES.
Provide a moistened bladder, tie a piece of tobacco-pipe firmly
mto its neck, twisting it so as to expel the common air. This
may be fitted to any vessel by means of the pipe, which may be
fixed in the cork of a bottle containing gas, and closely luted
with putty or clay, or powdered lime and white of egg.
THE DEFLAGRATING SPOON.
To introduce substances into gasses, a deflagrating spoon is
required. It may be bought for half-a-crown; but an instrument
equally useful may be made as follows: cut a piece of sheet cop-
per somewhat larger than a sixpence, and bend it into a shallow,
cup-like, form; twist four fine brass wires, each nine inches
long, tightly together, leaving an inch at the extremities, which
must be spread to hold the copper, as the strings or chains of a
balance support the scale-pan. To complete it, take a piece of
sheet lead, the size of a penny-piece; make a hole through the
centre large enough to admit the twisted wires, but at the same
time retaining them firmly in their position: then, if the wires
will not rest in the lead by adhesion, the hole may be enlarged,
the wire put in, and secured by a piece of solder. The spoon
being then let down through the mouth of a bottle, the circular
piece of lead rests upon and stops the mouth.
WHAT IS STEAM?
Invert a glass goblet over a cup of hot water, when the vapour
or steam will be seen to rise in it, to condense upon the cold glass,

104
GAS AND STEAM.
and then to run down its inside; thus showing that steam is va
porized water, and will, when the heat is abstracted from it.
become water again.
THE STEAM-ENGINE SIMPLIFIED.
The steam-engine is much more intelligible than its name at
first suggests. That part by which the machinery is set in mo-
tion, may be compared to a syringe or squirt, the rod of which
is driven up and down by steam admitted above and below, one
end of the rod being connected with the machinery to be worked.
Thus, the piston is made to turn the wheels of a railway carriage,
or the paddles of a steam-boat.
The elastic force of the steam, or vapour, by which the rod is
driven up and down, may be explained by this simple experi-
ment. Provide a test tube, put into it a little water, hold the
thumb over the mouth, and cause the water to boil by holding it
over a spirit-lamp. There will soon be felt a pressure against
the thumb; when, if the tube be dipped into cold water, the
thumb being still held at the end, a kind of suction will be felt
against it. Now, the tube resembles the cylinder of the steam-
engine, in which the piston moves up and down; to imitate
which, wrap a little tow about the end of a piece of stick, grease
it with tallow, and fit it moderately tight into the tube; when
the water is made to boil, the stick will be raised, and when the
end is dipped into cold water, the stick will fall as the piston
rises and falls in the cylinder.
TO BOIL WATER BY STEAM.
Nearly fill a retort with water, and boil it over a lamp; then
immerse the beak into a tumbler of cold water, and the disengaged

GAS AND STEAM.
105
steam will raise the water to the boiling temperature, though it
be at a distance from the source of heat.
DISTILLATION IN MINIATURE.
Fill a kettle with water, and set it on the fire; fix a long metal
tube to the spout, and as soon as the water boils, the steam will
pass into the tube, and being condensed into water, will drip at
the other end of the tube, which corresponds with the worm in
the still; it soon, however, becomes as hot as the water, and
then the condensation will cease: but were the tube passed
through cold water, as is the worm of the still in a tub, the
whole water in the kettle might be boiled away, but reproduced
in the tube, and collected from it without the loss of a drop.
This simple process resembles distillation, and the kettle and
tube the still.
CANDLE OR FIRE CRACKERS.
Provide a number of little glass bulbs, put into each a drop of
water, and seal it up; if it then be put into the flame of a candle,
or the fire, the heat will soon convert the water into steam, and
cause the bulb to burst with a loud report.
STEAM FROM THE KETTLE.
Observe attentively the steam that escapes from the spout of
a tea-kettle at the moment the water begins to boil, and you will
perceive the steam to be condensed in minute drops on the inte
rior edges of the spout. A few moments afterwards, provided
the water continue to boil, the spout of the kettle will become
perfectly dry; and, at the same time, close to it, there will be
a certain space, say from one-half to three-fourths of an inch,

106
GAS AND STEAM.
throughout which not a particle of steam will be perceptible.
This may be easily explained. When the water in the kettle
begins to boil, the spout being cooler than the steam issuing from
it, a portion of that steam is condensed. As more steam escapes,
the metal soon becomes as hot as the steam, will no longer con-
dense it, and the spout becomes dry. By this time the steam
will displace the air immediately opposite the orifice of the
spout, whence it will issue dry and invisible. As it is cooled
by mixing with the surrounding air, it assumes its well-known
cloudy appearance.
!
↓

FIRE, WATER, AND AIR.
~&1&am
COLOURED FLAMES.
VARIETY of rays of light is exhibited by co-
loured flames, which are not to be seen in
white light. Thus pure hydrogen gas will
burn with a blue flame, in which many of the
rays of light are wanting. The flame of an
oil-lamp contains most of the rays which are
wanting in sunlight. Alcohol, mixed with water, when heated
or burned, affords a flame with no other rays but yellow. The
following salts, if finely powdered, and introduced into the exte-
rior flame of a candle, or into the wick of a spirit-lamp, wil'
communicate to flame their peculiar colours :
Muriate of soda, (common salt)
Mauriate of potash
Muriate of lime
Muriate of strontia.
Yellow.
Pale violet.
Brick red.
Bright crimson,
109
3
3

110
FIRE, WATER, AND AIR.
Muriate of lithia.
Muriate of baryta
Muriate of copper
Borax.
Red.
Pale apple-green.
Bluish-green.
Green.
•
Or, either of the above salts may be mixed with spirit of wine,
as directed for Red Fire.
YELLOW FLAME.
Burn spirits of wine on common table salt or saltpetre.
ORANGE-COLOURED FLAME.
Burn spirit of wine on chloride of calcium, a substance ob-
tained by evaporating muriate of lime to dryness.
EMERALD GREEN FLAME.
Burn spirit of wine on a little powdered nitrate of copper
INSTANTANEOUS FLAME.
Heat together potassium and sulphur, and they will instantly
burn very vividly.
Heat a little nitre in a fire-shovel, sprinkle on it flour of sul-
phur, and it will instantly burn. If iron filings be thrown upon
red-hot nitre, they will detonate and burn.
Pound, separately, equal parts of chlorate of potash and lump
sugar; mix them, and put upon a plate a small quantity; dip a
thread into sulphuric acid, touch the powder with it, and it will
burst into a brilliant flame.

FIRE, WATER, AND AIR.
111
Or, put a few grains of chlorate of potash into a table-spoonful
of spirit of wine; add one or two drops of sulphuric acid, and the
whole will burst into a beautiful flame.
THE CUP OF FLAME.
Put a little newly calcined magnesia into a tea-cup upon the
hearth or hob, and suddenly pour in as much concentrated sul-
phuric acid as will cover the magnesia; in an instant, sparks
will be thrown out, and the mixture will become completely ig-
nited. To prevent accidents, the phial containing the sulphuric
acid should be tied to the end of a long stick.
TO COOL FLAME BY METAL.
Encircle the very small flame of a lamp with a cold iron wire,
which will instantly cause its extinction.
PROOF THAT FLAME IS HOLLOW.
Pour some spirit of wine into a watch-glass, and inflame it;
place a straw across this flame, and it will only be ignited and
charred at the outer edge; the middle of the straw will be un-
injured, for there is no ignited matter in the centre of the flame.
Or, introduce into the middle of the flame one end of a glass
tube, when the vapour will rise through it, and may be lighted
at the other end of the tube.
CAMPHOR SUBLIMED BY Flame.
Set a metallic plate over the flame of a spirit-lamp; place upor.
it a small portion of camphor under a glass funnel; and the cam-
phor will be beautifully sublimed by the heat of the lamp, in an
efflorescent crust on the sides of the funnel.

112
FIRE, WATER, AND AIR.
GREEN FIRE.
A beautiful green fire may be thus made. Take of flour of
sulphur, thirteen parts; nitrate of baryta, seventy-seven; oxy.
muriate of potassa, five; metallic arsenic, two; and charcoal,
three. Let the nitrate of baryta be well dried and powdered;
then add to it the other ingredients, all finely pulverized and
exceedingly well mixed and rubbed together. Place a portion
of the composition in a small tin pan, having a polished reflector
fitted to one side, and set light to it; when a splendid green
illumination will be the result. By adding a little calamine, it
will burn more slowly.
BRILLIANT RED FIRE.
Weigh five ounces of dry nitrate of strontia, one ounce and a
half of finely-powdered sulphur, five drachms of chlorate of
potash, and four drachms of sulphuret of antimony. Powder the
chlorate of potash and the sulphuret of antimony separately in a
mortar, and mix them on paper; after which, add them to the
other ingredients, previously powdered and mixed. No other
kind of mixture than rubbing together on paper is required. For
use, mix with a portion of the powder a small quantity of spirit
of wine in a tin pan resembling a cheese-toaster, light the mix-
ture, and it will shed a rich crimson hue: when the fire burns
dim and badly, a very small quantity of finely-powdered charcoal
or lampblack will revive it.
PURPLE FIRE.
Dissolve chloride of lithium in spirit of wine; and wher
lighted, it will burn with a purplish flame

FIRE, WATER, AND AIR.
113
SILVER Fire.
Place upon a piece of burning charcoal a morsel of the dried
crystals of nitrate of silver, (not the lunar caustic,) and it will
immediately throw out the most beautiful sparks that can be
imagined, whilst the surface of the charcoal will be coated with
silver.
THE FIERY FOUNTAIN.
Put into a glass tumbler fifteen grains of finely granulated
zinc, and six grains of phosphorus cut into very small pieces,
beneath water. Mix in another glass, gradually, a drachm of sul-
phuric acid with two drachms of water. Remove both glasses into
a dark room, and there pour the diluted acid over the zinc and
phosphorus in the glass; in a short time, beautiful jets of bluish
flame will dart from all parts of the surface of the mixture; it will
become quite luminous, and beautifully luminous smoke will rise
in a column from the glass; thus representing a fountain of fire.
THE ARTIFICIAL CONFLAGRATION.
Put into a small narrow-necked earthen bottle, half an ounce
of muriate of ammonia, an ounce of camphor, and two ounces of
highly rectified spirit of wine; set fire to it, and the room will
seem to be in flames. This experiment should be performed in
the dark.
INFLAMMABLE POwder.
Heat a small portion of the gray powder of aluminum, and it
will ignite, inflame, and burn with great rapidity. Or, blow a
little of this powder into the flame of a candle, and it will produce
a small shower of sparks, brilliant as those from iron filings.
10

114
FIRE, WATER, AND AIR.
COMBUSTION WITHOUT FLAME.
Light a small green wax taper; in a minute or two blow out
the flame, and the wick will continue red-hot for many hours; and,
if the taper were regularly and carefully uncoiled, and the room
kept free from currents of air, the wick would burn on in this
manner until the whole taper were consumed. The same effect is
not produced when the colour of the wax is red, on which account
red wax-tapers are safer than green; for the latter, if left imper-
fectly extinguished, may set fire to any object with which they
are in contact.
COMBUSTION OF THREE METALS.
Mix a grain or two of potassium with an equal quantity of
sodium; add a globule of quicksilver, and the three metals when
shaken, will take fire and burn vividly.
TO MAKE PAPER INCOMBUSTIBLE.
Take a smooth cylindrical piece of metal, about one inch and
a half in diameter and eight inches long; wrap very closely round
it a piece of clean writing paper, then hold the paper in the flame
of a spirit-lamp, and it will not take fire; but it may be held there
for a considerable time, without being in the least affected by the
flame.
SINGULAR EXPERIMENTS WITH GLASS TUBES.
A most remarkable phenomenon is produced in glass tubes,
under certain circumstances. When these are laid before a fire
in a horizontal position, having their extremities properly sup-
ported, they acquire a rotatory motion round their axis, and also a

FIRE, WATER, AND AIR.
115
progressive motion towards the fire, even when their supports are
declining from the fire, so that the tube will move a little way
upwards to the fire. When the progressive motion of the tubes
towards the fire is stopped by any obstacle, their rotation still
continues. When the tubes are placed in a nearly upright
posture, leaning to the right hand, the motion will be from east
to west; but if they lean to the left hand, the motion will be
from west to east; and the nearer they are placed to the upright
posture, the less will the motion be either way. If the tube be
placed horizontally on a glass plane, the fragment, for instance,
of coach window glass, instead of moving towards the fire, it will
move from it, and about its axis in a contrary direction to what it
had done before; nay, it will recede from the fire, and move a
little upwards, when the plane inclines towards the fire. These
experiments succeed best with tubes about twenty or twenty-two
inches long, which have in each end a pretty strong pin fixed in
cork for their axis.
AQUATIC BOMB.
Drop about two grains of potassium into a saucer of cold water.
It will instantly burst into flame, with a slight explosion, burn
vividly on the surface, and dart about with great violence in the
form of a red-hot fireball.
HEAT NOT TO BE ESTIMATED BY TOUCH.
Hold both hands in water which causes the thermometer to rise
to ninety degrees, and when the liquid has become still, you will
he insensible of the heat, and that the hand is touching any thing.
Then remove one hand to water that causes the thermometer to
rise to 200 degrees, and the other in water at thirty-two degrees.

116
FIRE, WATER, AND AIR.
After holding the hands thus for some time, remove them, and
again immerse them in the water at ninety degrees; when you
will feel warmth in one hand and cold in the other. To the hand
which had been immersed in the water at thirty-two degrees, the
water at ninety degrees will feel hot; and to the hand which had
been immersed in the water at 200 degrees, the water at ninety
degrees will feel cold. If, therefore, the touch in this case be
trusted, the same water will be judged to be hot and cold at the
same time.
FLAME UPON WATER.
Fill a wine-glass with cold water, pour lightly upon its surface
a little ether; light it by a slip of paper, and it will burn for some
time.
ROSE-COLOURED FLAME ON WATER.
Drop a globule of potassium, about the size of a large pea,
into a small cup nearly full of water, containing a drop or two of
strong nitric acid; the moment that the metal touches the liquid,
it will float upon its surface, enveloped with a beautiful rose-
coloured flame, and entirely dissolve.
TO SET A MIXTURE ON FIRE WITH WATER.
Pour into a saucer a little sulphuric acid, and place upon it a
chip of sodium, which will float and remain uninflamed; but the
addition of a drop of water will set it on fire.
WAVES OF FIRE ON WATER.
On a lump of refined sugar let fall a few drops of phos.
phuretted ether, and put the sugar into a glass of warm water

FIRE, WATER, AND AIR.
117
which will instantly appear on fire at the surface, and in waves,
if gently blown with the breath. This experiment should be
exhibited in the dark.
EXPLOSION IN WAter.
Throw very small pieces of phosphuret of potassium into a
basin of water, and they will produce separate explosions. The
same substance will also burn with great brilliancy, when exposed
to air.
WATER FROM THE FLAME OF A CANDLE.
Hold a cold and dry bell-glass over a lighted candle, and
watery vapour will be directly condensed on the cold surface;
then close the mouth of the glass with a card or plate, and turn
the mouth uppermost; remove the card, quickly pour in a little
lime-water, a perfectly clear liquid, and it will instantly become
turbid and milky, upon meeting with the contents of the glass,
iust as lime-water changes when dropped into a glass of water.
FORMATION OF WATER BY FIRE.
Put into a tea-cup a little spirit of wine, set it on fire, and in-
vert a large bell-glass over it. In a short time, a thick watery
vapour will be seen upon the inside of the bell, which may be
collected by a dry sponge.
BOILING UPON COLD WATER.
Provide a tall glass jar, filled with cold water, and place in it
an air thermometer, which will nearly reach the surface; upon
the surface place a small copper basin, into which put a little live
enarcoal; the surface of the water will soon be made to boil.

118
FIRE, WATER, AND AIR.
while the thermometer will show that the water beneath is scarcely
warmer than it was at first.
CURRENTS IN BOILING WATER.
Fill a large glass tube with water, and throw into it a few
particles of bruised amber; then hold the tube by a handle for
the purpose, upright in the flame of a lamp, and as the water
becomes warm, it will be seen that currents, carrying with them
the pieces of amber, will begin to ascend in the centre, and to
descend towards the circumference of the tube. These currents
will soon become rapid in their motions, and continue till the
water boils.
HOT WATER LIGHTER THAN COLD.
Pour into a glass tube, about ten inches long, and one inch in
diameter, a little water coloured with pink or other dye; then fill
it up gradually and carefully with colourless water, so as not to
mix them; apply heat at the bottom of the tube, and the coloured
water will ascend and be diffused throughout the whole.
The circulation of warm water may be very pleasingly shown
by heating water in a tube similar to the foregoing; the water
having diffused in it some particles of amber, or other light sub-
stance not soluble in water.
EXPANSION OF WATER BY COLD.
All fluids except water diminish in bulk till they freeze. Thus,
fill a large thermometer tube with water, say of the temperature of
eighty degrees, and then plunge the bulb into pounded ice and salt,
or any other freezing mixture : the water will go on shrinking in the
tube till it has attained the temperature of about forty degrees; and
then, instead of continuing to contract till it freezes, (as is the case

FIRE, WATER, AND AIR.
119
with all other liquids,) it will be seen slowly to expand and con·
sequently to rise in the tube until it congeals. In this case, the
expansion below forty degrees and above forty degrees, seems
to be equal: so that the water will be of the same bulk at thirty-
two degrees as at forty-eight degrees, that is, at eight degrees
above or below forty degrees.
THE CUP OF TANTALUS.
This pretty toy may be purchased at any optician's for two or
three shillings. It consists of a cup, in which is placed a standing
human figure concealing a syphon, or bent tube with one end
longer than the other. This rises in one leg of the figure to
reach the chin, and descends through the other leg through the
bottom of the cup to a reservoir beneath. If you pour water in
the cup it will rise in the shorter leg by its upward pressure,
driving out the air before it through the longer leg; and when
the cup is filled above the bend of the syphon, (that is, level with
the chin of the figure,) the pressure of the water will force it
over into the longer leg of the syphon, and the cup will be
emptied the toy thus imitating Tantalus of mythology, who is
represented by the poets as punished in Erebus with an insatia-
ble thirst, and placed up to the chin in a pool of water, which,
however, flowed away as soon as he attempted to taste it.
IMITATIVE DIVING BELL.
Nearly fill a basin with water, and put upon its surface a float-
ing lighted wick or taper; over this place a glass goblet, mouth
downwards, and push it into the water, which will be kept out,
whilst the wick will continue to float and burn under the goblet;
thus imitating the living inmate of a diving bell, which is merely
a larger goblet, with a man instead of a candle within it.

120
FIRE, WATER, AND AIR.
THE WATERPROOF SIEVE.
Fill a very fine wire-gauze sieve with water, and it will not
run through the interstices, but be retained among them by ca-
pillary attraction.
•
MORE THAN FULL.
Fill a glass to the brim with water, and you may add to it spirit
of wine without causing the water to overflow, as the spirit will
enter into the pores of the water.
TO CAUSE WINE AND WATER TO CHANGE PLACES.
Fill a small narrow-necked bulb with port wine, or with water
and coloured spirit of wine, and put the bulb into a tall, narrow
glass jar, which is then to be filled up with cold water; imme-
diately the coloured fluid will issue from the bulb, and accumu-
late on the surface of the water in the jar, while colourless water
will be seen accumulating at the bottom of the bulb. By close
inspection, the descending current of the water may also be ob-
served, and the coloured and the colourless liquids be seen to pass
each other in the narrow neck of the bulb without mixing.
The whole of the coloured fluid will shortly have ascended,
and the bulb will be entirely filled with clear water.
PYRAMID OF ALUM.
Put a lump of alum into a tumbler of water, and, as the alum
dissolves, it will assume the shape of a pyramid. The cause of
the alum decreasing in this peculiar form is briefly as follows:
at first, the water dissolves the alum very fast, but as the alum
becomes united with the water, the solvent power of the latter
diminishes. The water, which combines first with the alum, be

FIRE, WATER, AND AIR.
121
comes heavier by the union, and falls to the bottom of the glass
where it ceases to dissolve any more, although the water which
it has displaced from the bottom has risen to the top of the glass,
and is there acting upon the alum. When the solution has nearly
terminated, if you closely examine the lump, you will find it
covered with geometrical figures, cut out, as it were, in relief,
upon the mass; showing, not only that the cohesion of the atoms
of the alum resists the power of solution in the water, but that,
in the present instance, it resists it more in some directions than
in others. Indeed this experiment beautifully illustrates the
opposite action of cohesion and repulsion.
VISIBLE VIBRATION.
Provide a glass goblet about two-thirds filled with coloured
water, draw a fiddle-bow against its edge, and the surface of the
water will exhibit a pleasing figure, composed of
fans, four, six, or eight in number, dependant on
the dimensions of the vessel, but chiefly on the
pitch of the note produced.
Or, nearly fill a glass with water, draw the bow
strongly against its edge, the water will be ele-
vated and depressed; and, when the vibration has
ceased, and the surface of the water has become
tranquil, these elevations will be exhibited in the form of a curved
line, passing round the interior surface of the glass, and above
the surface of the water. If the action of the bow be strong, the
water will be sprinkled on the inside of the glass, above the liquid
surface, and this sprinkling will show the curved line very per-
fectly, as in the engraving. The water should be carefully
poured, so that the glass above the liquid be preserved dry; the
3
11
122
FIRE, WATER, AND AIR.
portion of the glass between the edge and the curved line, will
then be seen partially sprinkled; but between the level of the
water and the curved line, it will have become wholly wetted
thereby indicating the height to which the fluid has been thrown
CHARCOAL IN SUGAR.
The elements of sugar are carbon and water, as may be proved
by the following experiment: Put into a glass a table-spoonful of
powdered sugar, and mix it into a thin paste with a little water,
and rather more than its bulk of sulphuric acid; stir the mixture
together, the sugar will soon blacken, froth up, and shoot like a
cauliflower out of the glass: and, during the separation of the
charcoal, a large quantity of steam will also be evolved.
FLOATING NEEDLES.
Fill a cup with water, gently lay on its surface small fine
needles, and they will float.
WATER IN A SLING.
Half fill a mug with water, place it in a sling, and you may
whirl it around you without spilling a drop; for the water tends
more away from the centre of motion towards the bottom of the
mug, than towards the earth by gravity.
t
ATTRACTION IN A GLASS OF WATER.
Pour water into a glass tumbler, perfectly dry, and it may be
raised above the edge, in a convex form; because the particles of
the water have more attraction for each other than for the dry
glass; wet the edge, and they will be instantly attracted and
overflow, and the water will sink into a concave form.


FIRE, WATER, AND AIR.
123
TO PREVENT CORK FLOATING IN WATER.
Place at the bottom of a vessel of water, a piece of cork, so
smoothly cut that no water gets between its lower surface and the
surface of the bottom, when it will not rise, but remain fixed there,
because it is pressed downward by the water from above, and there
is no pressure from below to counterbalance it.
INSTANTANEOUS FREEZING.
During frosty weather, let a vessel be half filled with water,
cover it closely, and place it in the open air, in a situation where
it will not experience any commotion: it will thereby frequently
acquire a degree of cold more intense than that of ice, without
being frozen. If the vessel, however, be agitated ever so little,
or receive even a slight blow, the water will immediately freeze
with singular rapidity. The cause of this phenomenon is, that
water does not congeal unless its particles unite together, and
assume among themselves a new arrangement. The colder the
water becomes, the nearer its particles approach each other; and
the fluid which keeps it in fusion gradually escapes; but the
shaking of the vessel destroys the equilibrium, and the particles
fall one upon another, uniting in a mass of ice.
Or, provide a glass full of cold water, and let fall on its surface
a few drops of sulphuret of carbon, which will instantly become
covered with icy network: feathery branches will then dart from
the sulphuret, the whole contents of the glass will become solidi-
fied, and the globules will exhibit all the colours of the rainbow.

TO FREEZE WATER WITH ETHER.
Fill a very thin glass tube with water. Close it at one end,
and wrap muslin round it: then frequently immerse the tube in

124
FIRE, WATER, AND AIR.
strong ether, allowing what the muslin soaks each time to evapo
rate, and in a short time the water will be frozen.
PRODUCTION OF NITRE.
Dip a piece of paper into a filtered solution of saltpetre: if its
colour be changed to brown, a drop or two more of acid must be
cautiously applied: if, on the contrary, it reddens litmus paper, a
small globule or two of potassium will be required; the object
being to obtain a neutral solution: if it then be carefully evapo-
rated to about half its bulk, and set aside, beautiful crystals will
begin to form, which will be those of the nitrate of potash, com-
monly called nitre or saltpetre.
CURIOUS TRANSPOSITION.
Take a glass of jelly, and place it mouth downward, just under
the surface of warm water in a basin: the jelly will soon be dis-
solved by the heat, and, being heavier than the water, it will sink.
while the glass will be filled with water in its stead.
ANIMAL BAROMETER.
Keep one or two leeches in a glass bottle nearly filled with
water; tie the mouth over with coarse linen, and change the
water every two or three days. The leech may then serve for a
barometer, as it will invariably ascend or descend in the water as
the weather changes from dry to wet; and it will generally come
to the surface prior to a thunder-storm.
MAGIC SOAP.
Pour into a phial a small quantity of oil, with the same of
water, and. however violently you shake them, they cannot be

FIRE, WATER, AND AIR.
125
mixed, for the water and oil have no affinity for each other; but,
if a little ammonia be added, and the phial be then shaken, the
whole will be mixed into a liquid soap.
EQUAL PRESSURE OF WATER.
Tie up in a bladder of water, an egg and a piece of very soft
wax, and place it in a box, so as to touch its sides and bottom;
then lay loosely upon the bladder a brass or other metal plate,
upon which place a hundred pounds weight, or more; when the
egg and the wax, though pressed by the water with all its weight,
being equally pressed in all directions, will not be in the least
either crushed or altered in shape.
TO EMPTY A GLASS UNDER WATER.
Fill a wine-glass with water, place over its mouth a card, so
as to prevent the water from escaping, and put the glass, mouth
downwards, into a basin of water. Next, remove the card, and
raise the glass partly above the surface, but keep its mouth below
the surface, so that the glass still remains completely filled with
water. Then insert one end of a quill or reed in the water below
the mouth of the glass, and blow gently at the other end, when
air will ascend in bubbles to the highest part of the glass, and
expel the water from it; and, if you continue to blow through
the quill, all the water will be emptied from the glass, which
will be filled with air.
TO EMPTY A GLASS OF WATER WITHOUT TOUCHING IT.
Hang over the edge of the glass a thick skein of cotton, and
the water will slowly be decreased till the glass is empty. A
'owel will empty a basin of water in the same way.

480
126
FIRE, WATER, AND AIR.
DECOMPOSITION OF WATER.
The readiest means of decomposing water is as follows. take
a gun-barrel, the breech of which has been removed, and fill it
with iron wire, coiled up. Place it across a chafingdish filled
with lighted charcoal, and connect to one end of the barrel a small
glass retort, containing some water, and to the other a bent tube,
opening under the shelf of a water bath. Heat the barrel red-hot,
and apply a lamp under the retort: the stream of water, in pass-
ing over the red-hot iron of the barrel, will be decomposed, the
oxygen will unite with the iron, and the hydrogen may be col-
lected in the form of gas at the end of the tube over the water.
WATER HEAVIER THAN WINE.
Let a tumbler be half-filled with water, and fit upon its surface
a piece of white paper, upon which pour wine; then carefully
draw out the paper, say with a knitting-needle, so as to disturb
the liquids as little as possible, and the water, being the heavier,
will continue at the lower part of the glass; whilst the wine,
being the lighter, will keep above it. But, if a glass be first
half-filled with wine, and water be poured over it, it will at once
sink through the wine, and both liquids will be mixed.
TO INFLATE A BLADDER WITHOUT AIR.
Put a tea-spoonful of ether into a moistened bladder, the neck
of which tie up tightly; pour hot water upon the bladder, and
the ether, by expanding, will fill it out.
AIR AND WATER BALLOON.
Procure a small hollow glass vessel, the shape of a balloon
the lower part of which is open, and place it in water with the

FIRE, WATER, AND AIR.
127
mouth downwards, so that the air within prevents the water
filling it. Then fill a deep glass jar nearly to the top witn
water, and place the balloon to float on its surface; tie over the
jar with bladder, so as to confine the air between it and the sur-
face of the water. Press the hand on the bladder, when more
water will enter the balloon, and it will soon sink to the bottom
of the jar; but, on removing your hand, the balloon will again
ascend slowly to the surface.
HEATED AIR BALLOON.
Make a balloon, by pasting together gores of bank post paper;
paste the lower ends round a slender hoop, from which proceed
several wires, terminating in a kind of basket, sufficiently strong
to support a sponge dipped in spirit of wine. When the spirit is
set on fire, its combustion will produce a much greater degree
of heat than any ordinary flame: and by thus rarefying the air
within the balloon, will enable it to rise with great rapidity to a
considerable height.
THE PNEUMATIC TINDER-BOX.
Provide a small stout brass tube, about six inches long, and
half an inch in diameter, closed at one end, and fitted with a
hollow air-tight piston, containing in its cavity a scrap of amadon,
or German tinder. Suddenly drive the piston into the tube by a
strong jerk of the hands; and the compression of the air in the
tube will give out so much heat as to light the tinder; and upon
quickly drawing out the piston, the glowing tinder wil. kindle a
match.
THE BACCHUS EXPERIMENT.
This experiment, showing the elasticity of air, is performed
with a pleasing toy. It represents a figure of Bacchus sitting

128
FIRE, WATER, AND AIR.
across a cask, in which are two separate compartments. Put into
one of them a portion of wine or coloured liquid, and place the
apparatus under the exhausted receiver of an air-pump, when the
elastic force of the confined air will cause the liquid to ascend a
transparent glass tube (fitted on purpose) into the mouth of the
Bacchanalian figure. To render the experiment more striking, a
bladder, with a small quantity of air therein, is fastened around
the figure, and covered with a loose silken robe, when the air in
the bladder will expand, and produce an apparent increase in the
bulk of the figure, as if occasioned by the excess of liquor drunk.
THE MYSTERIOUS CIRCLES.
Cut from a card two discs or circular pieces, about two inches
in diameter: in the centre of one of them make a hole, into which
put the tube of a common quill, one end being even with the
surface of the card. Make the other piece of card a little convex,
and lay its centre over the end of the quill, with the concave side
of the card downward; the centre of the upper card being from
one-eighth to one-fourth of an inch above the end of the quill.
Attempt to blow off the upper card by blowing through the quill,
and it will be found impossible.
If, however, the edges of the two pieces of card be made to fit
each other very accurately, the upper card will be moved, and
sometimes it will be thrown off; but when the edges of the card
are on two sides sufficiently far apart to permit the air to escape,
the loose card will retain its position, even though the current of
air sent against it be strong. The experiment will succeed
equally well, whether the current of air be made from the mouth
or from a pair of bellows. When the quill fits the card rather
oosely, a comparatively light puff of air will throw noth cards

FIRE, WATER, AND AIR.
129
three or four feet in height. When, from the humidity of the
breath, the upper surface of the perforated card has a little ex-
panded, and the two opposite sides are somewhat depressed, these
depressed sides may be distinctly seen to rise and approach the
upper card, directly in proportion to the force of the current of air.
simple apparatus, appears
Lay the loose card upon
blow forcibly through the
Another fact to be shown with this
equally inexplicable with the former.
the hand with the concave side up;
tube, and, at the same time, bring the two cards towards each
other, when, within three-eighths of an inch, if the current of air
be strong, the loose card will suddenly rise and adhere to the
perforated card. If the card through which the tube passes have
several holes made in it, the loose card may be instantly thrown
off by a slight puff of air.
For the explanation of the above phenomenon, a gold medal
and one hundred guineas were offered, some years since, by the
Royal Society. Such explanation has been given by Dr. Robert
Hare, of Philadelphia, and is as follows:
Supposing the diameter of the discs of card to be to that of the
hole as 8 to 1, the area of the former to the latter must be as
64 to 1. Hence, if the discs were to be separated (their surfaces
remaining parallel) with a velocity as great as that of the air
blast, a column of air must meanwhile be interposed, sixty-four
times greater than that which would escape from the tube during
the interim; consequently, if all the air necessary to preserve
the balance be supplied from the tube, the discs must be separated
with a velocity as much less than that of the blast as the column
required between them is greater than that yielded by the tube,
and yet the air cannot be supplied from any other source, unless
9

130
FIRE, WATER, AND AIR.
a deficit of pressure be created between the discs, unfavourable
to their separation.
It follows, then, that, under the circumstances in question, the
discs cannot be made to move asunder with a velocity greater
than one-sixty-fourth of that of the blast. Of course, all the force
of the current of air through the tube will be expended on the
movable disc, and the thin ring of air which exists around the
orifice between the discs: and, since the movable disc can only
move with one-sixty-fourth of the velocity of the blast, the ring of
air in the interstice must experience nearly all the force of the jet,
and must be driven outwards, the blast following it in various
currents, radiating from the common centre of the tube and discs.
PRINCE RUPERT'S DKOps.
Let fall melted glass into cold water, and it will become sud-
denly cooled and solidified on the outside before the internal part
is changed; then, as this part hardens, it is kept extended by the
arch of the outside crust: and, if the finely drawn-out point of
the drop be broken off, the cohesion of the atoms of the glass is
destroyed, and the whole crumbles to dust with a smart explosion.
VEGETABLE HYGROMETER.
The dampness of the air, and the consequent approach of rain,
is denoted by several simple means, which are termed hygrometers.
Thus, if an ear of the wild oat be hung up, its awn or bristly
points will be contracted by a rotatory motion in damp air, and
relaxed by a contrary motion when the air is dry. Similar effects
are observable on all cordage, string, and every description of
twisted material; as the moisture swells the threads, and increases

FIRE, WATER, AND AIR.
131
their diameter, but reduces their length; hence, catgut is used
in the construction of a weather-house, in which the man and
woman foretell wet or dry weather, moving as the catgut stretches
or contracts, according as the air is moist or dry.
1o prove the moving power of the awn, separate one from the
ear, and, holding the base between the finger and thumb, moisten
the awn with the lips, when it will be seen to turn round for
some time.
THE PNEUMATIC DANCER.
This amusing pneumatic toy consists of a figure made of gla
or enamel, and so constructed as to remain suspended in a glas
A jar of water. An air-bubble, communicating wit
the water, is placed in some part of the figure, shown
at m, near the top of the jar, A, in the engraving.
At the bottom of the vessel, B, is a bladder, which
can be pressed upwards by applying the finger to
the extremity of a lever, e o, when the pressure will
be communicated through the water to the bubble
of air, which is thus compressed. The figure will
then sink to the bottom; but, by removing the pres
sure, the figure will again rise, so that it may be
made to dance in the vessel, as if by magic. Fishes
made of glass, are sometimes substituted for the hu-
man figure. A common glass jar may be used for this
experiment, in which case the pressure should
be applied to the upper surface, which should
be a piece of bladder, instead of being placed
at the bottom, as shown in the figure engraved.

132
FIRE, WATER, AND AIR
THE ASCENDING SNAKE.
To construct this pretty little pneum
piece of stiff card, or sheet coppe:
Fig. 2.
MAAAAKO
Fig. 1.
oy, take a square
prass, about two and a half
or three inches in diameter, and cut it out
spirally, so as to resemble a snake, as in
the engraving, (fig. 1.) Then paint the
body on each side of the card the colours
of a snake; take it by the two ends, and
draw out the spiral till the distance from
head to tail is six or seven inches, as in
fig. 2. Next, provide a slender piece of wood on a
stand, and fix a sharp needle to its summit; push the
rod up through the spiral, and let the end of the spiral
rest upon the summit of the needle. Now place the
apparatus as nearly as possible to the edge of the mantel-shelf
above the fire, and the snake will begin to revolve in the direction
of its head; and, if the fire be strong, or the current of heated air
which ascends from it is made powerful, by two or three persons
coming near it, so as to concentrate the current, the snake will
revolve very rapidly. The rod, a b, should be painted so as to
resemble a tree, which the snake will appear to climb; or the
snake may be suspended by a thread from the ceiling, over the
current of air from a lamp. Two snakes may be made to turn
round in opposite directions, by merely drawing out the spiral of
one from the upper side, and of the other from the under side of
the figure, and fixing them, of course, on separate rods.
THE PNEUMATIC PHIAL.
Provide a phial one-fourth filled with any coloured water and
with a glass tube passing through the cork, or cemented into the

FIRE, WATER, AND AIR.
133
neck of the phial, so as to be air-tight; the tube may reach to
within a quarter of an inch of the bottom of the phial, so as to
dip below the surface of the liquid. Hold this little instrument
before the fire, or plunge it into hot water, when the air that is
in the phial will expand, and force up the coloured liquor into
the tube.
RESIN BUBBLES.
Dip the bowl of a tobacco-pipe into melted resin, hold the pipe
in a vertical position, and blow through it; when bubbles of
various sizes will be formed, of a brilliant silvery hue, and in a
variety of colours.
MOISTURE OF THE ATMOSPHERE.
Moisture is always present in the air, even when it is driest.
To prove this, press a piece of sheet copper into the form of a
cup; place on it a piece of phosphorus, thoroughly dried between
blotting-paper; put the cup on a dry plate, and beside it a small
piece of quick-lime; turn over it a glass tumbler, and leave it for
ten minutes, that the lime may remove all moisture from the
included air; take off the tumbler, touch the phosphorus with a
hot wire, and instantly replace the glass; when a dry solid will
be formed, resembling snow. As soon as the flame is extinct,
examine the plate; when the solid will, in a very short time,
attract so much water from the air, that it will pass into small
drops of liquid.
CLIMATES OF A ROOM.
The air in a room may be said to resemble two climates: as it
is lighter than the external air, a current of colder or heavier air
is continually pouring in from the crevices of the windows and

134
FIRE, WATER, AND AIR.
doors; and the light air must find some vent, to make way for
the heavy air. If the door be set ajar, and a candle held near the
upper part of it, the flame will be blown outwards, showing that
there is a current of air flowing out from the upper part of the
room; and if the candle be placed on the floor, close by the door
the flame will bend inwards, showing that there is also a current
of air setting into the lower part of the room. The upper current
is the warm, light air, which is driven out to make way for the
stream of cold, dense air which enters below.
BUBBLES ON CHAMPAGNE.
Pour out a glass of champagne, or bottled ale, and wait till
the effervescence has ceased; you may then renew it by throw-
ing into the liquor a bit of paper, a crumb of bread, or even by
violently shaking the glass. The bubbles of carbonic acid chiefly
rise from where the liquor is in contact with the glass, and are in
greatest abundance at those parts where there are asperities.
The bubbles setting out from the surface of the glass are at first
very small; but they enlarge in passing through the liquor. It
seems as if they proceeded more abundantly from the bottom of
the glass than from its sides; but this is an ocular deception.
PROOFS THAT AIR IS A HEAVY FLUID.
Expel the air out of a pair of bellows, then close the nozzle
and valve-hole beneath, and considerable force will be requisite
to separate the boards from each other. This is caused by the
pressure or weignt of the atmosphere, which, acting equally upon
the upper and lower boards externally, without any air inside,
operates like a dead weight in keeping the boards together. In
like manner, if you stop the end of a syringe, after its piston rod

FIRE, WATER, AND AIR.
135
has been pressed down to the bottom, and then attempt to draw
it up again, considerable force will be requisite to raise it, depend-
ing upon the size of the syringe, being about fourteen or fifteen
pounds to every square inch of the piston rod. When the rod is
drawn up, unless it be held, it will fall to the bottom, from the
weight of the air pressing it in.
Or, fill a glass tumbler to the brim with water, cover it with a
piece of thin wet leather, invert it on a table, and try to pull it
straight up, when it will be found to require considerable force.
In this manner do snails, periwinkles, limpets, and other shells
adhere to rocks, &c. Flies are enabled to walk on the ceiling of
a room, up a looking-glass, or window-pane, by the air pressing
on the outside of their peculiarly constructed feet, and thus sup-
porting them.
To the same cause must be attributed the firmness with which
the oyster closes itself; for, if you grind off a part of the shell,
so as to make a hole in it, though without at all injuring the fish,
it may be opened with great ease.
TO SUPPORT A PEA ON AIR.
This experiment may be dexterously performed by placing a
pea upon a quill, or the stem of a tobacco-pipe, and blowing
upwards through it.
PYROPHORUS, OR AIR-TINDER.
Mix three parts of alum with one of wheat flour, and put them
into a common phial; set it in a crucible, up to the neck in
sand; then surround the crucible with red-hot coals, when first a
black smoke, and next a blue sulphureous flame, will issue from

136
FIRE, WATER, AND AIR.
the mouth of the phial; when this flame disappears, remove the
crucible from the fire, and when cold stop the phial with a good
cork. If a portion of this powder be exposed to the air, it will
take fire.
Or, a very perfect and beautiful pyrophorus may be obtained
by heating tartrate of lead in a glass tube, over a lamp. When
some of the dark-brown mass thus formed is shaken out in the
air, it will immediately inflame, and brilliant globules of lead
cover the ignited surface.
Or, mix three parts of lamp-black, four of burnt alum, in
powder, and eight of pearl-ash, and heat them for an hour, to a
bright cherry red, in an iron tube. When well made, and poured
out upon a glass plate or tile, this pyrophorus will kindle, with
a series of small explosions, somewhat like those produced by
throwing potassium upon water; but this effect should be wit-
nessed from a distance.
Put a small piece of grey cast-iron into strong nitric acid,
when a porous, spongy substance will be left untouched, and
will be of a dark grey colour, resembling plumbago. If some of
this be put upon blotting-paper, in the course of a minute it will
spontaneously heat and smoke; and, if a considerable quantity
be heaped together, it will ignite and scorch the paper; nor will
the properties of this pyrophorus be destroyed by its being left
for days and weeks in water.
BEAUTY OF A SOAP BUBble.
Blow a soap bubble, cover it with a clean glass to protect it
from the air, and you may observe, after it has grown thin by
standing a little, several rings of different colours within each

FIRE, WATER, AND AIR.
137
other round the top of it. The colour in the centre of the rings
will vary with the thickness; but, as the bubble grows thinner,
the rings will spread, the central spot will become white, then
bluish, and then black; after which the bubble will burst, from
its extreme tenuity at the black spot, where the thickness has
been proved not to exceed the 2,500,000th part of an inch.
WHY A GUINEA FALLS MORE QUICKLY THAN A FEATHER
THROUGH THE AIR.
A
B
The resistance of the air to falling bodies is not proportioned
to the weight, but depends on the surface which the body opposes
to the air. Now the feather exposes, in propor-
tion to its weight, a much greater surface to
the air than a piece of gold does, and therefore
suffers a much greater resistance to its descent.
Were the guinea beaten to the thinness of gold-
leaf, it would be as long, or even longer, in
falling than the feather; but let both fall in a
vacuum, or under the receiver of an air-pump
from which the air has been pumped out, and
they will both reach the bottom at the same
time; for gravity, acting independently of
other forces, causes all bodies to descend with
the same velocity.
An apparatus for performing this experime
is shown in the engraving: the coin and
feather are to be laid together on the brass flap, A or B: tnis
may be let down by turning the wire, C, which passes through
a collar of leather, D, placed in the head of the receiver.
12

138
FIRE, WATER, AND AIR.
SOLIDITY OF AIR.
Provide a glass tube, open at each end; close the upper end
by the finger, and immerse the lower one in a glass of water,
when it will be seen that the air is material, and occupies its
own space in the tube, for it will not permit the water to enter
it until the finger is removed, when the air will escape, and the
water rise to the same level in the inside as on the outside of the
tube.
BREATHING AND SMELLING.
Hold the breath, and place the open neck of a phial containing
oil of peppermint, or any other essential oil, in the mouth, and
the smell will not be perceived; but after expiration it will be
easily recognised.

SLEIGHTS AND SUBTLETIES.
HE chief requisites for success in the perform-
ance of feats of magic are manual dexterity
and self-possession. The former can only be
acquired by practice; the latter will be the
natural result of a well-grounded confidence.
We subjoin a few preliminary hints, of consi-
derable importance to the amateur exhibiter.
1. Never acquaint the company beforehand with the particu-
lars of the feat you are about to perform, as it will give them
time to discover your mode of operation.
2. Endeavour, as much as possible, to acquire various methods
f performing the same feat, in order that if you should be likely
141

142
SLEIGHTS AND SUBTLETIES.
to fail in one, or have reason to believe that your operations are
suspected, you may be prepared with another.
3. Never venture on a feat requiring manual dexterity till you
have previously practised it so often as to acquire the necessary
expertness.
4. As diverting the attention of the company from too closely
Inspecting your manœuvres is a most important object, you
should manage to talk to them during the whole course of your
proceedings. It is the plan of vulgar operators to gabble unin-
telligible jargon, and attribute their feats to some extraordinary
and mysterious influence. There are few persons at the present
day credulous enough to believe such trash, even among the
rustic and most ignorant; but as the youth of maturer years
might inadvertently be tempted to pursue this method while
exhibiting his skill before his younger companions, it may not
be deemed superfluous to offer a caution against such a proce-
dure. He may state, and truly, that every thing he exhibits
can be accounted for on rational principles, and is only in obe-
dience to the unerring laws of Nature; and although we have
just cautioned him against enabling the company themselves to
detect his operations, there can be no objection (particularly
when the party comprises many younger than himself) to occa-
sionally show by what simple means the most apparently mar-
vellous feats are accomplished.
こ
​
SLEIGHTS AND SUBTLETIES.
143
THE RING AND THE HANDKERCHIEF.
This may be justly considered one of the most surprising
sleights; and yet it is so easy of performance, that any one may
accomplish it after a few minutes' practice.
You previously provide yourself with a piece of brass wire,
pointed at both ends, and bent round so as to form a ring, about
the size of a wedding-ring. This you conceal in your hand.
You then commence your performance by borrowing a silk
pocket-handkerchief from a gentleman, and a wedding-ring from
a lady; and you request one person to hold two of the corners
of the handkerchief, and another to hold the other two, and to keep
them at full stretch. You next exhibit the wedding-ring to the
company, and announce that you will make it appear to pass
through the handkerchief. You then place your hand under the
handkerchief, and substituting the false ring, which you had pre-
viously concealed, press it against the centre of the handkerchief,
and desire a third person to take hold of the ring through the
handkerchief, and to close his finger and thumb through the
hollow of the ring. The handkerchief is held in this manner
for the purpose of showing that the ring has not been placed
within a fold. You now desire the persons holding the corners
of the handkerchief to let them drop; the person holding the ring
(through the handkerchief as already described) still retaining
his hold.
Let another person now grasp the handkerchief as tight as he
pleases, three or four inches below the ring, and tell the person
holding the ring to let it go, when it will appear to the company
that the ring is secure within the centre of the handkerchief.
You then tell the person who grasps the handkerchief to hold
a hat over it, and passing your hand underneath, you open the

144
SLEIGHTS AND SUBTLETIES.
false ring, by bending one of its points a little aside, and bringing
one point gently through the handkerchief, you easily draw out
the remainder; being careful to rub the hole you have made in
the handkerchief with your finger and thumb, to conceal the frac-
ture.
You then put the wedding-ring you borrowed over the outside.
of the middle of the handkerchief, and desiring the person who
holds the hat to take it away, you exhibit the ring (placed as
described) to the company.
THE KNOTTED HANDKERCHIEF.
This feat consists in tying a number of hard knots in a pocket-
handkerchief borrowed from one of the company, then letting any
person hold the knots, and by the operator merely shaking the
handkerchief, all the knots become unloosed, and the handkerchief
is restored to its original state.
To perform this excellent trick, get as soft a handkerchief as
possible, and taking the opposite ends, one in each band, throw the
right hand over the left, and draw it through, as if you were
going to tie a knot in the usual way. Again throw the right-hand
end over the left, and give the left-hand end to some person to
pull, you at the same time pulling the right-hand end with your
right hand, while your left hand holds the handkerchief just be-
hind the knot. Press the thumb of your left hand against the
knot to prevent its slipping, always taking care to let the person
to whom you gave one end pull first, so that, in fact, he is only
pulling against your left hand.
You now tie another knot exactly in the same way as the first
taking care always to throw the right-hand end over the left. As
you go on tying the knots, you will find the right-hand end of the
SLEIGHTS AND SUBTLETIES.
145
handkerchief decreasing considerably in length, while the left-hand
one remains nearly as long as at first; because, in fact, you are
merely tying the right hand end round the left. To prevent this
from being noticed, you should stoop down a little after each
knot, and pretend to pull the knots tighter; while, at the same
time, you press the thumb of the right hand against the knot,
and with the fingers and palm of the same hand, draw the
handkerchief, so as to make the left-hand end shorter, keeping
it at each knot as nearly the length of the right-hand end as
possible.
When you have tied as many knots as the handkerchief will
admit of, hand them round for the company to feel that they are
firm knots; then hold the handkerchief in your right hand, just
below the knots, and with the left hand turn the loose part of the
centre of the handkerchief over them, desiring some person to
hold them. Before they take the handkerchief in hand, you draw
out the right-hand end of the handkerchief, which you have in
the right hand, and which you may easily do, and the knots being
still held together by the loose part of the handkerchief, the
person holding the handkerchief will declare he feels them:
you then take hold of one of the ends of the handkerchief which
hangs down, and desire him to repeat after you, one-two-three,
-then tell him to let go, when, by giving the handkerchief a
smart shake, the whole of the knots will become unloosed.
Should you, by accident, while tying the knots, give the
wrong end to be pulled, a hard knot will be the consequence, and
you will know when this has happened the instant you try to
draw the left-hand end of the handkerchief shorter. You must,
therefore, turn this mistake to the best advantage, by asking any
one of the company to see how long it will take him to untie onc
knot you counting the seconds. When he has untied the knot,

13

146
SLEIGHTS AND SUBTLETIES.
your other knots will remain right as they were before. Having
finished tying the knots, let the same person hold them, and tell
him that as he took two minutes to untie one knot, he ought to
allow you fourteen minutes to untie the seven; but as you do not
wish to take any advantage, you will be satisfied with fourteen
seconds.
You may excite some laughter during the performance of this
trick by going to the owner of the handkerchief, and desiring
him to assist you in pulling a knot, saying, that if the handker.
chief is to be torn, it is only right that he should have a share of
it; you may likewise say that he does not pull very hard, which
will cause a laugh against him.
THE INVISIBLE SPRINGS.
Take two pieces of white cotton cord, precisely alike in length;
double each of them separately, so that their ends meet; then
tie them together very neatly, with a bit of fine cotton thread,
at the part where they double, (i. e. the middle.) This must all
be done beforehand.
When you are about to exhibit the sleights, hand round two
other pieces of cord, exactly similar in length and appearance
to those which you have prepared, but not tied, and desire your
company to examine them. You then return to your table,
placing these cords at the edge, so that they fall (apparently
accidentally) to the ground behind the table; stoop to pick them
"n, but take up the prepared ones instead, which you have pre-
viously placed there, and lay them on the table.
Having proceeded thus far, you take round for examination
nree ivory rings; those given to children when teething, and
which may be bought at any of the toyshops, are the best for you


SLEIGHTS AND SUBTLETIES.
147
purpose. When the rings have undergone a sufficient scrutiny,
pass the prepared double cords through them, and give the two
ends of one cord to one person to hold, and the two ends of the
other to another. Do not let them pull hard, or the thread will
break, and your trick be discovered. Request the two persons
to approach each other, and desire each to give you one end of
the cord which he holds, leaving to him the choice. You then
say, that, to make all fast, you will tie those two ends together,
which you do, bringing the knot down so as to touch the rings;
and returning to each person the end of the cord next to him,
you state that this trick is performed by the rule of contrary, and
that when you desire them to pull hard, they are to slacken, and
vice versâ, which is likely to create much laughter, as they are
certain of making many mistakes at first.
During this time, you are holding the rings on the forefinger
of each hand, and with the other fingers preventing your as-
sistants from separating the cords prematurely, during their mis-
takes; you at length desire them, in a loud voice, to slacken, when
they will pull hard, which will break the thread, the rings remain-
ing in your hands, whilst the strings will remain unbroken: let
them be again examined, and desire them to look for the springs
in the rings.
THE MIRACULOUS APPLE.
To divide an apple into several parts, without breaking the
rind :-Pass a needle and thread under the rind of the apple,
which is easily done by putting the needle in again at the same
hole it came out of; and so passing on till you have gone round
the apple. Then take both ends of the thread in your hands
and draw it out; by which means the apple will be divided into
two parts. In the same manner, you may divide it into as many

148
SLEIGHTS AND SUBTLETIES
parts as you please, and yet the rind will remain entire. Present
the apple to any one to peel, and it will immediately fall to pieces.
THE SELF-BALANCED PAIL.
You lay a stick across the table, letting one-third of it project
over the edge; and you undertake to hang a pail of water on it,
without either fastening the stick on the table, or letting the
pail rest on any support; and this feat the laws of gravitation will
enable you literally to accomplish.
You take the pail of water, and hang it by the handle upon
the projecting end of the stick,
in such a manner that the
handle may rest on it in an
inclined position, with the mid-
dle of the pail within the edge
of the table. That it may be
fixed in this situation, place another stick with one of its ends
resting against the side at the bottom of the pail, and its other
end against the first stick, where there should be a notch to re-
tain it. By these means, the pail will remain fixed in that
situation, without being able to incline to either side; nor can
the stick slide along the table, or move along its edge, without
raising the centre of gravity of the pail and the water it contains.
THE PHANTOM AT COMMAND.
This feat is performed by means of confederacy.-Having
privately apprized your confederate that when he hears you strike
one blow, it signifies the letter A; when you strike two, it means
B; and so on for the rest of the alphabet, you state to the company,
that if any one will walk into the adjoining room, and have the


SLEIGHTS AND SUBTLETIES.
149
door locked upon him, perhaps the animal may appear to him
which another person may name.
In order to deter every one except your confederate from
accepting the offer, you announce at the same time, that the
person who volunteers to be shut up in the room must be pos-
sessed of considerable courage, or he had better not undertake it.
Having thus gained your end, you give your confederate a lamp
which burns with a very dismal light; telling him, in the hear-
ing of the company, to place it on the middle of the floor, and not
to feel alarmed at what he may happen to see. You then usher
him into the room, and lock the door.
room.
You next take a piece of black paper, and a bit of chalk, and
giving them to one of the party, you tell him to write the name
of any animal he wishes to appear to the person shut up in the
This being done, you receive back the paper, and after
showing it round to the company, you fold it up, burn it in the
candle, or lamp, and throw the ashes into a mortar; casting in at
the same time a powder, which you state to be possessed of
valuable properties.
Having taken care to read what was written, you proceed to
pound the ashes in the mortar thus:-Suppose the word written
to be CAT, you begin by stirring the pestle round the morta,
several times, and then strike three distinct blows, loud enough
for the confederate to hear, and by which he knows that the first
letter of the word is C. You next make some irregular evolu-
tions of the pestle round the mortar, that it may not appear to
the company that you give nothing but blows, and you then
strike one blow to denote A. Work the pestle about again, and
then strike twenty blows, which he will know to mean T;
finishing your manœuvre by working the pestle about the
mortar, the object being to make the blows as little remarkable


150
SLEIGHTS AND SUBTLETIES.
as possible. You then call aloud to your confederate, and ask
him what he sees. At first he is to make no reply. At length,
after being interrogated several times, he asks if it be a CAT.
That no mistake may be made, each party should repeat to
himself the letters of the alphabet in the order of the blows.
THE MIRACULOUS SHILLING.
Provide a round box, the size of a large snuff-box, and likewise
eight other boxes, which will go easily into each other, letting
the least of them be of the size to hold a shilling. Observe that
all these boxes must shut so freely that they may all be closed at
once, by the covers accurately fitting within each other.
Previously to commencing your performance, fit the boxes
within each other, and place them in a table drawer at another
part of the room. You also fit the covers in the same manner,
and lay them by the side of the boxes; you likewise provide a
silk handkerchief, into one corner of which a shilling is sewed.
You now commence your operations by borrowing a shilling,
desiring the lender to mark it, that it may not be changed. Take
this shilling in your right hand, and the handkerchief in your
left, pretending to place the shilling in the centre of the hand-
kerchief; instead of which, you put the corner of the handker-
chief in which a shilling was sewed, as previously described,
concealing the borrowed shilling in your right hand. You then
desire the derson to feel that the shilling is there, and tell him
to hold it tight.
You now go to the drawer, and placing the borrowed shilling
in the smallest of the boxes, you put on all the covers, by taking
them in the centre between the forefinger and thumb, to preven
their separation, and fit them on, by carefully sliding them along
and then pressing them down.

SI EIGHTS AND SUBTLETIES.
151
Having thus closed your boxes, you produce what appears to
be a single box, and lay it on the table. You now ask the person,
who still retains his hold of the shilling in the handkerchief, if
he is sure that it is there. He will reply in the affirmative: you
then request him to allow you to take the handkerchief; and,
having done so, you strike that part of the handkerchief containing
the shilling on the box, and immediately shake out the handker-
chief, holding it by two corners, and shifting it round so as to
get the shilling within your grasp: it will thus appear that the
shilling is no longer there. You desire the person to open the
box, and hand it round, till the shilling be found; and when the
last box is opened, and the shilling taken out, you ask the lender
to state whether it is the one which he marked; to which he
must, of course, reply in the affirmative.
THE LOCOMOTIVE SHILLING.
Privately place a shilling, which you previously mark on the
head side with a cross, under a candlestick, or in any other out-
of-the-way situation, where it is not likely to be discovered. You
next borrow a shilling of one of the company, and say, "Now 1
am going to show you a trick with this shilling, but that you
may know it again, I will mark it." Then take your penknife,
and cross it in the same manner as the one you have concealed;
show it to the person who lent it to you, and ask him if he will
know it again. He will reply, "Yes; it is marked with a cross."
Knock under the table, and say, "Presto! fly quickly!" at the same
time adroitly conveying the shilling into your pocket. You then
tell the spectators that it is gone; but you have a strong notion
that if they look they will find it under the candlestick, (or what-
ever other place you may have concealed it in,) where the first
shilling you marked will of course be found, and having the
same marks as the genuine one, will be mistaken for it.

152
SLEIGHTS AND SUBTLETIES.
THE PENETRATIVE SIXPENCE.
You profess that you will make a sixpence appear to pass
through the table. To perform this feat, you must have a hand-
kerchief, in one corner of which is sewed a sixpence. Take it
out of your pocket, and ask one of the company to lend you a
sixpence, which you must seem to carefully wrap up in the
middle of the handkerchief, but instead of which, you keep it in
the palm of your hand, and in its stead, wrap up the corner in
which the other sixpence is sewed in the midst of the handker-
chief, and bid the person from whom you borrowed the sixpence
feel that it is there. You then lay it under a hat upon the table,
take a glass in the hand in which you have concealed the sixpence,
and hold it under the table. Give three knocks upon the table,
crying, "Presto! come quickly!" Then drop the sixpence into
the glass; bring the glass from under the table, and exhibit the
sixpence to the spectators. You lastly take the handkerchief
from under the hat, and shake it, taking care to hold it by the
corner in which the sixpence was sewed.
THE VANISHING SIXPENCE.
Having previously stuck a small piece of white wax upon the
nail of your middle finger, lay a sixpence on the palm of your
hand, and addressing the company, state that it will vanish at the
word of command. Many persons," you observe, "perform this
feat by letting the sixpence fall into their sleeve; but to convince
you that I shall not have recourse to any such deception, I will
turn up my cuffs." You then close your hand, and bringing the
waxed nail in contact with the sixpence, it will firmly adhere to
it. You then blow your hand, and cry, "Begone!" and sudderly
opening it, and exhibiting the palm, you show that the sixpence has

SLEIGHTS AND SUBTLETIES.
IGATS
155
anished. If you borrow the sixpence of any of the company,
take care to rub off the wax before you restore it to the owner.
TO MAKE A SIXPENCE BALANCE AND SPIN ON ITS EDGE, ON THE
POINT OF A NEEdle.
Procure a common wine bottle, two forks, two corks, a needle,
a sixpence, and a penknife. Having corked the bottle, force the
eye of the needle into the cork perpendicularly, leaving more than
half the needle sticking up. You next cut a small slit with the
penknife in the centre of the bottom of the second cork, into
which you insert the sixpence edgewise; then stick the forks into
the upper cork, and, with a steady hand, place the edge of the
sixpence on the point of the needle, and it will immediately find
its balance. You may now take the upper cork between the
finger and thumb, and spin it round as fast as you please, as the
sixpence will not fall off. When it goes slow, hit one of the
forks with your finger as it goes round, to increase its velocity.
THE MULTIPLYING COIN.
Let a tumbler be half-filled with water; put a sixpence in it,
and, holding a plate over the top, turn the glass upside down.
The sixpence will fall down on the plate, and appear to be a
shilling; while at the same time a sixpence will seem to be
swimming in the water. If a shilling is put in the glass, it will
have the appearance of a quarter of a dollar and a shilling; and
if a quarter of a dollar were put in, it would seem to be half a
dollar and a quarter of a dollar.
MAGIC RAT TRAP.
Prepare a pasteboard circle, upon one side of which draw
a figure of a cage, and on the other side that of a rat. Nea
154
SLEIGHTS AND SUBTLETIES.
the outer edge of the circle fasten two strings opposite each other,
so that they may be held between the forefinger and thumb in
such manner that the circle may be made to revolve rapidly.

When it is set in motion the transition is so quick, that it presents
the appearance of a rat in a cage.
TO SHOW THE VELOCITY OF MOTION.
Take a long hollow stalk or reed, suspend it horizontally by
two loops of single hairs; by striking it with a sharp quick stroke
at a point nearly in the centre, between the hairs, it may be cut
through without breaking either of them. The hairs in this case
would have been ruptured if they had partaken of the force applied
to the stalk; but the division of the latter being effected before
the impulse could be propagated to the hairs, they must conse-
quently remain unbroken.
A smart blow with a slight wand or hollow reed on the edge
of a glass tumbler, would break the wand, without injury to the
glass.

The
Lay a small piece of money upon a card placed over the mouth
of a glass tumbler, and resting upon the rim of the glass.
card may be withdrawn with such speed and dexterity that the
piece of money will not be removed laterally, but will drop into
the glass.

SLEIGHTS AND SUBTLETIES.
155
THE EXPLODING BUbble.
If you take up a small quantity of melted glass with a tube,
(the bowl of a common tobacco-pipe will do,) and let a drop fall
into a vessel of water, it will chill and condense with a fine
spiral tail, which being broken, the whole substance will burst
with a loud explosion, without injury either to the party that
holds it, or him that breaks it; but if the thick end is struck even
with a hammer, it will not break.
THE MAGIC PICTURE.
Take two level pieces of glass, (plate glass is the best,) about
three inches long and four wide, exactly of the same size; lay
one on the other, and manage to leave a space between them, by
pasting a piece of card, or two or three small pieces of thick
paper, at each corner.
Join these glasses together at the edge by a composition of
lime slacked by exposure to the air, and white of an egg. Cover
all the edges of these glasses with parchment or bladder, except
at one end, which is to be left open to admit the following com-
position:
Dissolve by a slow fire six ounces of hog's lard with half an
ounce of white wax; to which you may add an ounce of clear
linseed oil.
This must be poured in its liquid state, and before a fire,
between the glasses, by the space left in the sides, and which
you are then to close up. Wipe the glasses clean, and hold them
before the fire, to see that the composition will not run out at
any part.
Then fasten with gum a picture or print, painted on very thin

156
SLEIGHTS AND SUBTLETIES.
paper, with its face to one of the glasses, and, if you like, you
may fix the whole in a frame.
While the mixture between the glasses is cold, the picture
will be quite concealed, but become transparent when held to the
fire; and as the composition cools, it will gradually disappear.
ARTIFICIAL LIGHTNING.
Provide a tin tube that is larger at one end than it is at the
other, and in which there are several holes. Fill this tube with
powdered resin; and when it is shook over the flame of a torch,
the reflection will produce the exact appearance of lightning.
THREE OBJECTS DISCERNIBLE ONLY WITH BOTH EYES.
If you fix three pieces of paper against the wall of a room at
equal distances, at the height of your eye, placing yourself
directly before them, at a few yards' distance, and close your
right eye, and look at them with your left, you will see only two
of them, suppose the first and second; alter the position of your
eye, and you will see the first and third; alter your position a
second time, you will see the second and third, but never the
whole three together; by which it appears that a person who
has only one eye can never see three objects placed in this posi-
tion, nor all the parts of one object of the same extent, without
altering the situation of his eye.
TO TELL BY A WATCH DIAL THE HOUR WHEN A PERSON INTENDS
TO RISE.
The person is told to set the hand of his watch at any hour
he pleases, which hour he tells you; and you add in your own
mind 12 to it. You then desire him to count privately the
number of that addition on the dial, commencing at the next
ཨཀྑ།

SLEIGHTS AND SUBTLETIES.
157
nour to that at which he intends to rise, and including the hour
at which he has placed the hand; which will give the answer.
For example,
A intends to rise at 6; (this he conceals to himself;) he places
the hand at 8, which he tells B, who, in his own mind, adds 12
to 8, which make 20. B then tells A to count 20 on the dial,
beginning at the next hour to that at which he proposes to rise;
which will be 7; and counting backwards, reckoning each hour
as 1, and including in his addition the number of the hour the
hand is placed at, the addition will end at 6, which is the hour
proposed: thus,
The hour the hand is placed at is
8
The next hour to that which A intends to rise at is 7, which
counts for.
1
Count back the hours from 6, and reckon them at 1 each,
there will be 11 hours, viz. 4, 3, 2, 1, 12, 11, 10, 9, 8, 7, 6, 11
Making.
= 12
20
TO MAKE A RING SUSPEND BY A THREAD, AFTER THE THREAD
HAS BEEN BURNED.
Soak a piece of thread in urine, or common salt and water.
Tie it to a ring, not larger than a wedding ring. When you
apply the flame of a candle to it, it will burn to ashes, but yet
sustain the ring
TO MELT A PIECE OF MONEY IN A WALNUT SHELL WITHOUT
INJURING THE SHELL.
Bend any thin coin, and put it into half a walnut shell; place
the shell on a little sand, to keep it steady. Then fill the shell
with a mixture made of three parts of very dry pounded nitre,

158
SLEIGHTS AND SUBTLET
one part of flowers of sulphur, and a little saw-dust well sifted.
If you then set light to the mixture, you will find, when it
melted, that the metal will also be melted in the bottom of the
shell, in form of a button, which will become hard when the
burning matter round it is consumed; the shell will have sus-
tained very little injury.
THE MAGICAL MIRRORS.
Make two holes in the wainscot of a room, each a foot high
and ten inches wide, and about a foot distant from each other.
Let these apertures be about the height of a man's head, and in
each of them place a transparent glass in a frame, like a common
mirror.
Behind the partition, and directly facing each aperture, place
two mirrors, inclosed in the wainscot, in an angle of forty-five
degrees.* These mirrors are each to be eighteen inches square :
and all the space between them must be inclosed with pasteboard
painted black, and well closed, that no light can enter; let there
be also two curtains to cover them, which you may draw aside
at pleasure.
When a person looks into one of these fictitious mirrors, insteau
of seeing his own face, he will see the object that is in front of
the other; thus, if two persons stand at the same time before
these mirrors, instead of each seeing himself, they will recipro
cally see each other.
There should be a sconce with a lighted candle, placed on
each side of the two glasses in the wainscot, to enlighten the
* That is, halfway between a line drawn perpendicularly to the ground and its
surfaco

SLEIGHTS AND SUBTLETIES.
159
faces of the persons who look in them, or the experiment wil
not have so remarkable an effect.
THE ENCHANTED BOTTLE.
Fill a glass bottle with water to the beginning of the neck;
leave the neck empty, and cork it. Suspend this bottle opposite
a concave mirror, and beyond its focus, that it may appear
reversed. Place yourself still further distant from the bottle;
and instead of the water appearing, as it really is, at the bottom
of the bottle, the bottom will be empty, and the water seen at
the top.
If the bottle be suspended with the neck downwards, it will
be reflected in its natural position, with the water at the bottom,
although in reality it is inverted and fills the neck, leaving the
bottom vacant. While the bottle is in this position, uncork it,
and let the water run gradually out: it will appear that while
the real bottle is emptying, the reflected one is filling. Care
must be taken that the bottle is not more than half or three parts
full, and that no other liquid is used but water; as in either of
these cases the illusion ceases.
THE ARMED APPARITION.
If a person with a drawn sword place himself before a large
concave mirror, but further from it than its focus, he will see an
inverted image of himself in the air, between him and the mirror.
of a less size than himself. If he steadily present the sword
towards the centre of the mirror, an image of the sword wil.
come out from it, point to point, as if to fence with him; and by
his pushing the sword nearer, the image will appear to come
nearer to him, and almost to touch his breast. If the mirror be

160
SLEIGHTS AND SUBTLETIES.
turned 45 degrees, or one-eighth round, the reflected image wil
go out perpendicular to the direction of the sword presented, and
apparently come to another person placed in the direction of the
motion of the image, who, if he be unacquainted with the expe-
riment, and does not see the original sword, will be much
surprised and alarmed.
TO EXTRACT THE SILVER OUT OF A RING THAT IS THICKLY GILDED,
SO THAT THE GOLD MAY REMAIN ENTIRE.
Take a silver ring that is thickly gilded. Make a little hole
through the gold into the silver; then put the ring into aqua-
fortis, in a warm place: it will dissolve the silver, and the gola
will remain whole.
CURIOUS EXPERIMENT WITH A GLASS OF WATER.
Saturate a certain quantity of water, in a moderate heat, with
three ounces of sugar; and when it will no longer receive that,
there is still room in it for two ounces of salt of tartar, and after
that for an ounce and a drachm of green vitriol, nearly six
drachms of nitre, the same of salammoniac, two drachms and a
scruple of alum, and a drachm and a half of borax.
A LUMINOUS BOTTLE, WHICH WILL SHOW THE HOUR ON A WATCH
IN THE DARK.
Throw a bit of phosphorus, of the size of a pea, into a long
glass phial, and pour boiling oil carefully over it, till the phial is
one-third filled. The phial must be carefully corked, and when
used should be unstopped, to admit the external air, and closed
again. The empty space of the phial will then appear luminous,
and give as much light as an ordinary lamp. Each time tha

SLEIGHTS AND SUBTLETIES.
161
the light disappears, on removing the stoppe: it will instantly
reappear. In cold weather the bottle should be warmed in the
hands before the stopper is removed. A phial thus prepared may
be used every night for six months.
RUSES.
THE WONDERFUL HAT.
Place three pieces of bread, or other eatable, at a little distance
from each other on a table, and cover each with a hat; you then
take up the first hat, and removing the bread, put it into your
mouth, and let your company see that you swallow it; then raise
the second hat, and eat the bread which was under that, and do
the same with the third. Having eaten the three pieces, give
any person in company liberty to choose under which hat he
would wish those three pieces of bread to be; when he has made
choice of one of the hats, put it on your head, and ask him if he
does not think that they are under it.
TO BRING A PERSON DOWN UPON A FEATHER.
This is a practical pun:-You desire any one to stand on a
chair or table, and you tell him that, notwithstanding his weight,
you will bring him down upon a feather. You then leave the
room, and procuring a feather from a feather-bed, you give it to
him, and tell him you have performed your promise,—that you
engaged to bring him down upon a feather, which you have done
for there is the feather, and, if he looks, he'll find down upon it.
14

162
SLEIGHTS AND SUBTLETIES.
THE APPARENT IMPOSSIBILITY.
You profess yourself able to show anyone what he never saw
what you never saw, and what nobody else ever saw, and which,
after you two have seen, nobody else ever shall see.
After requesting the company to guess this riddle, and they
have professed themselves unable to do so, produce a nut, and
having cracked it, take out the kernel, and ask them if they have
ever seen that before; they will of course answer, No; you reply,
neither have I, and I think you will confess that nobody else has
ever seen it, and now no one shall ever see it again; saying
which, you put the kernel into your mouth and eat it.
AN OMELET COOKED IN A HAT, OVER THE FLAME OF A
CANDLE.
You ask the company if they would like an omelet cooked;
then you break four eggs in a hat, place the hat for a short time
over the flame of a candle, and shortly after produce an omelet,
completely cooked, and quite hot.
Some persons would be credulous enough to believe that by
the help of certain ingredients you had been enabled to cook the
omelet without fire; but the secret of the trick is, that the omelet
had been previously cooked and placed in the hat, but could not
be seen, because the operator, when breaking the eggs, placed
it too high for the spectators to observe the contents. The eggs
were empty ones, the contents having been previously extracted,
by being sucked through a small aperture, but to prevent the
company from suspecting this, the operator manages, as if by
accident, to let a full one fall on the table, which breaking in-
duces a belief that the others are also full.


SLEIGHTS AND SUBTLETIES.
163
THE IMPOSSIBLE OMELET.
You produce some butter, eggs, and other ingredients for
making an omelet, together with a frying-pan, in a room where
there is a fire, and state that the cleverest cook will not be able
to make an omelet with them. The wager is won by having
previously caused the eggs to be boiled very hard.
GO IF YOU CAN.
You tell a person that you will clasp his hands together in such
a manner that he shall not be able to leave the room without un-
clasping them, although you will not confine his feet or bend his
body, or in any way oppose his exit.
The trick is performed by clasping the party's hands round the
pillar of a large circular table or other bulky article of furniture,
too large for him to drag through the doorway.
THE FIGURE PUZZLE.
You assert that you can prove the half of nine to be either
four or six; and the half of twelve to be seven. To
IX
I make this manifest you have only to draw a nine or a
XII-
twelve in numerals, and fold the paper across the mid-
dle, as in the margin.
THE VISIBLE INVISIBLE.
You tell the company that you will place a candle in such a
manner, that every person in the room except one, shall see it;
yet you will not blindfold him, nor in any way restrain his
person, or offer the least impediment to his examining or going

164
SLEIGHTS AND SUBTLETIES.
to any part of the room he pleases. This trick is accomplished
by placing the candle on the party's head; but it cannot be per
formed if a looking-glass is in the room, as that will enable him
to turn the laugh against you.
THE DOUBLE MEANING.
Place a glass of any liquid upon the table, put a hat over it,
and say: "I will engage to drink the liquid under that hat, and
yet I'll not touch the hat." You then get under the table, and
after giving three knocks, you make a noise with your mouth as
if you were swallowing the liquid. Then getting from under
the table, you say: "Now, gentlemen, be pleased to look." Some
one, eager to see if you have drunk the liquid, will raise up the
hat, when you instantly take the glass, and drink the contents,
saying: "Gentlemen, I have fulfilled my promise. You are all
witnesses that I did not touch the hat."
QUITE TIRED OUT.
You undertake to make a person so tired, by attempting to
carry a small stick out of the room, as to be unable to accomplish
it, although you will add nothing to his burthen, nor lay any re-
straint upon his personal liberty. To perform this manœuvre,
you take up the stick, and cutting off a very small sliver, you
direct him to carry it out of the room, and return for more; con-
cluding by telling him, that you mean him to perform as many
similar journeys as you can cut pieces off the stick. As this may
be made to amount to many thousands, he will of course gladly
give up the undertaking.
SOMETHING OUT OF THE COMMON.
Having picked a stick or stone off a common, you tell a person
that you are about to show him something which will surprise him,
SLEIGHTS AND SUBTLETIES.
166
-something, in fact, quite out of the common. Having thus
excited his curiosity, you produce the stick or stone, or whatever
else you may have picked up, which of course he will examine
very intently, and at length observe, that he sees nothing extra-
ordinary in it. "That may be," you reply, "and yet, I assure
you, that it is really something out of the common.
This will,
no doubt, set him upon a fresh examination, which will naturally
end in his asking for an explanation. This you give, by telling
him that "though not uncommon, it is out of the common, for it
is out of—Common;" and no doubt, the company present will
indulge in a hearty laugh at the querist's expense.

TO RUB ONE SIXPENCE INTO TWO.
Previously wet a sixpence slightly, and stick it to the under
edge of a table, (without a cover,) at the place where you are
sitting. You then borrow a sixpence from one of the company,
and tucking up your sleeves very high, and opening your fingers,
to show that you have not another concealed, rub it quickly
backwards and forwards on the table with your right hand,
nolding your left under the edge of the table to catch it. After
two or three feigned unsuccessful attempts to accomplish your
object, you loosen the concealed sixpence with the tips of the
fingers of the left hand, at the same time that you are sweeping
the borrowed sixpence into it; and rubbing them a little while
together in your hands, you throw them both on the table.

MAGIC CIRCLE.
You tell a person you will place him in the centre of a room,
and draw a circle of chalk round him, which shall not exceed
three feet in diameter, yet out of which he shall not be able to

166
SLEIGHTS AND SUBTLETIES.
!
eap, though his legs shall be perfectly free. When the party
has exhausted his ingenuity in trying to discover by what means
you can prevent his accomplishing so seemingly easy a task, you
ask him if he will try; and on his assenting, you bring him into
the middle of the room, and having requested him to button his
coat tightly, you draw, with a piece of chalk, a circle round his
waist, outside his coat, and tell him to jump out of it.
It will greatly improve this trick if the person be blindfolded,
as he will not be aware of the mode of performing it till the bau-
dage is removed, provided his attention be diverted while yoa re
drawing the line round him.

་་་
MELANGE
ILLUSIONS OF TOUCH.
PPLY the points of a pair of compasses, distant
from each other one or two lines, to the cheek,
just before the ear; then move them succes-
sively to several other parts of the cheek, and
you will find, on approaching the mouth, that
the points will appear to recede from each
other; this effect being produced by the great difference of the
sense of touch in these parts. It is a general law, that in the
more sensitive portions of the skin, any two points appear to be
further asunder from each other than points of equal distance
appear to be to a less sensitive portion. The same experiments
may be made by holding together the extremities of the forefinger
and thumb, and then passing the tips of both in a line from the
ear to either the upper or the under lip; as they approach the.
latter, they will feel to the cheek as if they were becoming more
and more distant from each other.
If the skin be touched with the points of a pair of compasses,
one inch asunder, the person so touched, while he shuts his eyes,
15
169


170
MELANGE.
will instantly be aware that his skin is touched in two places
but by continually drawing the two points closer, a degree of
nearness may be reached at which the person will imagine his
skin to be touched by only one body; he will, however, describe
this body, or the compasses, to be a little longer in one direction
than another; and it appears that this difference of length corres-
ponds with the distance between the two points of the compasses.
When these points are brought still nearer together, the inequa-
lity will no longer be felt, and the person will fancy he is being
touched by one body only.
Handle a pea: it is one-place it between the first and second
fingers of the right hand, in their natural position, and you will
still feel the pea but as one. Then cross the two fingers, bringing
the second over the first, and place the pea in the fork between
them, so as to feel the left side of the pea with the right side of
the second finger, and the right with the left of the first. The
impression will then be that you have two peas touching the
fingers, especially if the eyes be shut, and the fingers be placed
by another person. The illusion will be equally strong if the
two forefingers of both hands be crossed, and the pea placed
between them.
ILLUSION OF THE TASTE.
If the nose be held tightly while you are eating cinnamon, you
will perceive scarcely any difference between its flavour and that
of a deal shaving.
THE GENERAL BLEACHER.
Provide some strong chloride of lime: soak in it strips of
printed cotton; take them out, dry them, and you will find them
MELANGE.
171
very white, but very rotten, slitting and dropping into holes upon
the slightest touch.
The dazzling whiteness of paper is caused by bleaching it with
chloride of lime. Thus, if you write on printing paper with
common ink, it will fade, because the chloride will destroy the
colouring matter of writing ink. It will not, however, change
printing ink, as that owes its blackness to charcoal, which is a
singularly permanent substance. Blot over a printed page with
common writing ink, wash it with chloride of lime, when the
blots will disappear, and leave the printing unchanged.
INFLUENCE OF COLOURED GLASS ON BULBOUS ROOTS.
Put a bulb, as a hyacinth, narcissus, &c., into a white glass,
and another into a purple glass: the latter will grow faster than
the former; and if a pinch of salt, or a piece of nitre, be put into
the water whenever it is changed, the brightness of the colour of
the flower will be considerably heightened.
THE SPINNING-TOP
66
ASLEEP."
Spin a top, and it will for some time stand "asleep," as it is
called in the parlance of the play-ground. The cause is thus
explained by Dr. Arnot, in his valuable Elements of Physics:
"While the top is perfectly upright, its point being directly
under its centre, supports it steadily, and although turning so
rapidly, has no tendency to move from the place; but if the
top incline at all, the side of the peg, instead of the very point,
comes in contact with the floor, and the peg then becomes a
little wheel or roller, advancing quickly, and, with its touching

172
MELANGE.
edge, describing a curve somewhat as a skaiter does, until i
becomes directly under the body of the top, as before. It thus
appears that the very fact of the top inclining causes the point to
shift its place, so that it cannot rest until it come again directly
under the centre of the top."
TO JUDGE OF WEIGHTS.
Persons accustomed to estimate weights by poising them in
their hands, will distinguish perfectly between two, only differ-
ing by a thirtieth part. In comparing two weights, poise one and
then instantly the other in the same hand; the few seconds of
time that pass between the poising of the two weights will not
prevent their accurate comparison. The interval may amount to
twenty seconds, yet a just estimate may still be made; but when
it amounts to forty seconds, all accuracy will be lost.
QUICKSILVER AND OIL UNITED.
Let fall a very small drop of oil upon a large drop of mercury,
and the latter will become enlarged. This phenomenon is attri-
buted to a combination of the oil with the mercury, which pro-
duces a compound, the attraction of which is less strong than
that of pure mercury.
TO DISSOLVE THE SODA IN GLASS.
Glass consists of sand, corbonate of soda, and red lead, heated
together. If water be poured into a glass vessel, neither of the
ingredients will be affected by it; but if the glass be reduced to
a fine powder, and water be poured on it, the soda will instantly
be dissolved.

MELANGE.
173
Or, moisten with water a piece of tumeric, or test-paper, drop
on it a little powdered glass, and the soda in it will change the
yellow paper to brown.
WATERPROOF PAPER.
Make a solution of caoutchouc in caoutchoucine, plunge into
it, once or twice, unsized paper, and dry it by a gentle heat. It
may then be used as writing paper, and will resist all humidity;
and small vessels made of it will even contain water.
TO DISSOLVE GOLD OR PLATINUM.
Mix a little nitric acid with half the quantity of muriatic acid,
into which put the metal for solution.
Or, pour a little aqueous solution of chlorine into a small glass,
and put in a bit of pure gold leaf; stir it with a glass rod, and
the gold will dissolve. Thus gold, which cannot be dissolved
in nitric, sulphuric, or other strong acids, will quickly disappear
in water with a little chlorine in solution.
COLDER THAN ICE.
Mix common salt with pounded ice or snow, and they will run
into brine, which will be much colder than the ice or snow.
CONTRA-CRYSTALLIZATION.
Dissolve two ounces of nitre and three of Glauber salts in five
ounces of warm water; fill two bottles with the solution, into
one of which put a crystal of nitre, and into the other a crystal
of Glauber salts; place both bottles in ice-cold water, when nitre
only will crystallize in the one and Glauber salts in the other.
174
MELANGE.
ONE AND ONE DO NOT MAKE TWO.
Mix a wine-glass full of sulphuric acid with a wine-glass ful
of water, cautiously; and on remeasuring the mixture it will not
be found sufficient to refill both glasses.
TO COPY WRITING INSTANTLY.
Add a little sugar to ink, with which write the letter to be
copied; then lay a sheet of thin unsized paper, damped with a
sponge, on the writing; pass lightly over it a flat-iron, very
moderately heated, and a reverse impression of the writing will
be accurately taken off.
THE RIVAL DIALS.
Fix two pendulum clocks to the same wall, or lay two watches
upon the same table, and they will take the same rate of going,
though they would vary in that rate if they were placed in sepa-
rate apartments. Indeed, it has been observed that the pendulum
of one clock will even stop that of the other, and that the stopped
pendulum will, after a certain time, go again, and in its turn stop
the other pendulum.
TO SPIN INDIAN rubber.
Dissolve a small piece of Indian rubber in a little caoutchou-
cine, and put a drop or two of the solution upon a looking-glass
or window-pane; touch it lightly with a dry piece of Indian
rubber, quickly draw out a fine thread, which attach to a card.
and wind off as silk.
3%


MELANGE.
175
INDELIBLE WRITING.
As the art of man can unmake whatever his ingenuity can
make, we have no right to expect an indelible ink; however, an
approximation to it may be made as follows: Make a saturated
solution of indigo and madder in boiling water, in such propor-
tions as to give a purple tint; add to it from one-sixth to one-
eighth of its weight of sulphuric acid, according to the thickness
and strength of the paper to be used. Write with this ink, and
expose the paper to a gradual heat from the fire, when the cha-
racters will be completely black, the letters being burnt in and
charred by the sulphuric acid. If the acid has not been used in
sufficient quantity to destroy the texture of the paper, and reduce
it to the state of tinder, the colour may be discharged by washing
it with a strong solution of oxalic acid in water. When the full
proportion of acid has been employed, crumple and rub the paper,
and the charred letters will fall out; then, by placing a black
ground behind the letters, they may be preserved, and thus a
species of indelible writing may be procured, the letters being,
as it were, stamped out of the paper.
VEGETABLE ANATOMY.
Soak any part of a plant in nitric acid for a short space of time,
and all power of cohesion will be lost by the vessels, which will
become transparent, and be easily separable from each other by
gentle dissection. So complete will be the effect, that even the
most delicate cells of the cellular tissue will become disengaged
from each other, and may be examined singly with perfect ease.
This discovery will enable persons who have not compound
microscopes and delicate dissecting instruments, to anatomize
plants with facility.

176
MELANGE.
TO TELL WHAT O'CLOCK IT IS BY THE MOON.
This may be calculated by the shadow which the moon casts
upon a sun-dial, it being only necessary to know the moon's age,
which may be found in an almanac. If the new moon happens
in the morning, this day is taken into the account; but if it hap-
pens after noon, the following day is counted the first. The
moon's age is to be multiplied by four and divided by five. The
quotient must either be added to the hour which the shadow indi-
cates on the sun-dial, and the sum will give the time sought; or
subtract from the quotient the hour shown by the moon upon the
dial, and the remainder will give the hour sought. The first is
to be done when the shadow falls upon an hour of the afternoon,
and the latter when it falls upon an hour of the forenoon. The
following are examples:
1st. Suppose the moon to be ten days old, and the shade cast
by the moon upon the sun-dial to be at half-past two; or, that the
shadow cast by the moon falls on the place at which the shadow
cast by the sun stands at half-past two;-what o'clock was it
then? The answer is calculated as follows:-The moon's age,
10 days X 4 = 40 40 8. Eight, therefore, is the time when
the moon was in the meridian, and 8 + 21 = 10, or half-past
ten, the hour sought.
2d. Suppose the moon to have been 18 days old, and the
shadow cast by it on the sun-dial to have marked eleven. This
time is subtracted from the hour when the moon was in the
meridian on that day, and from which the hour marked by the
shadow must be deducted. The shadow shows here 11 o'clock
in the forenoon, or one hour before noon, which, deducted from
2h. 24m. gives 1h. 24m.; 2-1 = 1, or 24 minutes past one
o'clock.

MELANGE.
177
THE PHYSIOGNOTYPE.
This is a newly invented instrument, by the aid of which a
person may have a plaster cast of his face taken without submit-
ting to the usual unpleasant process.
It consists of an assemblage of very fine movable wires, con-
fined closely together within a broad hoop or band, after the
DINEMENTS
manner of the bristles in a
telescope hearth-brush, but
not closed at the back, in
order to allow to the wires a
free passage. The wires slide
in a metal plate, perforated all
over with holes, very fine and
close together. The appara-
tus is surrounded by an outer
case which is filled with warin
water, in order to prevent any
unpleasant sensation on the contact of the instrument with the
skin.
When it is desired to take a likeness, the instrument is applied
to the face with a gentle and gradual pressure, the wires easily
yield and slide back, conformably to the prominences of the
countenance; they are then fixed tightly in their position, and
thus form a mould which will yield a perfect and faithful cast of
the face, in which even the most minute line will appear with
the strictest accuracy.
INFINITE DIVISIBILITY OF MATTER.
Dissolve a single grain of copper in about one drachm of nitric
acid, and dilute the solution with about one ounce of water, when

178
MELANGE.
it will be evident that a single drop of the mixture must contain
an almost immeasurably small portion of copper. Yet, if the
blade of a knife be dipped into it, it will become covered with a
coat of copper; thus showing that the copper can be infinitely
divided without any alteration in its properties.
HOLDING THE BREATH.
If a person inspire deeply, he will be able, immediately after,
to hold breath for a time, varying with his health, state of exer-
tion, or repose. A man, during an active walk, may not be able
to cease breathing for more than half a minute; but after resting
on a chair or bed, he may refrain from breathing for a minute and
a half, or even two minutes. But if he will prepare himself by
breathing deeply, hardly, and quickly, (as he would naturally do
after running,) and ceasing that operation with his lungs full of
air, then hold his breath as long as he is able, he will find that
the time during which he can remain without breathing will be
double, or even more than double the former. This effect may
be rendered exceedingly serviceable, as on many occasions a man
who can hold breath for a minute, or two minutes, may save the
life of another; such as in entering a chamber on fire, rescuing
from drowning, &c.
SAND IN THE HOUR-GLASS.
It is a remarkable fact, that the flow of sand in the hour-glass
is perfectly equable, whatever may be the quantity in the glass:
that is, the sand runs no faster when the upper half of the glass
's quite full than when it is nearly empty. It would, however,
be natural enough to conclude that, when full of sand, it would

MELANGE.
179
be more swiftly urged through the aperture than when the glass
was only a quarter full, and near the close of the hour.
The fact of the even flow of sand may be proved by a very
simple experiment. Provide some silver sand, dry it over or
before the fire, and pass it through a tolerably fine sieve. Then
take a tube, of any length or diameter, closed at one end, in
which make a small hole, say the eighth of an inch; stop this
with a peg, and fill up the tube with the sifted sand. Hold the
tube steadily, or fix it to a wall or frame, at any height from
a table; remove the peg, and permit the sand to flow in any
measure for any given time, and note the quantity. Then let
the tube be emptied, and only half or a quarter filled with
sand; measure again, for a like time, and the same quantity of
sand will flow: even if you press the sand in the tube with a
ruler or stick, the flow of the sand through the hole will not be
increased.
The above is explained by the fact, that when the sand is
poured into the tube, it fills it with a succession of conical heaps,
and that all the weight which the bottom of the tube sustains,
only that of the heap which first falls upon it; as the succeeding
heaps do not press downward, but only against the sides or walls
of the tube.
RESISTANCE OF SAND.
From the above experiment it may be concluded, that it is
extremely difficult to thrust sand out of a tube by means of a
fitting plug or piston; and this, upon trial, is found to be the
case. Fit a piston to a tube, (exactly like a boy's pop-gun,)
pour some sand in, and try with the utmost strength of the arm
to push out the sand. It will be found impossible to do this
180
MELANGE.
M

rather than the sand should be shot out, the tube will burst at
the sides.
GLASS BROKEN BY SAND.
If bullets be let fall on glass which has been cooled in the
open air, they will not break it; but if a few grains of sand be
let fall on the same kind of glass, it will be broken into a
thousand pieces! This is explained by the lead not scratching
the surface of the glass; whereas the sand, being sharp and
angular, scratches sufficiently to break it.
TO BLEACH IVORY.
Place any piece of discoloured ivory beneath a glass, expose
it to the sun, and it will soon be restored to pure whiteness;
whereas, if the ivory be exposed to the sun without the glass
covering, it will become more discoloured.
VANISHING SHELLS.
Put into a little diluted muriatic acid a common whelk shell,
when it will be completely dissolved, and not a sensible trace of
it left behind.
If an oyster shell or land-snail shell be put into the acid, their
substances will disappear, but the form or skeleton of the shells
will remain.
THE MAGIC EGG.
Fill a basin with diluted muriatic acid, and put into it an egg,
which will sink; but, in a few seconds, the whole of the egg-shell
being covered with bubbles of carbonic acid gas. will rise to the
surface, a portion of the egg will be lifted above the surface, and

MELANGE.
181
the whole egg will slowly rotate. This rotation is formed by the
bubbles of gas forming at the under part of the egg, and over all
the submersed portions, which render them lighter than the por-
tions above the liquid level, till the under portion ascends and the
other descends.
THE MAGIC WHIRLPOOL.
Fill a glass tumbler with water, throw upon its surface a few
fragments or thin shavings of camphor, and they will instantly
begin to move and acquire a motion both progressive and rotatory,
which will continue for a considerable time. During these ro-
tations, if the water be touched by any substance which is at all
greasy, the floating particles will quickly dart back, and, as if
by a stroke of magic, be instantly deprived of their motion and
vivacity.
In like manner, if thin slices of cork be steeped in sulphuric
ether in a closed bottle, for two or three days, and then placed
upon the water, they will rotate for several minutes, like the
camphor; until the slices of cork having discharged all their ether,
and become soaked with water, they will keep at rest.
If the water be made hot, the motion of the camphor will be
more rapid than in cold water, but it will cease in proportionately
less time. Thus, provide two glasses, one containing water at
58 degrees, and the other at 210 degrees; place raspings of cam-
phor upon each at the same time; the camphor in the first glass
will rotate for about five hours, until all but a very minute portion
has evaporated, while the rotation of the camphor in the hot water
will last only nineteen minutes; about half the camphor will pass
off, and the remaining pieces, instead of being dull. white, and

182
MELANGE.
opaque, will be vitreous and transparent, and evidently soaked with
water. The gyrations, too, which at first will be very rapid, will
gradually decline in velocity, until they become quite sluggish.
The stilling influence of oil upon waves has become proverbial:
the extraordinary manner in which a small quantity of oil instantly
spreads over a very large surface of troubled water, and the stealthy
manner in which even a rough wind glides over it, must have ex
cited the admiration of all who have witnessed it.
By the same principle, a drop of oil may be made to stop the
motion of the camphor, as follows: throw some camphor, both in
slices and in small particles, upon the surface of water, and while
they are rotating dip a glass rod into oil of turpentine, and allow a
single drop thereof to trickle down the inner side of the glass to the
surface of the water; the camphor will instantly dart to the oppo-
site point of the liquid surface, and cease to rotate. If a piece of
hard tallow or lard be employed, the motion of the camphor will
be more slowly stopped than by oil or fluid grease, as the latter
spreads over the surface of the water with greater rapidity.
If a few drops of sulphuric or muriatic acid be let fall into the
water, they will gradually stop the motion of the camphor; but,
if camphor be dropped into nitric acid diluted with its own bulk
of water, it will rotate rapidly for a few seconds and then stop.
If a piece of the rotating camphor be attentively examined
with a lens, the currents of the water can be well distinguished,
jetting out chiefly from the corners of the camphor, and bearing
't round with irregular force.
The currents, as given out by the camphor, may also be seen by
teins of the microscope; a drop or two of pure water being placed

MELANGE.
183
upon a slip of glass, with a particle of camphor floating upon it.
By this means the currents may be detected, and it will be seen
that they cause the rotations.
Or, a flat watch glass, called a lunar, may be employed, raised
a few inches, and supported on a wire ring, kept steady by
thrusting one end into an upright piece of wood, like a retort
stand. Then put the camphor and water in the watch-glass, and
place under the frame a sheet of white paper, so that it may
receive the shadow of the glass, cainphor, &c., to be cast by a
steady light placed above, and somewhat on one side of the
watch-glass. On observing the shadow, which may be considered
a magnified representation of the object itself, the rotations and
currents can be distinguished.*
MAGIC PORCELAIN.
A peculiar kind of porcelain was formerly manufactured in
China, which exhibited its colour and devices only when filled
with water. Though the art of manufacturing this porcelain has
been lost, and the mode cannot now be described with accuracy,
the following has been conjectured as not very remote from the
truth. The first requisite was that the vessel be extremely
thin, so that the figures to be formed might be sufficiently clear
and perceptible. After the vessel has been baked, the figures,
which were mostly fish, (as those were most appropriate with
the water,) were formed on the inside; and, after the colour had
dried, a second extremely thin coat, of the same substance as that
of which the vessel was constructed, was laid on the inside and
varnished. The fish, or other device would then, it is evident,
* Abridged from the Magazine of Popular Science, vol. iii.
2

184
MELANGE
be enclosed between the two coats of the ware of which the vessel
was made. All that remained to be done was to grind the outside
of the vessel as close to the figures as possible, to varnish it
again, and bake it a second time; and though, after this opera.
tion, the figures and embellishments would not be at all percepti-
ble, yet, so soon as the vessel was filled with water, they would
at once be rendered clear and distinct to a degree scarcely credi-
ble. Attempts have been made to revive this beautiful art, but
hitherto without success.
A GALVANIC TONGUE.
Coat the point of the tongue with tin-foil, and its middle part
with gold or silver leaf; when a sourish taste will be produced,
and the tongue will be galvanised.
DRINKING PORTER OUT OF PEWTER.
If porter be drunk out of a pewter pot, it will produce a more
brisk sensation than when it is taken out of a glass vessel, which
is ascribed to a galvanic effect. In this instance there is a com-
bination of one metal and two dissimilar fluids, which combination
constitutes a galvanic circle. In the act of drinking, one side of
the pewter pot is exposed to the action of the saliva, which
moistens the lip, while the other metallic side is in contact with
the porter; the circuit being thus completed, an agreeable relish
is communicated to the beverage when it comes in contact with
the tongue.
ELECTRIC OR GALVANIC PRESERVATION.
Immerse a slip of copper in diluted nitric acid, and it will be
soon corroded and dissolved; but if a slip of zinc be immers
MELANGE.
185
with the copper, the zinc will be dissolved, and the copper remain
unaltered and uninjured.
LIGHT FROM THE DIAMOND.
Expose a fine diamond to the sunbeams, and carry it into a
dark room, when it will exhibit phosphorescence: and it has been
stated that such diamonds as do not display this peculiarity, may
be made to do so by dipping them into melted borax.
The diamond becomes phosphorescent also when fixed to the
prime conductor of an electrical machine, and a few sparks may
be taken from it. It likewise becomes electric by friction; and
the Hon. Mr. Boyle obtained electric gleams by rubbing two
diamonds together in the dark.
TO BREAK A STONE WITH A BLOW OF THE FIST.
Select two stones from three to six inches long, and about half
as thick; lay one flat on the ground, on which place one end of
the other, raising the reverse end to an angle of forty-five degrees,
and just over the centre of the stone, (with which it must form a
T,) supporting it in that position by a piece of thin twig or stick,
one or one and a half inch long; if the raised stone be now
smartly struck about the centre with the little finger side of the
fist, the stick will give way, and the stone will be broken to
pieces: the stones must be laid so as not to slip, otherwise the
experiment will fail.


MIMIC FROST-WORK.
Fasten a sprig of fresh rosemary, or any similar shrub, to the
inside of a small bandbox, near the top; heat a thick tile, and
sprinkle it with gum benzoin, and immediately place the bandbox
16

186
MELANGE.
over it, when the acid will be sublimed by the heat, and wil
condense in a white vapour upon the green plant, giving it the
appearance of being covered with hoarfrost.
TO MELT LEAD IN A PIECE OF PAper.
Wrap up a very smooth ball of lead in a piece of paper, taking
care that there be no wrinkles in it, and that it be everywhere in
contact with the ball; if it be held in this state over the flame of
a taper, the lead will be melted without the paper being burnt
The lead, indeed, when once fused, will not fail in a short time
to pierce the paper and run through.
HYDROSTATIC BALANCE.
Provide a pair of scales, in one of which place a tumbler filled
with water, and poise it by placing weights in the opposite scale;
then hold in the tumbler a block of wood, or any substance nearly
the size of the tumbler, but so that it shall not touch the sides or
bottom; when, although nearly the whole of the water will have
to run over the sides, and only a spoonful may remain, the scales
will continue balanced; and all this without regard to the weight
of the body you plunge into the water, taking care to hold it
entirely clear of the tumbler, so that it touch it nowhere; for the
effect will be the same if what you plunge in be scooped hollow
and made water-tight. A bladder blown up, tied fast, and held
down in the water, so as to leave only a spoonful of water sur-
rounding it, will keep the scales balanced just as well as a block
of lead of the same size.

MELANGE.
187
METALLIC REDUCTION.
Mix a little red lead with some powdered charcoal, and with
the mixture fill the bowl of a tobacco-pipe; set it over a common
fire, and in about twenty minutes the lead will be found reduced
to its metallic state.
SIMPLE ELECTRICITY.
ELECTRICAL ATTRACTION AND REPULsion.
Rub a piece of amber, a stick of red sealingwax, or a smooth
glass tube smartly upon the sleeve of a coat, or any other dry
woollen substance, and it will attract to itself bits of straw, paper,
fragments of gold leaf, or any small and light bodies. The am-
ber, wax, or glass is then said to be excited, and the attractive
power thus developed is called electrical attraction.
Select a clean and dry downy feather, and suspend it from a
beam by a long thread of white silk, to be used in the following
experiments :-
Provide a glass tube about three feet long and three-quarters
of an inch in diameter; wipe it dry, and rub it gently with a warın
silk handkerchief; then apply the tube to the feather, and it will
attract it; withdraw the tube gently, apply it again, and the
C

188
MELANGE.
feather will be repelled for a time, but then attracted, and then
again repelled. In this case, the feather having received elec
tricity from the glass, is repelled by it; for bodies similarly
electrified repel each other.
Fold a silk handkerchief, warm it, and with it rub the tube;
apply it to the feather, and it will first attract and then repel it;
when the feather has just been repelled by the silk, apply the
tube, and the feather will be attracted. The handkerchief must
be folded so thickly as to keep the hand as far as possible from
the glass tube.
Roll up flannel thickly, rub it with sealingwax, and the roll
will by turns attract and repel the feather; when thus repelled,
apply the excited wax, and it will instantly attract the feather.
When the atmosphere is dry, take in one hand a rod of glass
and in the other a stick of sealingwax, and rub them against
silk or worsted; with one of them approach a bit of gold leaf,
floating in the air; it will first attract and then repel it. When
the gold has just been repelled, approach it with the other rod,
and it will be immediately attracted; and this alternate attraction
and repulsion may be strikingly displayed by placing the two
excited rods at a small distance asunder, with the gold leaf
between them.
ALCHEMICAL ELECTRICITY.
Nearly fill a wine-glass with a weak solution of blue vitriol in
water, and place in it the blade of a knife and a small silver
spoon; the knife will soon acquire a copper coating, but the spoon
will remain bright until it is touched with the blade of the knife,
when it will also become plated with copper.

MELANGE.
189
THE ELECTRIC BALLS.
Provide two small balls of equal size, both made of gum lac,
and cover one with gold leaf. Suspend these balls from a beam
by fine white silk threads, at a little distance from each other, so
as to allow a comparison of their motions. Then rub a stick of
red sealingwax upon any woollen substance, or warm it at the
fire, and present it to the balls; when it will be at once seen that
the gilt ball, which readily admits of the transfer of electricity
from one side to the other, will be sooner and more powerfully
attracted than the other ball, which allows of no motion in its
electricity. The latter ball will, however, by slow degrees be
teebly attracted, and may at length be made to adhere for a con-
siderable time to the sealingwax.
THE ELECTRIC DANCE.
Lay on a table small pieces of paper or cotton, feathers, or gold
leaf; then rub with a silk handkerchief a glass tube, hold it
parallel to the table, and the several pieces will be alternately
attracted and repelled, and a kind of electrical dance will be
kept up.
If to the further end of the tube you hang a brass ball by a
thread of linen, hemp, or metallic wire, the ball will participate
in the magic power of the rubbed tube; but if the ball be sus-
pended by a cord of silk, worsted, or hair, or be attached by wax
or pitch, the attractive and repulsive properties of the rod will
not pass into the ball.
ELECTRIC LIGHT
Shake a barometer in a dark room, and light will be produced
in the empty part of it by the friction of the quicksilver electrifying

190
MELANGE.
the glass tube. Even the friction of air upon glass is attended
by electricity, as has been found by blowing upon a dry plate of
glass with a pair of bellows.
ELECTRIC LIGHT FROM BROWN PAPER.
Provide a piece of thick brown paper, thoroughly dry and warm;
rub the paper briskly in a dark room, and there will dart forth
flashes of electric light to the fingers, to a key, or to any other
conductor that may be presented to it.
Heat a small portion of sulphate of quinine in a spoon over
the flame of a lamp, and it will become luminous and highly
electrical.
SUDDEN PRODUCTION OF LIGHT.
Take a piece of dry and warm wood into a dark room, suddenly
rend it asunder, and a flash of light will be perceived. The same
effect may likewise be produced by suddenly snapping asunder
a stick of sealingwax in the dark.
Or, break a Prince Rupert's drop, and electrical light will
pervade the whole, so that its form will be distinctly visible in
the dark. The light will appear even if the experiment be made
under water.
ELECTRICITY OF THE CAT.
Place your left hand upon the throat of the cat, and, with the
middle finger and the thumb, press slightly the bones of the
animal's shoulders: then, if the right hand be gently passed along
the back, perceptible shocks of electricity will be felt in the left
hand. Shocks may also be obtained by touching the tips of
the ears after rubbing the back. If the colour of the cat be black,

MELANGE.
191
2
and the experiment be made in a dark room, the electric sparks
may be very plainly seen.
Very distinct discharges of electricity may also be obtained by
touching the tips of the ears, after applying friction to the back ;
and the same may be obtained from the foot. Placing the cat on
your knees, apply your right hand to the back; the left forepaw
resting on the palm of your left hand, apply the thumb to the
upper side of the paw, so as to extend the claws, and, by this
means, bring your forefinger into contact with one of the bones
of the leg, where it joins the paw; when, from the knob or end
of this bone, the finger slightly pressing on it, you may feel dis-
tinctly successive shocks, similar to those obtained from the ears.
It is, perhaps, unnecessary to add, that, in order to this expe-
riment being conveniently performed, the experimenter must be
on good terms with the cat.

จอ

PAUL PRESTON'S
BOOK OF GYMNASTICS:
UR
SPORTS FOR YOUTH.
A Legacy,
TO PROMOTE THE HEALTH AND LONG LIFE OF HIS
YOUTHFUL FRIENDS.
BOSTON:
MUNROE AND FRANCIS.
A

&

5
10
CONTENTS.
PAGE
Preface
Preliminary Exercises
7
11
Exercises on the Parallel Bars
Exercises on the Horizontal Pole
88
59
Horse Exercise
83
Leaping
108
Leaping with the Pole
113
Climbing Apparatus
119
Pulling the Rope
124
Throwing the Lance or Spear
127
Climbing the Plank
132
Giant Stride
133
Climbing the Mast
134
Running
Recapitulation
136
1xd
O


PREFACE.
A FEW words to the Guardians of Youth-whether Parents
or Governors of Schools, or of any institutions where numbers
of children are congregated together-may not here be amiss.
And first, let me address myself to those parents, who, while
they wish to see their sons and daughters healthy and strong
too often suffer their fears to overcome their desires, and fancy
they see danger in any sport or exercise that goes beyond a
walk or a gentle trot. Now let me earnestly intreat such to
lay aside all this, and encourage the practice of such evolu-
tions as are contained in this book. They will have the hap-
piness of seeing those they love so dearly become robust, har-
dy, and full of spirits, instead of being nervous, headachy, and
spiritless beings; for there is not a single exercise in the book
that can really be called dangerous. To Masters of Schools
C

Co
PREFACE.
let me say, that although cricket in the fields is an admirable
thing, and running about the play-ground another admirable
thing, still boys, like men, are fond of variety. Many enlight-
ened instructers of youth have often wished for some Manual
of Gymnastics to direct them; and for want of it have chosen
rather not to attempt them at all, than not do them well.
Here then is one to their hands, and though written express-
ly for boys, the exercises in each section have been all so phi-
losophically laid down as to progress from the easiest to the
most difficult; thus forming a complete code by which the
teacher may be guided. Where there is a covered play-ground
for the winter, these Exercises are the best amusement imag-
inable, and will render the pupils hardy, healthy and cheerful,
without unnecessarily exposing them to the inclemency of the
weather. The Author would suggest that one or more Cap-
tains or Leaders be chosen trom among the boys of a school
by the boys themselves, who, with the Manual for their guide
shall carry them through the various exercises. He would re-
commend too that the Preliminaries should be well practised
for a month, dividing the children into classes, according to
size, and make it a point of honor to stand first in the class:

PREFACE.
9
which honor shall be the result of superior care and attention
to the Captain's directions; and the Captains should have an
extra drill, the better to enable them to give their lessons prop-
erly to their classes. After the month's practice, by the end of
which we may suppose the Parallel Bars and Horizontal Poles
are ready, they may then be taken to these, after half an hour's
practice of the Preliminary Exercises, trying only a few of the
first exercises on each; they can then finish with a run one
morning, and a pull at the rope on another; afterwards, when
the other apparatus is erected, a regular routine for a week
may be laid down, so that every day may have at least one
exercise different from the others. To prevent them from ex-
ercising on the Horizontal Poles at improper times, these
poles may be made to fit tightly into grooves, and when not
wanted, an upward blow with the hand will disengage them.
If these rules are steadily adhered to, there is nothing in
the whole range of Exercises which may not in time be ac-
complished by a healthy boy; and if the weaker are gradu-
ally and kindly brought on, they will in their turn perform
equally well with their companions.

Quello VARIOS VEI
"
MATEDTAL
וויוי
理
​
20
PAUL PRESTON'S
BOOK OF GYMNASTICS.
OH! here's Paul Preston the entertaining traveller, he'll tel
us all about it. He explains things so pleasantly, that we can-
not help understanding him.
Well, my little friends, what do you want to know? I am
always ready to impart what little I know, because I love to
see young folks good and wise, and consequently happy.
O, we only want to ask you one question; we are sure
you can answer us. What do they mean by Gymnastics?
What are they good for? Why do they call them so? Can
we perform them? Will you show us? And-
*

12
PAUL PRESTON'S
Stop, stop! you said you wanted to ask me one question,
and you are running through a whole catechism; but to set
your minds at rest, I will tell you at once I know all about
the matter, and in due time, if you will have patience, will en-
deavor to put you in posession of my knowledge upon the sub-
ject, being an old Gyınnast; and reckon it not the least among
the blessings I enjoy, that I had the opportunity of going
through a regular course of these exercises, which, together
with temperate habits and early rising, have enabled me to be
so active, both in body and mind, as I am up to the present
moment.
Now then to answer the first question in your catalogue.
Gymnastics is a term of very extended signification. Among
the ancient Greeks it meant that part of physics which relates
to exercises for the health.
It was that branch of education which, after certain prescri-
bed rules, tended to develop the bodily powers of man, ren-
dered his frame robust and agile, and fortified it against the
common accidents of life; and so long as man possesses a
body, and requires for his earthly existence a bodily life, so
long ought Gymnastics to form a principal object of man's cul-
tivation.
You know I told you about Greece. Well, public games
were instituted by Hercules, in honor of Jupiter Olympius, at


BOOK OF GYMNASTICS.
13
the town of Olympia, and were celebrated or exercised in the
first month of every fifth year, and lasted five days. These
games were called Olympic Games; you have no doubt read
about them.
O yes, we remember that.
*
Well, the place where the Greeks performed these exerci-
ses, which consisted of leaping, running, throwing, boxing,
wrestling, horse and chariot-racing, and contests in poetry, ora-
tory, music, philosophy, and the arts of all descriptions, was
called a Gymnasium. You all recollect how astonished
Xerxes the Persian was at the bravery of Leonidas and his
little band of three hundred men, so that he declared it was
impossible to conquer the Greeks, and ran away as fast as
he could to his own country again.
No doubt all these Greeks had been trained in the Gym-
nasium, for they well understood what an intimate connexion
there is between body and mind; how invariably the healthy
or sickly temperament of the one influences that of the other;
so that when the body is strong, healthy and active, the mind
is cheerful and elastic, and capable of noble deeds; but when
the former is sickly and diseased, the latter is languid and
depressed.
But after a great many years, when education came into
the hands, and was at the sole disposal, of the monks, Gym-
2

14
PAUL PRESTON'S
nastic exercises disappeared altogether. The great men had
their tilts and tournaments, while the people were mere slaves,
used only to lead their horses and carry their masters' arms.
Even these have passed away, and are known only to us mod-
erns by the accounts we read in books; but, after all, they ap-
pear to have been very silly amusements.
The Germans were the first to revive "this relic of an age
gone by." To Professors Gustmuth and Jahn the merit of
the discovery is particularly due. When they had made a
careful examination of the structure of the human body, they
set about devising numerous exercises, arranging them in a
well adapted series; and thus restored Gymnastics to some-
thing like their former rank and imporance. Many towns in
Germany and Switzerland soon had their Gymnasiums, and
the youth, and even grown men, derived more pleasure in ex-
ercises which fortified, than in amusements which paralyzed
the powers of their bodies.
To finish this long story,-I shall only add that these ex-
ercises are used in the British Naval and Military Schools,
where the boys are very clever, climbing like monkeys, with-
out any fear or danger of falling; they run and jump like
antelopes, so that they not only lay up a large stock of health
and strength for future years, but are rendered more active,

BOOK OF GYMNASTICS.
15
and consequently more useful, members of the professions for
which they are intended.
Now, my lads, it happens luckily that Paul Preston has by
him a regular series of all the various exercises they used to
perform at the Gymnasium under Professor Voelker; and if
you will promise to attend to my directions, and persevere in
the practice of them, I promise in return that all of you, whe-
ther sickly or weakly, shall become strong active and
healthy.
O yes, do let us begin; we promise to pay particular atten-
tion to all you tell us ; and—
Only practise it heartily, and I shall be satisfied.
you like.
We will begin now, if
Well then, do as I do. Pull off your caps and coats, take
off your stocks and neckerchiefs, and unbutton your shirt-
collars; don't be afraid of catching cold, I'll make you warm
enough before I've done, only when you leave off, clothe your-
selves, the sooner the better. Stand in a line-head easy-
heels close-toes turned out-body upright-stomach kept in
-arms hanging straight by the sides-hands closed, with the
thumbs inside.
Now then, move to the right and left, and stretch out your
arms, so as each can barely touch his neighbor's fingers' ends
thus-

16
PAUL PRESTON'S
Remember, voys, every thing must be done with spirit, and
vhen I have shown you how to move your legs and arms, and
you are not tired of the sport, I'll have some parallel bars, a
horizontal pole or two, a couple of wooden horses, some
leaping poles, and other things, which I will tell you about by
and by. So we'll have a Gymnasium of our own.
1. Attention!—Bring your arms quickly up in front as high
as the shoulders, nails upwards-now swing them forcibly
back, so, turning the nails outwards-body upright as a dart-
again and again-half a dozen times.
M


BOOK OF GYMNASTICS.
17
2. Mind when I say Attention, which I shall do at every
new exercise, you are to stand as I told you at first. Place
hands on hips-thumbs behind-fingers in front-feet close.
Now rise as high as possible on your toes, and stand for one
minute by the clock. Once more-try again-elbows back.
Thai will do, boys.
3. Look! bring your elbows sharply back thus, so that the
fists be close to the sides (a)-send them sharply forward (6)
(a)
(b)

1
so,-back again-don't be afraid of hitting the wind-doi.
three times more.
4. Attention! Hands on hips-feet close-rise slowly or
your toes-now jump, but keep your knees quite stiff.
2
B

18
PAUL PRESTON S
5. You see I give one exercise for your arms and another for
your legs, alternately. Here's another for your arms. Bring
your fists quickly up, so, against your shoulders in front,
elbows close to your sides-throw them up sharply, so as to be
at the full stretch-again, to your shoulders forcibly-up again
-down-up-down-well done.
Now for the legs. Hands on hips-feet close-up with
he right leg in front as high as you can-knees straight--

BOOK OF GYMNASTICS.
19
no stooping forward-now the left leg-right-left-right-
,eft.

مم
7. Fists smartly up to the shoulders, nails turned inwards,
elbows close to sides--throw your fists downwards with all
your might. Again to your shoulders—quickly—all together
-down-up-attention!
8. Feet close-hands on hips-throw out your righ leg
sideways, as I do-body upright--no leaning on one side-stea
dy-left leg-right-left.


9. Well, boys, let us now combine two exercises into one,
the 5th and the 7th ; but remark, you are to stand firmly on

20
PRESTON S
PAUL
your feet, don't rise on your toes, or the exercise will be of
no service. See-bring your fists strongly up to your shoul-
ders-throw them up as high as you can-down again to
your shoulders-now sharply towards the ground-once more
-four or five times.
10. Here's another leg exercise, good for your knees.
Hands on hips-feet close-keep steadily in your places, and
kick your thighs with your heels, first with your right, then
with your left.
11. Raise your eloows as high as your shoulders, like this(a)
-rest your fists on them, nails turned down-throw your
arms forcibly back in a straight line, (b) keep them quite hori
zontal, and don't forget to keep the thumbs inside´of the fin
gers.
I


BOOK OF
21
GYMNASTICS.
(a)
+
12. Do the same as before, with this difference only, that
you must throw your arms behind, keeping them level with the
shoulders.
13. Another kick, boys. Hands firmly on your hips—
place your feet close, rise on your toes, and kick your thighs
with both heels at once-just so-back as stiff as a soldier.
14. Now, lads, I have made you a little pliable, you may
try this, which will bring your muscles into excellent action,
and is at the same time, if done well, a very graceful exercise,

22
PAUL PRESTON'S
Decause a perfectly scientific one. Heads up bring your
arms, with fists closed and thumbs inside, slowly up in front,
and turn them completely round, so as to form a circle sev-
eral times.
15. This next exercise will be rather difficult at first, but
a little practice will soon enable you to master it. Observe-
Feet close-hands on hips, and touch your breast with your
knees alternately as I do-toes pointing to the ground-and
keep your body perfectly upright-right knee-left knee.
16. Now for an arm exercise like the 14th, except that you
are to turn your arms from back to front, instead of from
front to back.
B

BOOK OF GYMNASTICS.
23
17. Who can do this well? Not one at first, except myself.
I shall set you all laughing, and you will laugh at each other
too. Try-hands on hips-feet close-stand on toes-bend
your knees very slowly, and lower your body so, till your
thighs touch your heels, like an indian chief. Mind-keep
your knees quite close, and your body quite upright-now rise
very gradually.
Ah! there you are, all swimming on dry
land. Never mind, try again.
18. This next will exercise the muscles of your chest.
Bring the left fist to the front of the right shoulder, and at the
same time extending the right arm with a quick motion, thus,
in a line with the shoulder-now throw the left arm sharply
out, and bring your right fist to the left shoulder. Do it with
spirit, boys-again and again.
כי
I


24
PAUL PRESTON'S
19. Another comical kick. Stand with your feet close,
hands on your hips-now raise your left leg behind-stand
on your right toe, and kick your right thigh with your right
heel six times-now do the same with your left heel, stand-
ing first on your left toe.
20. Open your hands while by your sides-now raise
them sideways and touch the backs of your hands sharply
over your head-look at me.

21. Attention! Again open your hands-extend them in
front, palms touching-now swing them back heartily the
height of your shoulders, and make the backs of your hands
meet behind. You must not turn the hands round, any one
can make the backs meet then, but few can at the first trials
the other way. A famous exercise for the chest.
22. Are you tired? If not, put your hands on your hips-
keep your feet close-now hold out your right hand in front.

BOOK OF
25
GYMNASTICS.
evel with the shoulder, and try and kick the palm of it with
the right foot six tirnes-knees stiff-now the left hand
and left foot-don't stoop, and keep your knees quite straight

Д
23. Again. Open your hands, extend them in front, the
backs touching, and swing them back in a line with the shoul-
ders, till the palms touch behind.
24. Now, my young Gymnasts, try this. Hands on hips
-rise on your toes-steady-bend your knees, and go grad-
ually down, till your thighs touch your heels-extend your
arms, and fall forwards on your hands, (take care of your
noses!) so that your body forms a straight line from the head
to the heel-like mine-rest on your hands and toes.

25. A chinese bow. Stand-feet close-hands open-hold
your arms straight up like the 5th exercise, palms in front-
t
2

3

26
PRESTON'S
PAUL
bend your body forward, and touch the ground with the tips
of the fingers several times-keep the knees quite straight-
just so.
26. Try the 24th exercise again.-Now, while you are
down, spring up a little from your toes, and clap your hands.
before coming to the ground again-rather hard to do, isn't it?
At it again, once more.
27. A trial of strength. Each stand facing his neighbor
---every one put his left hand on his hip, his right foot for-
ward, and right arm in front-now grasp each other's hands-
put elbow to elbow-and try who can bring down his oppo-
nent's arm, either to the right or left.
28. What say you to a rest a la Turc? Well then-feet
close-hands on hips-cross your legs-bend your knees grad-
ually and sit down thus-now rise perpenpicularly, without
taking hands off hips.

BOOK OF GYMNASTICS.
27
29. Once more. Try the 27th exercise with the right.
hand on hip, left foot forward, and left arm in front.
30. Can you do this? Feet close-extend arms in front
-raise left leg in front-bend right knee gradually, and sit
down on the ground, so-then get up again in the same posi-
31. Another trial of strength. Now, boys, each stand op-
posite your neighbor, left hand on hip, right foot in front, and
hook the middle finger of each other's right hand, and pul
back. Never fear, you can do no harm.
32. To your ranks again, and try to perform the 30th ex-
ercise, only bending down with the left knee, and the righ
leg extended in front.

28
PRESTON'S
PAUL
33. Face each other again, right hand on hip, left foot for
ward, and hook the middle finger of each other's left hand,
and pull away.
34. Open compasses. What's that? Why, feet close-
hands on hips-and jump as high as you can.
At the same
time spread out your legs like this.
35. Let the palms of your hands touch behind your backs,
with the fingers pointing downwards-keep your hands quite
close, and turn the fingers inward, and bring the hands as
high as possible up the back, in this manner.
$1
36. Now for a jump. Feet close-hands on hips-spring

BOOK OF GYMNASTICS.
29
up as high as you can, at the same time opening your legs,
then cross them when coming down, so.
37. Sit by twos, facing each other, with the soles of the
feet touching-now each pair take a stick, and grasp it thus,
and pull against each other, not by jerks, but steadily-keep
your knees straight-now do it with knees bent. Once more
with legs spread.
38. To your ranks. Attention! hands on hips, right foot
forward, toe pointing downwards, as in marching-spring for-
ward and come on the right toe-back again on the left toe-
several times now bring the left foot forward, and practise.
the same step with that, only bear in mind that the body
is to be kept gracefully not stiffly upright.
+

30
PAUL PRESTON'S
39. Face each other-hook one another by the fingers
of both hands, toes meeting-lean back and go round quick-
ly. We used to call this the roasting jack.
A
40. Take your places. Again hands on hips-feet close
-rise on toes, and jump forward with straight knees—jump
backward to your places.
41. Let each grasp his left hand with his right, or, what is
better, bend the fingers of the left hand and hook them with
the right-bring your arms over your head and behind the
neck-pull your right arm with a jerk, as far as you can, sũ
now the left arm-the right again-several times.

BOOK OF GYMNASTICS.
31

i
42. Put your right arm behind your neck, bring your
hand in front of your chin, and try to pull the right ear with
the right hand.
43. Feet close-run with hands on hips, and try to kick
your thighs alternately.
44. Try the 42d exercise with the left arm on the left
ear-don't be afraid of pulling your ear too hard.
45. See if you can improve upon the 43d exercise, by try-
ing to kick both thighs at once, as you jump forward. My lit-
tle friends, the object in these different exercises is to give a
great elasticity to the muscles of the legs, the necessity for
which you will see by and by.
46. You remember the exercise I showed you, No. 17?
Well, let your thighs touch your heels-extend your arms
in front-throw yourself down on your hands-arms straight
Ž

32
PAUL PRESTON'S
and stiff-let your body form a straight line from head to heel,
as you did in the 24th exercise-remain so for a short time
-now bring your feet, with a spring, between your hands-
rise.
I
47. Hands on hips-left foot in front, toe pointing towards
the ground-jump forward on the right toe-back again to
your places.
48. Perform the 46th exercise as before; but, previous to ri-
sing, spring the hands from the ground and clap them-rise.
49. Go through the 47th exercise, but with the right foot
forward.
50. I think, boys, you may now venture on this exercise,
though I must tell you it requires some care, and should not

BOOK OF GYMNASTICS.
33
be tried without having performed what I have already shown
you. With diligence then there is no danger. Attention!
Hands on hips-feet close-spread out your legs gradually as
far as you can-try and place the palms of your hands flat on
the ground between the legs-draw up your legs slowly and
evenly.
51. You may think I repeat the exercises on the toes too
often; but believe me, they are the best initiation to the exer-
cises on leaping you can possibly have. So have patience, and
only practise these and two or three more which I shall give
you, and you will have as much elasticity in your feet as any
deer in Vermont. Practise then the 47th and 49th exercises,
only with the leg stretched out behind in all these cases, keep-
ing your body perfectly upright.
52.
Once more.
Place hands on hips and run forward on
your toes, while the knees are kept perfectly straight.
53. This next is a sort of Chinese ko-tow or knock-head,
which, by the by, I hope no freeman will ever submit to.-
C

34
PAUL PRESTON'S
Fold your hands behind you, bring the right foot forward as
far as you can, bend the right knee, and try to touch the floor
with your forehead, like this.
What is Ko-tow ?
Why it is a ceremony exacted from all tributary princes and
embassadors, on approaching the presence of the emperor of
China; and consists in kneeling, placing the hands as you see
above, and then knocking the head thrice against the floor.
The visiter now stands upright, and by word of command
kneels and knocks again, and afterwards a third time, ma-
king in all three prostrations and nine thumps, on which the
music strikes up the tune of Subjugation manifested! a glo-
rious subjugation !' A man much about court in China
would require a skull as thick as a buffalo's.
This ceremony is required not merely in the imperial pres-
ence, but on receiving any message or donation of broken vict-
uals from the emperor; and the Dutch embassy (whom the
Chinese lodged in a stable, and treated with every indignity)
actually performed the Ko-tow for some half-gnawed bones

BOOK OF
35
GYMNASTICS.
in 1795, without gaining one single point by their abject
humility.
54. Feet close-hands on hips-now rise on your toes,
and jump completely round, first to the right, then to the left.
55. Again try the Chinese Ko-tow, only stretch forward
the left leg.
56. Lift up the left leg, and stretch it out behind-stand
steady, boys-bend your right knee, and lower yourself slow-
ly, touch the ground with your left knee, and rise very gradu-
ally.
57. Here's an old friend with a new face; what we used
to call French and English when I was a school-boy, but
nevertheless it is a good exercise, if performed with good hu-

36
PRESTON'S
PAUL
mour. Each one take his man-fold your arms- elbows
close to body-hop on right leg-try to bring your opponent
out of his position by a blow of your right shoulder against
his right shoulder.

#
58. Suppose we try the 56th exercise; only we'll stretch out
the right leg as far as we can behind, and touch the ground
with the right knee.
59. Let us have another hop. Fold arms as before, and
let each try to break his opponent's position, by hopping on the
left leg, and hitting him with the left shoulder.
60. Hands on hips-bend gradually forward, at the same.
time stretching out the left leg behind till the head, body, and
leg form a horizontal line. Now stand on the left leg, and
perform the same with the right.



BOOK OF GYMNASTICS.
37
I
Well, I have given you sixty preliminary exercises.
could have given you many more; but as my object is not
to make posture-masters nor tumblers of you, I am sure, from
my own experience, they are quite enough for all practical
purposes. Some of them are no doubt ludicrous; so much
the better, you will enjoy them the more. Ridiculous they
can only appear in the eyes of a vulgar mind, which cannot
perceive that health is more surely obtained, and easily pre-
served, when the mind is agreeably enlisted in the pursuit,
than by all the rules that have been written and published for
the guidance of dyspeptic patients or hypochondriacal subjects.
Good bye for the present; the next time I see you, I shal!
have the parallel bars quite ready.

38
PAUL PRESTON'S
CHAPTER II.
EXERCISES ON THE PARALLEL BARS.
As some of you, my young friends, may perhaps like to
erect parallel bars of your own, a few hints may not be un-
acceptable; as upon the good or bad construction of these de-
pends the pleasurable performance of the exercises upon them,
or otherwise. The bars or top rails should be six feet long,
and about four inches deep; so wide, that when the hands
are laid on the top, the fingers and thumb may come easily on
the sides, and afford a firm purchase; the tops should be a lit-
tle rounded, and made very smooth, the posts must be strong
and fixed firmly in the ground, the rails projecting about four
inches from the ends, and rounded off to prevent hurting
the legs. They should be wide enough apart so as to allow
the body to swing easily-say about twenty inches-the dis-
tance being regulated according to the age and size of the par-
ties using them, and so high that the gymnast must make a

BOOK OF GYMNASTICS.
39
slight spring, in order to suspend himself on his hands, as in
the 61st exercise, where the posts, however, are not exhibited
the full length.
61. What do you say to making your first appearance at
the bar? Let's take a walk over it. O, any one can do that.
Well then, follow me. Begin at this end and walk on your
hands to the other end, and back again; you will find it try
your arms more than you imagined. Walking backwards,
a la crevisse, is much harder than walking forward,' espec-
ially as you must do it with the arms quite straight. Do
that three times forwards, then three times backwards.
62. Keep your arms straight and body quite upright, as in
the last exercise ;-now try and raise the legs level with the
bars, three times, in the form of letter L. Mind, your knees
are not to be bent in the least. I shall assist you in some of
the first exercises, by grasping you with one hand round the
elbow, so as to stiffen your arm a little, and keep you from
dropping down between the bars.

40
PAUL PRESTON'S
63. Now, boys, you must learn to look at both sides of a
question; therefore, seize the left bar quickly with the right
hand in front of you, keeping your arms stiff-just so that
you may not come to the ground; while in this position, put
your left hand behind you and seize the right bar-bring
round the right hand immediately to support you, thus-form-
ing a complete circle-do this several times.
This, and many other exercises, will render both hands
and arms equally facile. It would be well if boys and girls
were accustomed to do various things with either hand, a
faculty that would be very serviceable to them in after life.
64. I will now show you another very neat exercise-that
is, when it is done well. Suspend your body between the
bars-arms straight-now clap your hands in front—and again
seize the bars without coming to the ground. Do the same
behind.
H
BOOK OF GYMNASTICS.
41
.
65. Turn your hands inside of the bars, and walk from
one end to the other. First try to do this forward, and then
at-tempt it backward.

66. Grasp the left bar firmly, and touch it with the right
hand, and bring it back directly-hold the right bar tightly,
and touch it with the left hand. Remember, each action must
be done with great rapidity, or you will be sure to come to
the ground.
67. Here is an exercise that will try your loins. First
position-raise the back slowly, as high as you possibly can,
Keeping the arms straight-then gradually sink to the orig-
inal position. No fear of lumbago after this.
4

42
PAUL PRESTON'S
68. Do you think you can now jump forward on the hands
along the bars? Try and do it first with bended knees,
then try with the knees kept straight-afterwards endeavor
to jump backward, first with bent, then with straight knees.
69. Perhaps you will be able to touch first the right bar,
then the left, with the hands turned inside the bars, as in the
65th exercise.
70. Jump again along the bars, hands turned inside, first
forward, then backward-knees bent, the easiest way-knees
straight, rather difficult; but never mind, only try it; you will
succeed by-and-by.
71. Make yourself at home by resting the fore-arm and el-
Dows on the bars-and try to raise first one arm straight,
and then the other. When you are up with arms straight,
you may come gently down on the arms again-first on the
right arm, then on the left. Do this three times.
72. You must now endeavor to acquire the power of
swinging freely and fearlessly between the bars, for this will
a

BOOK OF
43
GYMNASTICS.
enable you to perform the exercises which I mean to show
presently, with ease, grace, and freedom from danger. Swing
with arms straight, slowly, and not very high at first, and at
length as high as possible.
F
73. Rest on your fore-arms in my arm-chair, then walk
along the bars in that position; but take care to keep your
feet from the ground.
+
74. This exercise will bring the muscles of your back, and
especially your loins, as well as your arms, into full play.
It is only just to jump along the bars in the form of the let-
ter L, backward and forward.
な
​
44
PAUL PRESTON'S
75. Now, my boys, for a swinging exercise; and as I
will stand by to assist, do not be afraid to swing boldly, keep-
ing the legs close together, and throw them gracefully over
the left bar in the front of the body, like this-taking care to
catch hold of the left bar with the right hand on coming
down on the feet. In all the swinging exercises, be careful
not to swing too long, and keep the legs close together, un-
less otherwise directed.
76. Each one again swing, and throw his legs over the
right bar in front, catching the right bar with the left hand on
coming down as before. Mark, boys, do not swing long, or
you will either over-balance or tire yourselves before the ex-
ercise is completed.

BOOK OF GYMNASTICS.
45
77. Another elegant exercise, when well done. Swing
as high as you can, and throw the feet over the left bar be-
hind the body, as you see me-precautions as before. You
will find, as I go on, that I make you bring both sides of
your body into action, in order to strengthen every muscle.
78. Swing once more, and throw the feet over the right
bar behind the body-precautions as before. You see I am

rather careful; for this simple reason, a little care often pre-
vents a great deal of mischief.
79. Here's a key that will unlock any chest, although
it be as tight as one fastened by Chubb's patent. Bend down
as low as you can, and rise up. Do this slowly, that the pec-
toral muscles may be gradually accustomed to the strain,
which is felt at first, but which, after a little practice, is not
perceived.


46
PAUL PRESTON'S
80. Take another swing or two, and
the right bar in front, so as to sit on it so.
throw the legs over
Now bring the legs
again between the bars with a spring-again swing, and do
the same over the left bar.
81. Arms straight, as in 61st exercise. Turn quickly round
between the bars, so as to change the position of the body.
first from the right side, then from the left, without coming
to the ground-just the same as 'right about face' of the
drill-serjeant.
82. Swing and throw the legs over the right bar behind,
so as to sit on it. Throw them with a spring between the
bars, and without stopping, bring them over the left bar be-
hind. Do this alternately several times.

BOOK OF GYMNASTICS.
47
83. This next, you will see, is a combination of the others.
Swing and bring the legs over the right bar in front, as in ac-
tion 73-then swing and bring them over the left bar be-
hind. Swing and bring the legs over left bar in front-then
throw them over the right bar behind.
84. I'll show you how to make an angle of 45 degrees
without rule or dividers. Raise your legs in front of you
above the bars, and spread them open without touching bars
-after this fashion. Do the same behind the arms.
85. Throw the legs with a neat swing over the right bar in
front, partially sitting on it, as in exercise 80,-then with a
spring throw them completely over the left bar, so as to clear
it, and come to the ground on the feet. Observe precaution
as in exercise 75.
86. Rest on the fore-arms, and swing in that position;
gently at first, to get confidence, then increase the height,
both back and front.

48
PAUL PRESTON'S
87. Swing the legs over the left bar in front, afterwards
throw them completely over the right bar in front, and come
down to the ground on the feet.
88. Swing the right leg, bring it sharply from behind
over the right bar, quickly lifting up the right hand to let
the leg pass.
Remember to hold fast, so as not to drop
down. Do the same with the left. This is best tried at first,
at the end of the bars.
89. The one I am about to show you was jocularly called
the Barber's Curl. Hang on the end of the bars, so as to
form the letter L, so (a)—then turn gently over, thus, (b) with-
out letting the feet touch the ground, like this, (c). Now re-
turn gradually to the first position. How do you feel?
ނނށ
(a)
(b)
(c)
90. Hang between the bars, suspended by your hands at
one end, and the feet near the instep at the other. Let

BOOK OF GYMNASTICS.
49
your back fall into an easy curve. That was called German
Sausage at our Gymnasium.
91. Rest on the fore-arms and swing, and rise up as the
legs come forward,—then go down again on the fore-arms as
the legs go backward.
92. Swing on hands, and bend down as the legs go back-
ward (a)—then rise as the legs come forward, (b). Do this
several times.
(a)
(b)
5
D

50
PAUL PRESTON'S
93. Suspend yourself between the bars, then stoop down
as in action 79, and kiss the right thumb-rise-stoop down
again to kiss the left thumb-and so on alternately. If your
elbows meet behind, don't be alarmed.
94. Swing on the hands, and bend down as the legs go
backward, grasshopper fashion.
95. Swing as before, and come down on the fore-arms as
the legs go forward, just so.
96. Swing on the fore-arms, and throw the legs over
the bar in front, thus-first on the right, then on the left side.
Do the same behind.
مات

BOOK OF GYMNASTICS.
51
97. Raise the body slowly, and bring the legs completely
over the left bar without sitting-remain a short time, and
bring them slowly within the bars again. Do this alternately
over each bar.
98. Swing, and throw the legs over behind, so as to sit-
bring them with a swing inside the bar, and without stop-
ping throw them over the same side in front-first on the
right-then on the left bar.
99. Swing at one end of the bars-and with one spring
jump between the bars to the other end, with straight arms
-first forward and then backward.

52
PAUL PRESTON'S
100. Rest on the fore-arms-swing and throw the feet
over, so as to take a complete somerset. Do this in the mid-
lle of the bars-afterwards from the end-first forward, then
backward.
101. Swing at the end, and throw both legs backward
over the end of the bars, as before, with one leg. See ac-
tion 88.
102. Swing with bent arms, and take a somerset back
wards.

BOOK OF GYMNASTICS.
53
103. Position as in the 61st exercise. Now bend down
and kiss the bars right and left.
104. Swing on hands-while in full swing stoop down
and kiss the bars alternately.
105. Swing on the fore-arms, then throw the legs grace-
fully over the right bar behind, like this, and come to the
ground on your feet, unless you like to come on your head
better.
106. Swing on the fore-arms, and then throw your legs
over the left bar, coming to the ground in a similar manner.
Mind you catch hold of the bar.

54
PRESTON'S
PAUL
107. Turn on fore-arms, and take a somerset backward
slowly. This is different from the 100th exercise, for it is in
fact merely a rolling over on the bars.
R.V
108. Swing in the middle of the bars, and throw both legs.
backward over the bars, and bring them in front. See ac-
tion 101. This requires not only more energy, but a tact,
which confidence, the result of practice, alone can give.
109. Swing on hands, arms stiff, and throw a somerset,
keeping the feet close, so as to come between the bars, catch-
ing the arms between the bars on coming down. Don't be
afraid, I shall stand by you; only keep your legs close.
BOOK OF
55
GYMNASTICS.
O
You have
110. Suppose we take a serpentine walk.
only to sustain the body on the bar outside; throw the legs
underneath one bar, and over the other, as (a). Seize this
other bar with the hands on each side of the legs, draw up
the body so as to sit on the bar, the legs being outside; grad-
ually slide down, catch the bars with the arms, as (6)—at
the same time throwing the legs so as to catch the opposite
bar behind by the instep, release the arms separately, and
bring them underneath-hold on bar, hands over, slide the
Legs backward, and with a spring come to the first position.
(a)
(0)

فع الله
111. Swing between the bars, and throw the legs over
the right bar, so as to sit thereon with the back to the other
bar; gradually slide down, holding by the hands inside, and


56
PAUL PRESTON'S
throw the legs underneath, so as to catch the left bar by the
instep, suspending yourself at the same time by the hands.
This was termed the Bird's Nest.
112. Walk along the bars with bent arms, grasshopper
fashion-first forward then backward.
113. Swing while in grasshopper position.
114. Swing and jump along the bars with bent arms, first
forward, then backward.
115. Walk from one end of the bars to the other, with
legs spread in front, afterwards with legs spread behind the
arms.
116. Swing at one end with bent arms, and spring to
the other end. This is called the Grasshopper Spring.
KA
30%


BOOK OF GYMNASTICS.
57
117. Swing at one end of the bar, and take a somerset
backward, coming down like this.

118. Swing and spread the legs while above the bars, both
before and behind.
119. Take a short run towards the bars on the outside,
catch the nearest with the right hand, and spring over the
bar, immediately let go the right hand, and catch the same
bar with the left, passing the right hand to the other bar, and
without coming to the ground swing the legs gracefully over
that other bar behind.
120 Take a run as before, catch the nearest bar with the
loft hand, spring over, immediately letting go the left hand,
and catching the bar with the right; at the same time pass
the left hand to the other bar, and, without touching the
ground, swing both legs with ease over the other bar in front.
с


58
PAUL PRESTON'S
*
A
I think, my little friends, I have pretty well explained to
you all the useful practices at the bar-sufficient to make
you expert barristers, even if you have never studied Tidd's
Practice. I think I hear you say, This is good fun; we
feel ourselves stronger than we were, and should like to ac-
company Paul Preston to the Pole.
With all my heart: come to me tomorrow morning at six
o'clock precisely, and we'll take an excursion thither; nothing
like rising early, my lads; you all know the old proverb,
Early to bed, and early to rise,
Will make a man healthy and wealthy and wise.
In truth, I tell you once for all, that these exercises should
be performed before breakfast; it is wrong to use much
exertion immediately after a hearty meal, or at least till di-
gestion is fully accomplished. So, good bye till I see you
again. Good bye.
Good bye.

BOOK OF GYMNASTICS.
59
CHAPTER III.
EXERCISES ON THE HORIZONTAL POLE.
I AM now going to show you a set of exercises which was
much admired at the Gymnasium, because they exhibited the
strength, agility, and elasticity of the gymnast in a very
novel way; but, independently of this, there was a little dar-
ing in some of them, which they who had patiently and
systematically persevered in the preliminary exercises and
those on the parallel bars, could perform with a degree of skill
that often excited the admiration of many of their compeers,
who were too impatient to submit to these training processes,
for such they really are.
You see this horizontal pole is rather more than two in-
ches in diameter, and six feet long; it is made of southern
pine without a knot, smoothed but not polished, for fear your
hands should slip; and it is strongly mortised into these two
60
PAUL PRESTON'S
upright posts, which are firmly fixed into the ground, so as
not to shake about, and it is so high, that you are obliged to
make a slight spring to reach it. Of course, when there are
a great number of you, there should be three or four poles
in a line, at various heights to accommodate different classes.
Although it appears small, it will bear my weight, and there-
fore, boys, I am sure it will bear yours, that is, if there is
only one or two on it at a time.
I dare say you are anxious to begin, and tired of my pre-
face; but I have not quite finished it. However, I have only
to request, when you and your companions are exercising on
the pole, in my absence, that one of the cleverest and strongest
be chosen as a leader, whose duty it must be carefully to
watch the progress of every action, and be ready, in an in-
stant, to catch the gymnast, should he make a slip.
The knowledge, that some one is upon the alert to assist in-
stantly in case of accident, is of infinite service in all cases,
especially in gymnastics, as it creates a confidence of mind
that enables the tyro to put out all his energies, and direct
them in the most efficient manner.
121. The first thing you have to do, is to learn to suspend
your body by both hands on the pole. Observe me atten-
tively, and you will perceive that my thumbs are on the
same side of the pole as my fingers, not grasping it as you

BOOK OF GYMNASTICS.
61
would a roll of paper-your arms straight in a line with the
body, so that the power may be more effectually applied to
move the weight-keep your knees quite straight and stiff,
and your feet close, unless you are told otherwise-just like
this.
122. Now to try the muscles of your arms. Hang from
the pole only by the right hand. Hold on if you can for half
a minute, then change to the left hand-six times alternately.
Two of you may perform this exercise at the same time, on-
ly keeping towards each end.
F

62
PAUL PRESTON'S
123. Hang from the pole at one end, as explained to you
just now - hands over the top-and see if you can walk
with them from one end to the other, and back again—take
moderate strides, and slow-mind, knees straight.
124. Try this exercise again, only bring your hands un-
der, and grasp the pole, so that the fingers may point to-
wards your face-keep your thumbs too on the same side.
This mode is generally found easier than the other; but you
must practise both, for the power of grasping firmly is of in-
finite importance.
125. Ready, boys. Let one of you hang on the pole with
your back to the post, and one hand on each side of the
pole-now walk along it on your hands to the other end-
then backwards. Perform this at first with the knees a little
bent, afterwards with the knees straight. You will find it
best to draw yourself up a little with both hands, before you
attempt to advance each step.

BOOK OF GYMNASTICS.
63
T
126. See if you can discover any thing beyond the pole.
Hands over the pole, as in the 121st exercise-draw yourself
up gradually, till the head and chest are above the pole, ast
you see me then slowly descend thus-three times run-
ning-and you will find it quite enough. Two may perform
this together.
127. This is easier. Hands under the pole, as I directed
you in 123d exercise, and draw yourself up like this-bring
your chest close to the pole-descend slowly-do this thrice.
You will find, at first, that each time you rise you will find it
more difficult; but after having gone through the whole of

64
PAUL PRESTON'S
these exercises, ana practised them well, you will be able to do
this exercise a dozen times running.
128. Shoulder pole! What's that? Why only just to
hang on the pole, as I told you in 125. Gradually draw your-
self up till your right shoulder touches the pole in real ear-
nest, like a rabbit or wild-duck merchant-now descend slow
ly, and rising again, let your left shoulder touch the pole-
do this three times each way.
129. The idea of jumping along the poie on the hands
has puzzled a great many who would not undergo the prelim-
inary training. They have felt that their hards were held as


BOOK OF
65
GYMNASTICS.
fast to the pole as if they had seized the electro-magnetic ap-
paratus at the exhibition gallery. You, my lads, who have
gone through all this, have only to hang on one end,'as in the
walking exercise, 123, and by drawing yourself and your legs
up a little way, make a spring along the pole-do this till
you reach the other end, then go back whence you came.
But
I must tell you, that after a while you ought to manage this
exercise with knees quite straight-the arms are to be benefit-
ed, not the legs, in this case.
130. Now try another jump or two, with the hands under
the pole, and you will find it comparatively easy. I dare
say, at first you will find it blister your hands, at least it did
mine, and many others besides me-but never mind, gym-
nasts ought not to care for trifles.
131. Hang once more, and try to bring your legs into a
horizontal position, as you did on the parallel bars, forming
the letter L. Few can succeed who have not attempted on
the bars, after this manner.

6
E

56
PAUL PRESTON'S
132. Again suspend yourself on the pole, and bring yout
legs slowly up till the instep touches the pole, as you see
here. Whenever I say slowly, I do it, because young gym-
nasts are apt to spring violently, in order to attain their object,
and after all cannot. But this is not all; they run the risk of
straining the muscles by such violent exertion, and, what is
worse, rather lose than gain strength by such means. If you
cannot accomplish any particular exercise after a trial or two,
let it alone, and try another; you will be sure to accomplish i
by and by; I know that by experience.
133. Hang once more on one end of the pole, with your
face towards the opposite post, and with a slight spring throw
your right leg over the pole, suspending yourself firmly by the
hands on each side-now release the right leg, at the same
time throwing the left leg over the left side of the pole. Do
this alternately six times.
منا
ME

BOOK OF
67
GYMNASTICS.
134. See now if you can turn yourself inside out. Bring
your insteps up to the pole, as you did in No. 132-keep
them firm against the pole, and let your body turn easily un-
der the pole, and look me in the face, just so then go back
the way you came.
135.
Another excellent extension of the back and loins.
Fix your hands on each side of the pole, and slowly bring
the legs up on the outside of the arms.
136. More vork for the loins.
Hands on one side-arms
apart and slowly bring up the legs between them; see me

68
PRESTON'S
PAUL
If you have practised the exercises on the Parallel Bars with
spirit, you will find these last three on the Pole compara-
tively easy.
137. We come now to an exercise which requires a lit-
le care, but only a little, as you will have acquired a toler-
ably firm grasp, that is, if you have passed the Bar. Suspend
yourself by both hands, on one side of the pole, and swing
gently at first, as you will feel your hands inclined to slip; but
you gain a firmer hold by degrees. Increase the height
till you can swing freely as I do.
138. If you feel confidence, boys, try, as you swing back,
to spring up from the pole and come on the hands again as
you are descending. Whoever is leader should stand close
by to break the fall, and to prevent coming on the face, should
the young gymnast slip. I have however seen many a gym-
nast spring upwards of a foot from the pole, and always come
down again upon it with the utmost certainty; such is the
effect of confidence when strength increases.

BOOK OF GYMNASTICS.
69
139. This next really requires more tact than real strength,
yet, when both are combined, is easily accomplished. First
throw your right leg over the pole, as I explained to you in
the 133d exercise-then, with a spring, bring up the right
elbow so (a)-lastly, by another spring, bring up the left el-
bow, and by degrees, both arms straight, so as to sit across the
pole thus (6).
(a)
(b)

140. You will now be able, I think, to perform this next
little exercise; it requires quickness as well as strength. I
should have told you,that the thumbs are always to be on the
same side as the fingers, when not otherwise expressed; it is
of the utmost consequence, for you will really gain power by
so doing. Hands on each side, face towards the upright,
and, with a slight spring, change the position of the hands-
that is, if your right hand is next your face, bring the left
next it—five or six times. Bending the knees at the time
facilitates the spring; but the real gymnast will not be satis-
fied till he can do it with the knees stiff and straight.
70
PAUL PRESTON'S
141. Here's a test of the strength of your arm. Pu
yourself up as in 127; hands under the pole-let go the
left hand, and see how long you can suspend your body by
the right arm, so-now try it with the left.

142. Rise as high as you can, so as to see your friends
clearly on the other side of the pole-throw your arms over
the pole, and hold firmly by them as you would in looking
over an orchard wall, like this.

143. Try to erect a perpendicular according to Paul
Preston's Geometry. Hands on each side of the pole-draw
yourself up gradually-open "our compasses, and let the legs.
thereof come up one on each side, so as to be perpendicular
to the pole.


BOOK OF GYMNASTICS.
71
144. Now, boys, try your powers at this.
Hands on
each side, face towards the post-draw yourselves up a lit
tle, feet close, and with a swing throw both legs at once over
one side of the pole, then over the other. Do this several
times.
145. You may perhaps be strong enough now to hang
with hands over the pole, and to curl yourself up like this,
and go slowly over the pole ; but do not strain too much. As
I said before, the strength will come by and by.

72
PAUL PRESTON'S
146. Get up on the pole, as I did in No. 139, and sit
across with hands on each side, and your face towards the
post. Now swing yourself completely round, so as to come
up to the sitting posture-hold tight-do it several times.
147. Now, again hands on each side, and swing the left
leg over the right side of the pole-at the same time let go
with the right hand, and catch the pole so that the legs may be
between the hands, and bring your face to the front thus-
now swing the right leg well, so as to give you an impetus,
and go completely round again and again. Remember, both
hands to be on the same side.
148. I will now show you an exercise, which appears dan◄
gerous to many, and would be so to any one unaccustomed

BOOK OF GYMNASTICS.
73
to these exercises; to the experienced gymnast there is no
danger, I have often performed it myself, and seen it done by
others, without the slightest evil effect arising from it. It on-
ly proves how pliable and at the same time how strong the
muscular system may become by systematic training. You
will observe that I bring my legs between my arms, begin-
ning in every respect as in No. 136. Let them pass completely
through, and hang down thus-twisted so.
I then draw my-
self gradually back between the arms, and hang perpendicu-
lar as before.
31
149. Hang on one end of the pole, hands on each side,
face towards the post-swing backwards and catch the pole
with the toes-let your back fall in-and suspend yourself
thus.
7

74
PAUL PRESTON'S
150. Now throw the right leg over the pole-then with
a spring bring up the right elbow in this position—at the
same time throw the left arm over the pole, and hang thus
for a short time.
151. Now, boys, draw up your body as high as possible,
hands over the pole, and with a spring elevate, if you can,
both elbows at once-if not, one at a time-and rise up
gradually till the body is quite straight-now change the po-
sition of your hands, so that the fingers may be on the same
side as the body, and underneath the pole-then bend for-
ward, and turn yourself gradually over till your feet touch the
ground. Well done!
T

BOOK OF GYMNASTICS.
75
152. Bramah's patent Detector. Do just as before, except
changing the position of the hands, which must remain as
they were-sink gradually down, and bestow a 'kiss on that
fair Pole'-then rise (there is no occasion to say slowly) to
the first position. If this does not discover the riches of
your chest, I know not what will.
A
153. The neatest way of mounting the pole is to throw
either the right or left leg across, as we did in No. 133, and
with a swing or two bring yourself up, and when on it, sit
astride, and with a firm grasp, thumbs across, raise your bo-
dy off the pole, till it is horizontal, or as near that mathemat-
ical line as possible.
?
154. The Roasting Jack. Hang at one end of the pole
-hands over on oneside-let go your right hand-the body

76
PRESTON'S
PAUL
will swing from right to left-clasp the pole on the other
side with the right hand-let go the left hand-let the body
swing round, and bring the left hand on the same side as the
right-so on to the end of the pole-hanging first on one
side of the pole, then on the other. Here you will require a
firm grasp, as the very act of turning tends to disengage you
from the pole; but your wrist must be the pivot on which
you principally rotate-the hand must keep you suspended.
155. Now try and throw your right leg over the pole thus
--and immediately throw both arms over the pole, holding
by them only, like this.
M
156. If you can do the last exercise, which I dare say
you can by this time, throw the right leg over from the left
side, the right arm being underneath, and let the left arm
down so.
BOOK OF GYMNASTICS.
77
157. Here's muscle, hard as iron! as major Longbow
says. Hang on the pole-hands on one side-spring at once
on to the pole, and balance yourself on the arms, like this.
This certainly is rather difficult at first, but it is astonishing
what practice will enable you to do. You see I feel quite at
my ease, and do not stir from my position.

*
158. Looking towards the antipodes. Merely hang on
the pole as before, bring your legs between your arms—gradu-
ally draw them and your body up, till both are quite per-
pendicular on the same side as the hands, as I am now.

78
PAUL PRESTON'S
ཧ
159. Again mount the pole, and bring both legs over, so
as to sit on it, as I do, see-gradually lower the body, till
you look something like a grasshopper, and swing with arms
behind-bring yourself gradually up again. Once is enough.
How do you like it?

A
160. Now, young gymnasts, just hook yourselves up by
the right hand on the pole-grasp the wrist with the left
hand, and endeavor to pull yourselves up. Try to perform the
same, by hanging on the left hand. Remember to grasp the
pole firmly, as not only is the weight of your body suspended
by the arm, but it becomes the purchase, or fulcrum, by which
you lift your body up.
161. Sit on the pole, and slide gradually down till you
are in the same position as you saw me in No. 159. Now
catch the pole with bent arms, like this,-seize hold of the
trousers by the pockets, grasp them tight, and swing back-
wards completely round.

}
BOOK OF GYMNASTICS.
79

•
162. Draw yourself up, as I told you in No. 151-grasp
the pole firmly, and then kneel on it-hands on one side-
steady-don't be afraid-now swing yourself over the pole,
and come down on your feet. This is perhaps the most dif-
ficult of all, to kneel on a round substance, and that too so
small, is a feat to which habit alone can inure you. But by
this time you will have acquired such a mastery over your
limbs, and so much self-possession, that while others perhaps
may tremble, you alone will be the least concerned about the
matter. All you have to do is to hold tight by the hands, the
rest will easily follow after a few trials.
2

3

80
PAUL PRESTON'S
163. Seat yourself quite comfortably on the pole, as I
particularly requested, in No. 159. Vacate your seat by sud-
denly dropping off it, and hanging, not by the neck, but by
the hams, as you may see me.
164. Once more hang with the hands on each side at one
end of the pole-then elevate the legs, one on each side, so,—
try to walk in that position to the other end.
MY YOUNG FRIENDS,
For such I am confident you will permit me to call you, I
have often been asked by the unthinking, what use there is
in all this which I have been teaching you. I have general-
ly replied to these wiseacres in something after this strain:


BOOK OF GYMNASTICS.
81
In the first place, the muscular system becomes so powerful-
by strengthened and developed, that there is hardly any spe
cies of fatigue, within the power of human endurance, which
the well-taught and well-practised gymnast cannot under-
go. The animal spirits become so exhilarated and so buoyant,
that they are not easily depressed by the common occurren-
ces of life.
The health of course is considerably increased,
and all the digestive processes go on well.
So much for one's self. But a nobler employment of the
new powers has been created; the presence of mind which
is engendered by these, and other equally interesting exercises,
to which I shall call your attention, is of the highest im-
portance, when called upon to render assistance to others in
the hour of danger. The power of grasping, almost equal to
a blacksmith's vice, will enable you to sustain not only your
own weight, but a body equal in weight to yourselves along
with it.
Should that terrific element, a fire, overtake you in the dead
of night, and no way of escape be left you but by a window,
it may be, three or four stories high-the fire has approached
your room, you can no longer stay, or you will be suffocated
by the smoke-no ladder has yet arrived by which you can
descend-your only alternative between life and death, is to
jump from the window, or hang from the window-sill, or bal-

F

82
PAUL PRESTON'S
cony if there be one. The former is fraught with danger of
breaking your limbs, and becoming maimed for the rest of
your days or what is too often the case, with lingering
death; the latter will enable you to remain for a long time to
hang suspended, till relief comes in some shape or other.
The gymnast, knowing his powers, will prefer the latter;
and should he see a fellow-creature in danger, but yet toc
timid and frightened to venture on either, he will ascend a lad-
der, and bring down his burden safe under his powerful hold.
Should shipwreck be his lot, he will cling with unflinch-
ing tenacity to the rigging, and almost defy the attacks of
waves, appalling even to the stoutest hearts of oak. Should
an unfortunate being fall into the water, the gymnast, if he
can swim-and every boy and girl ought to learn to swim-
will be able to hold up both himself and his helpless charge,
till some friendly rope or boat come to his assistance.
he inclined to take a pedestrian tour amidst mountain scenery,
whether he be a botanist, mineralogist, or geologist, he will
find his gymnastic exercises have been the best preparatives,
to fit him for undergoing the fatigues of such an excursion.
Is
In short, such a being will be enabled to go on his way
rejoicing, because he has health of body and mind, and is en-
abled by his powers to render a thousand services to his fel-
'ow creatures, which the feeble, the timid, and consequent-
¹y irresolute, will never be able to accomplish.

BOOK OF GYMNASTICS.
83
CHAPTER IV.
HORSE EXERCISES.
O, Paul PrestON! we are glad to see you again. What
have you for us now? Something new, no doubt. We have
been practising the other exercises you were so kind as to
show us, and feel our legs and arms so strong, that we fancy
we may venture upon something else.
That's right; come along then and see my stud. Like the
horse-dealers, but with more faith, I can warrant my nags
perfectly safe and quiet, and fit for any timid lady or gentle-
man to ride; they never shy nor kick-no danger of their
jibbing or rearing with you, nor of your throwing them down
and breaking their knees; in fact they are sound in body
and limb. Here they are, from a Shetland pony up to a tol-
erably sized galloway. What do you think of them ?-But
I must explain. You see I have had them made of differ-
ent sizes, to suit the little as well as the big boys and girls.
B4
PAUL PRESTON'S
What! do young ladies practise gymnastics as well as
boys? Why should they not? I have seen some young
ladies practise many of the exercises that you have been per-
forming. Of course not all of them-it would be neither
requisite nor proper-but there are ladies now alive, who can
bear witness to the great benefits they received in going
through a course of the parallel bars and horizontal pole exer-
cises, under the direction of a medical attendant, superintend-
ed by Professor Voelker. Nay, I know some young ladies
who practised several of the exercises which I am about to
show you on the wooden horse, and acquired thereby such
agility and confidence that they ventured with perfect success
to repeat them on their live pony, and are now reckoned most
expert horsewomen.

(
To ride well has always been accounted a necessary accom-
plishment for a gentleman, and as it is a good maxtm that
what is worth doing at all is worth doing well,' I will en-
deavor to give such a notion of mounting, &c. as will enable
you to stride a living steed with at least more confidence, and
some little more grace, than if you had never attempted
any thing of the kind.
You see these horses are made of one solid piece of wood
a portion of the trunk of a tree that does not taper is the best,
made as you perceive quite smooth, and rounded at the ends

BOOK OF GYMNASTICS.
85
The middle, on the top, is covered with leather, about the
length of an ordinary saddle, but not stuffed; the pommels
are made of wood, curved at the top, screwed down, and
covered likewise with leather. The whole is fixed on four
stout legs, which go at least two feet into the ground, to
keep them quite firm, and prevent them from rocking.
The pommels, as you see, are placed rather nearer one
end, called the head, than the other, to imitate the saddle on
the real horse. I should have told you to remark, that the
hind pommel or cantle, as it is sometimes called, is rather
higher than the front.
Having called your attention to the most prominent points
in my steeds, I will only remark, that when mounted, you
are not to sit bolt upright like a tailor, nor head foremost like
a sailor, but easy as if you were in an arm-chair. The
Cossacks, in one part of the world, and the Arabs in another,
are perfect models of ease and grace when on horseback.
Before you begin the following exercises, observe the body
and head are to be kept upright, and the knees and ankles
straight, unless otherwise expressed, or when a change is ab-
solutely necessary. In mounting it is customary to get up on
the left, or near side as it is called, of the horse; though for
the sake of practice, and bringing the muscles of both legs.
and arms into full play, you will have to perform many of the
exercises on both sides.

86
PAUL PRESTON'S
165. To horse!
Mark me-
Mark me-place both hands on the
middle of the pommels, thumbs inside, so as to grasp them
firmly-slightly bend the knees, while the feet are close to-
gether, and endeavor to spring up so as to bring the arms
quite straight and stiff, as on the parallel bars. Do this sev-
eral times in succession, without resting on the horse, at first
slowly, afterwards more quickly, and always come down
on the toes.

166. You must now learn to extend your legs gracefully
and with ease. To see a gentleman get on a horse clumsily,
argues that he is either an awkward fellow, or has not been
properly taught.-Well, spring up as I told you just now, at
the same time throwing up the right leg horizontally, that it
may be above the back of the horse. Observe me-
me-I keep
my body perfectly upright, yet without appearing stiff, and
the leg that hangs down is quite straight. Let this be done
at least a dozen times. See next exercise.

BOOK OF GYMNASTICS.
87
167 Now just try the same experiment with your left.
leg. To be sure, you will not want to throw your left leg
over the horse's head in mounting; but it may so happen,
from some cause or other, that you cannot get up on the pro-
per side, then the faculty of using both legs with equal fa-
cility will quickly appear. I know a gentleman who has lost
his left leg, and has only a cork one attached to his thigh,
but who is in the habit of riding a great deal. He is obliged
in consequence to mount on the right or off side of the horse,
which he does with great ease. This has only been acquired
by practice.
168. Let us endeavor to put these last two exercises into
practice alternately; for the free motion of your legs is
highly necessary to enable you to accomplish the exercises.
that are to come, with ease and dexterity. Spring up, boys.
as before-throw up your right leg-come down to the ground
on your toes-up again, and throw up your left leg-again
with the right-down-up-now the left-six times each leg.

88
PAUL PRESTON'S
169. If you noticed carefully, you saw that in the last
three exercises my foot did not touch the horse, but was
brought up perpendicularly—the other leg hung perfectly
straight. You must now endeavor, in springing up, at the
same time to spread the legs so as to touch the sides of
the horse with the toes-no fear of his prancing. Let this
be done often, till you can do it easily. Don't forget, that
in all these exercises, the arms are to be quite straight and stiff.

170. In order to give a little pliability to your knees, let
me see you spring up neatly, as I showed you in the very
first exercise-then, as you come to the ground, form a sort
of ace of diamonds, by crossing your legs and bending your
knees-so.



BOOK OF
89
GYMNASTICS.
171. To strengthen the arms still more, and create a
variety of action, suppose you spring up as before-arms
straight, and resting your thighs against the sides of the horse
-now spring away from it, and come back again several
times, without touching the ground.-

This is a useful exercise, as it will prepare you for the living
horse, that should he start while you are mounting, and before
you are well in the saddle, you may have such command over
your body and arms, as will prevent you from being thrown
to the ground.
You are not
172. Having now acquired a facility of raising the leg
with ease and grace, and springing up to the saddle, let us
try, boys, how you can place yourselves in it.
to scramble up as if you were getting over a fence full of
spikes; but you are to place your hands on the pommels,
thumbs inside, spring up, and remain for a moment with
thighs against the side of the horse, as you see me.
8
*
3

90
PAUL PRESTON'S
Now throw the right leg over the back pommel, lifting of
course the right hand to let the leg pass, and seat yourself
in the saddle.
To dismount gracefully requires as much care and atten-
tion as to mount; but, with a little practice is easily accom-
plished-thus. Place your left hand on the front pommel,
thumb inside-put your right hand on the saddle in front of
you, and spring off easily, and come on the toes.
173. I told you when I began, that I should sometimes re-
quire some of the exercises to be performed on both sides

BOOK OF
91
GYMNASTICS.
of the horse, and gave you my reasons-so therefore, without
farther preface, be so kind as to go through the 172d exer-
cise, on the off or right side of the horse. Remember, you
are now to spring up as before-remain a moment suspend-
ed, with arms straight-throw the left leg over the back pom-
mel, and seat yourself as before. In dismounting you are
to place the right hand on the pommel, the left on the saddle,
and throw the left leg off the saddle, and come down on
the toes.
174. Now, my young horsemen, though I don't wish to
see one of you exhibit in the amphitheatre, still I should
like to see you masters of the Horse; therefore the more agile
you are, and capable of vaulting into and over the saddle,
the more command you will possess over the animal you
ride. Now, by way of a preliminary exercise, again place
your hands on the pommels and spring up so as to touch the
saddle with the toes, the knees bent, as you perceive. Do
this half a dozen times.


92
PAUL PRESTON'S
175. Again mount; but in all your mounting be partic-
ular as to the manner-do nothing slovenly-remember my
former maxim. Now place your hands close together on
the front pommel, thumbs outside, and with arins stiff, bent
a little forward, and raise the body as high as possible from
the saddle. Repeat this again and again.

176. The power of sustaining yourself on one hand and
arm, if only for a moment, is essentially necessary to be ac-
quired. Suppose, while in the act of mounting the real
horse, he should start forward and throw your foot out of
the stirup, while your left hand may happen to be on the front
pommel-a second of time, if you are strong enough in
this arm, will suffice to place you in your saddle, instead
of seating you under it, in no very comfortable position.
Again then, hands on pommels-spring up-rest awhile-
throw the right leg over the horse-lifting the right hand to
let the leg pass over the back pommel into the saddle-bring-


BOOK OF GYMNASTICS.
93
ing down the hand quickly on the pommel-keep the leg
perfectly horizontal over the saddle for a time-now throw
.he leg back again, observing the same precautions. Do this
several times without coming to the ground.

ΛΙ
177. Do as I told you in the 175th Exercise, and when
you have lifted yourself high enough from the saddle, keep
firm hold of the pommel, and swing the body backward and
forward. You will find a little difficulty perhaps at first, but
you will soon accomplish it. You must not forget to keep
the knees perfectly straight.
178. What do you think of this exercise? Nothing
like precision; so therefore mount according to rule, and
when fairly seated in the saddle place both hands on the
front pommel, thumbs outside, arms straight-stoop a little
forward, and bring the feet on to the saddle behind the arms,
and, as you see me now, with my back towards you.


94
PAUL PRESTON'S
179.
Before showing you another exercise, let me re-
mark, that in sitting on the horse, the thighs should press
the sides of it so as to leave a small space between the body
and the saddle, just sufficient for the open hand to pass be-
tween them. I will now only request you to perform No.
176 on the other side of the horse with the left leg.
180. Here is an exercise we used to call the Lady's Leap,
and one which I think is easily performed. With hands
on pommels, spring up at the same time, turning the right.
side to the horse, and throw the right leg over in front of the
body, lifting up the left hand to let the leg pass, but keeping
firm hold of the back pommel with the right hand. Re
member to dismount properly, as I clearly explained to you in
No. 172.
/
ΛΙ

BOOK OF
95
GYMNASTICS.
181. You see I have not quite exhausted my stock, but
have lots of exercises in store for you, that is, if you are in-
clined to practise them. Shall I go on? Yes. Well then,
again spring up, with hands on pommels; but instead of
coming against the side of the horse, throw both legs over
the horse behind, taking especial care to come down on your
toes, with your face towards the saddle. You see I am quite
at home at it.
182. In all these exercises which I have given you, you
must understand that they are to be commenced on the
near or left side of the horse, unless I show you otherwise,
as in this case; for I wish you now to perform the Lady's
Leap on the off side, throwing of course the left leg over the
saddle instead of the right.
183. Now for a specimen of your agility. Let's see if
you can clear the saddle. Hands on pommels as before-
spring, and instead of one leg as in the Lady's Leap, throw

96
PAUL PRESTON'S
both horizontally over in front-like this, so as to come to
the ground on the toes, with face towards the head of the
horse.
////
184. The left arm will now be brought into action, to
strengthen which, I particularly wish. Therefore, go through
No. 181 again, only begin on the off side, and come down on
the near side.
185. As you have now become tolerably pliable in all
your limbs, I think you will now find but little difficulty in
accomplishing an exercise I am about to show you, and which
we used to term the Scissors, from the appearance of the legs
when crossed. When mounted, swing the body as I directed
you in No. 177, and while swinging backward cross the legs,
at the same time turning the body so as to sit in the sad-
dle, face towards the tail of the horse. Remark-when in
crossing, the right leg goes over the left, you must turn your
body to the right side, and when in crossing, the left leg goes
over the right, turn the body to the left side.


BOOK OF GYMNASTICS.
97

196. Let us vary the exercises a little, and have a sort of
leap-frog. Take a run of about half a dozen yards to-
wards the horse from behind, and jump on the end of it-
spread out your legs so as to keep them clear of the sides
of the horse, as you did in No. 175—and take the trouble to
walk to the other end on your hands, and then spring off.

187. Try No. 183 with the left arm, and from the off side
-and do not think I give you too many exercises with the
left hand and arm; as I have already said, that to be able
to use the left hand and arm as readily as the right is a great
acquisition. I have heard more than one medical man wish
he could use the lancet with both hands with equal facility.
9
G
ご
​
3
98
PAUL PRESTON'S
185. This exercise Voelker used to call Der Mill; it tri-
ed our arms a little. Spring, if you can, on the horse be-
hind the saddle,without placing the hands on the back, by tak-
ing a short run from behind-then put the left hand on the
front, and right hand on the back pommel. Now raise
the body a little, and swing yourself round so as to come on
the neck of the horse, and face the front pommel. Now put
the right hand on the front, and the left hand on the back
pommel, and swing yourself round on the back of the horse,
thus making a complete circle.

189. You know when I threw both legs over the horse,
in No. 181, I kept my feet close together; now see if, while
going over, you can spread your legs open. First spring
up as you stand by the side, then try it with a run towards
the horse.
190. Now for a grasshopper exercise. When you have
sprung up, arms sraight, throw your legs back, and quickly

BOOK OF GYMNASTICS.
99
draw up your knees close to your chest, and throwing the
legs between your arms over the saddle, remaining suspend-
ed on your hands, as we did on the horizontal pole; the
backs of your thighs leaning against the opposite side of
the horse, but without the feet touching the ground. Now
draw up your legs again with a spring, and bring them back
to the first position.
191. Here's a flying leap-don't be afraid, I shall stand
ready to catch you, should your toes catch the saddle, and
take care no harm shall befal you, as every good leader
ought to do. Therefore run boldly, and jump clean over, as I
do. Come to the ground on your toes.

100
PRESTON'S
PAUL
192. Threading the Needle. How do you manage that ?
Why just spring up, as you know how, resting on the pom-
mels, with the arms straight and throw the right leg between
them over the saddle. Bring it back again, and instantly pass
the left leg through, resting all the while on the hands. At-
tempt this several times.
193. Diamond cut Diamond. Mount. Now place your
hands on the front pommel-raise yourself slowly, and bring
your feet in front of the pommel, outside the arms—rest a
moment, then swing-then on to the saddle behind-alter-
nately a dozen times.
BOOK OF
101
GYMNASTICS.
194. Who can do this? Step back half a dozen yards
from the near side, nearly in a line with the horse's tail, if he
nas any-run and place the right hand on the back pommel,
and throw yourself completely over in front-like this.

195. Here's another tickler-look and see how I manage
it. I just spring up, rest on the pommels with arms stiff, and
throw both legs between them at once, keeping them straight
out, in the form of the letter L, and without touching the
saddle too. See if you can do that.

196. You had better try No. 193 on the off side, remem
bering to place the left hand on the back pommel, and keep
the body and legs in such a position as to form a right angle
-nothing like attitude!

102
PAUL PRESTON'S
197. I'll now give you an excellent antidote to the lumba
go. When you have placed your hands on the pommels,
only spring up and throw the legs on each side of the arms
outside, and raise them so as to keep entirely clear of the
horse. Don't you feel it?

198. Jumping off the horse, when in a kneeling posture
on the saddle, has seemed to many a perilous sort of affair,
but it is only in the seeming; for when they have placed
their hands on the pommels, and sprung up so as to kneel on
the saddle, and brought the knees gradually forward so as to
overhang the saddle, and sustain themselves as it were by the
instep, they felt as if there were no way of escape, but that
of the Scotchman's, through the gap in the hedge 'bock agen'
-but being assured by their leader, who stood close by, that
he would catch them instantly if they tripped, without any
ceremony they made a spring forward, cleared the saddle,
came to the ground quite safe, and then laughed at their own
incredulity; nay, so confident were they of their powers, that


BOOK OF
103
GYMNASTICS.
they tried the exercise again and again—and so, boys, may
you. So go on.
199. More Leap-Frog! Jump on the back of the horse
from behind place your hands on the back pommel, like this,
and swing off backward, just as I do now.
200. Another run, boys, from the near side behind, and
throw your right leg over the back of the horse, behind the
saddle, without placing your hands on. Do the same from
the off side, throwing the left leg over.
201. Once more take a good run, place your right hand
on the back of the horse, and with a spring throw both legs
over in front, as I showed you in No. 194.
A


104
PRESTON'S
PAUL
202. Now for a game of Follow-my-Leader.
See me,
boys, run and jump from behind, clean into the saddle, leap-
frog fashion. Now then I swing myself off from the front.
pommel over the horse's head; or, if you think you can't
manage it so, place your hands on his neck, and clear it in
that manner.

203. I'm giving you two or three hard ones now to try
your mettle; but I know you will not flinch; so, without
more ado, follow me, and spring up, and with arms straight
throw your whole body through, over the saddle, and come
down to the ground-now try and bring the legs back again
o the other side, first slowly, afterwards with a spring.



BOOK OF GYMNASTICS.
105
204. Another hard one.
the end of the horse, by placing hands on the back of it, and
springing up so as to bring the feet on it, and stand upright
-open your legs gradually, and slide gently down, body up-
right, till you sit on the saddle, taking care to press the sides
with the thighs on going down.
Run from behind and jump on

205. Now take a little run from behind, then placing your
right hand on the back of the horse, spring into the saddle
Now try it on the off side with your left hand.

F
R

206. Run from behind, touch the back with your hands,
106
PAUL PRESTON'S
and with the agility of an antelope, 'vault with your armor
on,' so as to bring your feet into the saddle-stand up-then
slide gently down into your seat, observing the directions in
No. 204.

207. Here are two more, as a sort of finale to my horse-
manship-something to astonish the natives—that is, if you
will do it—I have, many a time and oft. Run, and place
your hands on the pommels, take a somerset over the saddle
-it is really quite pleasant.

208. Balancez, as the dancing master says; but I very
much question whether any dancing master, in town or coun-
try, could do this so well as many of you will, my lads, after
all this jumping and leaping. Jump on the back of your
horse from behind, and kneel-place the left hand on the
front pommel, thumb inside-right hand on back pommel,
thumb inside—now turn your right elbow in, so as to come
against the hip bone, forming as it were a pivot-then bend

BOOK OF GYMNASTICS.
107
the head a little forward and downward, stretching out the
body horizontally, as you see-continue in this position as
long as you can.
<
It now remains for you, boys, to practise these exercises
with spirit, but at the same time with care. Whoever are the
leaders in the various exercises should always be on the alert;
prevention is better than cure.' Carelessness is the source
of many evils; and those very persons, who have suffered
from their own waut of ordinary care are always the first to
decry that by which they have deservedly suffered. The ob-
stinacy of many young persons who came to the Pentonville
Gymnasium was truly surprising. Though warned of the
folly of attempting exercises they were totally unfitted for,
from not having gone through a proper training, they yet per-
sisted, when unobserved, in trying them, and generally paid
the penalty of their rashness. This, I hope, will not be the
case with any of you. Let 'patience and perseverance' be
your motto and your guide, and success will be your reward.

108
PAUL PRESTON'S
CHAPTER V.
LEAPING.
Good morning to you all. I see every one seems ready for
action; to use the words of our much loved Shakespeare,
these exercises do lend a noble lustre to your eye,' and while
thus you 'doff your caps and bid good morrow to the sun,' be
sure that health will attend your steps, and strew with roses
not only your paths, but your cheeks also. Most people
prefer looking at a butcher's or a baker's bill in preference to
a doctor's; let alone the beggarly account of empty boxes,'
that make up anything but a goodly show; and yet there are
thousands at this hour asleep,' whom it would be charity to
turn out of their nests, and whip round the Park or Common,
by way of waking them up into life.
Oh! here's something for us.
holes all the way up to the top, and
Ha ha! that's for us to jump over.

Two posts with little
a rope upon two pegs.
Here goes.

BOOK OF GYMNASTICS.
109

Stop! stop! order if you please, gents, in Paul Preston's
Gymnasium. Merry and wise' is an old proverb-but not
the less true for all that. Hear what I have to say first, then
go to work as fast as you like.
These two posts, you see, are not fixed in the ground, but
only placed in wooden sockets, in order that they may be ta-
ken up when not wanted, and wooden blocks put in their
stead. The holes are for the pegs used to raise the rope, and
should not be more than three inches apart; and these bags
are filled with sand, to keep the rope stretched out in a
straight line.
You see I have had some of the earth taken up, where I
guess you will, or ought to come down on your feet, and
some clay put down instead, so that by watering it now and
then, it may be kept a little moist, in order that you may not
feel that jarring of the body which would naturally ensue by

&
110
PAUL PRESTON'S
jumping so often in succession on a hard spot, rendered still
harder by continued jumping, equal to the use of a pavior's
rammer.
Now then, follow Paul Preston over the lowest line, and
don't despise it because it is low.
'Begin with geutle toils, and as your nerves
Grow firm, to hardier, by just steps, aspire.'
I shall soon get you into a line as difficult as any you ever
found in the classics, whether in parsing or scanning. I must
not have a single foot out of place; no skipping over it, but
all according to rule.
209. Now stand within a foot of the line, and with elbows
near the sides, just bend the knees slightly, having both feet
close together, and spring over as I do, and come down on
the toes. If you noticed properly, you saw that I did not
throw my arms straight forward, but rather upward, when I
came over, so that I might better preserve my balance, or
equilibrium, as it is called. To come down on the heels is a
bad practice; because, independently of the jar it gives the
whole body, it throws the body backward. Suppose, boys,
you had to jump over a brook, tolerably deep, as some brooks
are, and it were so wide that you could just clear it by a
powerful spring, if you came upon your heels at the edge of
the opposite bank, ten chances to one but you would be thrown
!

BOOK OF GYMNASTICS.
111
backward into the water, have a comfortable float back again,
and perhaps come with your head against the nettles, just to
remind you of your folly.
210. We will now have a hop over this same line. Stand
about half-a-dozen paces from the line, now hop on your
right leg over it. Don't put down the left foot immediately
you have cleared the line, but hop a few yards forward before
so doing.
211. Now endeavour to accomplish the same with the left
leg. While hopping, keep the elbows near, not close to the
sides, and the mouth gently closed.
212. I shall now move the line one hole higher, and pro-
ceed in the same manner, till you have reached a height equal
to your present powers. I shall on no account let you at-
tempt a single hole higher than I perceive you can accom-
plish without violent exertion, all which tends to weaken
rather than to strengthen.
By practising exercises of hopping alternately with jump-
ing, you will strengthen the muscles of the foot and leg,
which will fit you for attempting to leap with the pole, to
which I shall introduce you in due time.
Those who prac-
ise these exercises well, will excel all their

companions in
Fly the Garter,' and 'Hop, Step, and Jump.' And in your
112
PRESTON'S
PAUL
rambles through the fields, it must not only be a very wide
ditch or brook, but a sloping fence, bristling very fiercely with
tenter hooks, and looking vastly like a line of bayonets ready
to receive a charge of cavalry, that will bring you to a stand-
still. He that jumps well, will often escape sudden danger ;
because, knowing his own powers, which are always at hand,
he the more readily avails himself of them.
Some have recommended the practice of jumping down
flights of steps, a thing Paul Preston cannot approve. There
are other and better ways of learning to jump downward and
forward at the same time, whether in gravel or chalk pits,
sand banks and walls, or from a bank over a brook; in fact,
many places will be found where the gymnast may test his
powers in this respect. He will already have acquired some
accuracy of eye to enable him to scan in an instant the dis-
tance to be cleared, and the requisite force to be used in ef-
fecting his object. So, boys, I shall say no more on that
point, but will presently learn you how to handle the leap-
ing pole properly, and then you will learn how to leap
with it.
I shall however first give you a lesson in leaping to a dis-
tance; so come along to the farther end of the ground, and
look at my triangular ditch. You will perceive it is not
more than two feet deep, just sufficient to give the idea of a
ditch, and made in the form you see, in order to increase the


BOOK OF GYMNASTICS.
113
distance by degrees. Now begin at this corner, and jump
over, ce after the other, following immediately after me.
Well, I perceive that is as far as you can jump at present, so
we will adjourn to the leaping apparatus
LEAPING WITH THE POLE.
So all are armed, quite ready for the fray, and now let
me tell you, that I wish particular attention to be paid to my
instruction as to holding the pole in leaping. I say this be

S M
10
H



114
PAUL PRESTON'S
cause, in the several excellent books which treat a little about
gymnastic exercises, whenever leaping with the pole has been
introduced, and attempted to be illustrated by an engraving,
the artist and engraver, from not having studied or practised
gymnastic exercises, have greatly erred in depicting the man-
ner in which it should be performed.
The mode however is very simple, and its propriety will be
apparent in the very first attempt. Your left hand and arm,
from having been well exercised, will now have become not
only equal in strength to the right, but equally capable of the
varied motions of which the right is susceptible, consequently
there will be as much dependence on the one as on the
other.
Extend both your hands towards me with the palms up-
wards. I now place the pole on them—grasp it—now the
nails of both hands are upwards. The top of the pole is
about a yard from the right hand, that is, when the leaps
about to be taken are neither high nor wide; but as the dis-
tance increases, so the space between the right hand and the
top must diminish. The consequence of all this is, that the
pole becomes a complete pivot, on which the body freely re-
volves, and the two hands thus encircling the pole act in
unison, thereby assisting to move and sustain the weight
namely the body, with the utmost facility.



BOOK OF GYMNASTICS.
115
I have known the adult gymnast, by continued practice, ca-
pable of throwing himself over a line nine feet high, which
those of you who will take the trouble of measuring and look-
ing at, will find no mean height. Paul Preston has often
done it, which, considering he is not a Hercules in stature or
strength, may be reckoned tolerably fair. I have told
I have told you all
this to encourage you to go on; so now we will begin and
take a leap over this ditch, beginning at the narrowest part and
increasing as we go on.
Step back a dozen yards, and, as you run towards the ditch,
hold the pole nearly horizontally, in the front of you. The
moment you approach the place, plunge the end of the pole
which is next the left hand into the ground so (1)
not quite

1
3


116
PAUL PRESTON'S
half
way across, at the same time springing forward in order
to jump to the other side; while in the act of going over;
swing your body round to the right, and remember the greater
part of your weight is to be sustained by the right hand and
arm (2), the left hand and arm being mainly instrumental in
keeping you steady, more especially after your feet touch the
ground (3).
This is good exercise-perhaps one of the best exercises
that can be practised-for you feel that it brings all your en-
ergies into play; and so far from being improper for girls, it
would be the means of strengthening their arms, and more es-
pecially their ancles, which now-a-day are so weak from want
of due exercise, that to walk a mile or two, is sufficient to lay
up many a young lady for a week.
Well, we have arrived at the broadest part of my dry ditch,
and as you grow older, and I hope consequently stronger,
many a stream, dignified by the name of a river, will be mere
play to you. However, I must remind you of one thing, do
not attempt the leap till you have ascertained what sort of a
bottom it has, otherwise that may happen to you, which oc-
curred to a friend of mine, namely, having neglected to probe
the depth before he leaped, his pole sunk down in the middle.
of the stream, keeping him for a moment perched on the top,
grumbling like a bear at the Menagerie, then quietly let him

BOOK OF GYMNASTICS.
117
down for a good ducking, and the liberty of swimming ashore
as soon as he liked.
Let each now shoulder his pole and follow me to the leap-
ing apparatus. I should have told you to notice that these
said poles are made of ash, rather thicker, if at all, at the end
which is to be placed in the ground,-nine or ten feet is suffi-
who can
ciently long for you lads; but for grown-up persons,
use them, twelve feet will not be too long.
The greatest difficulty with which you will have to con-
tend, in leaping with the pole over the line, is to leave the
pole behind you after you have cleared the line, and are de-
scending perpendicularly on your feet. But as I said before,
boys, gymnasts can do any thing, if they make up their minds
to the trial. My old Mathematical Master used to say, 'he
really believed boys could find out longitude, if they only set
about it.'
In the
You ask me, Why must the pole be left behind?
first place it is of no use to you, after you have cleared the
line, but rather an incumbrance—for by this time you are
quite capable of coming down on your feet, without assistance
from anything else - secondly, if it were actually and really
a wall or fence you were springing over, without some little
care, you would receive an unpleasant jerk, by the pole com.
ing in contact with the top, and perhaps you would be thrown
down.



118
PAUL PRESTON'S
Again, if there were a party of you, and only one pole
for the use of the whole, those behind would want to use
it also it is better, therefore, to endeavour to leave it behind,
after throwing the body over the height, whatever it may be,
and to trust to your agility to alight safely. This by no
means precludes the other mode, viz., taking the pole
with you-only the line will be knocked down every time.
Hold the pole, then, in the same manner as I directed you
in leaping the ditch, taking a run of about a dozen yards to-
wards the rope, plant the pole on the ground, not more than a
foot from the rope, and immediately spring over it. When
you perceive that you have passed the rope, let go the pole, at
the same time giving it a slight push from you, for your fel-
low gymnast, who should be standing ready to receive it. As
the height increases, let the knees be kept pliable, and bent a
little, in order to break the descent, and prevent its jarring.
you. This is, perhaps, one of the most healthy and least.
dangerous of all the gymnastic exercises.


BOOK OF GYMNASTICS.
119
CHAPTER VI.
CLIMBING APPARATUS.
WHAT, more fun? What tall poles! a long ladder too
and a good thick rope!
Are we to climb up them?


120
PAUL PRESTON'S
Oh yes, as fast as you please.
But won't you show us how?
Most certainly, but examine the apparatus first. Paul
Preston has a great notion that boys and girls should be
early taught to make a proper use of their eyes for want of
this,' thousands will travel from Dan to Beersheba, and cry,
all is barren,' while others will go over the same road, and
find something to admire at every step. Just read the story
of Eyes and no Eyes,' in Evenings at Home,' and you will
.better understand what I mean.
These two poles are such as are used by builders in erect.
ing houses, and are about twenty feet high; they are quite
firm in the ground, and made still firmer by a cross piece
nailed at the top. All the bark is taken carefully off, and the
knots are planed down, to prevent any chance of splinters
running into your hands.
The ladder is placed at an angle of 45 degrees, and fasten-
ed at the top to prevent its slipping. I suppose you know
what that means? If the ladder lay flat upon the ground, it
would then be at an angle of 90 degrees. So that 45 degrees
means half way between an upright position and a flat one, be-
tween a vertical position and a horizontal one. I have had some
of the rundles made square to vary the grasp; and they are very
strong, so that you need not fear trusting your whole weight

BOOK OF GYMNASTICS.
121
upon any one of them. The sides too are quite smooth, and
free from projections, that the hands may have a more even
hold.
This slanting pole opposite the ladder is to be used for
climbing also, while, at the same time, it helps to keep the
whole apparatus steady.
Lastly, this rope is two inches in diameter, and fastened
with a noose over the cross pole, so that it may be shifted a
little if required.
Let us commence our operations by trying to ascend this
perpendicular pole; grasp the pole above your head firmly
with both hands, try to draw yourself up a little way, and
clasp with your legs across-your knees and thighs must as-
sist in sustaining you for a moment, till you have slidden your
hands, and endeavour to draw up your body a little higher,
and so on alternately, holding on by the arms and legs till you
reach the top. To descend, encircle the pole with the arms,
slacken your hold by the legs, and gently slide down.

Now
We will now go to the ladder and stand beneath it.
reach as high as you can with your right hand, draw your-
self gradually up, till your left hand can reach with ease the
round above; raise yourself again by the assistance of the
left arm, and catch hold of the next round-go on thus till

11
122
PAUL PRESTON'S
you reach the top. In order to descend, grasp the rounds al-
ternately with the right and left hand, being suspended by
one arm on each round, till you come to the ground.
When I drew myself up, you saw I did it slowly, not be-
cause I wanted strength, but to keep myself steady, to avoid
straining the muscles of my arm, and prevent that pendulum
kind of motion, which would inevitably be the consequence,
if any jerks or violent efforts were used to reach the next
step.
You will find that at first this mode of ascending will be
fatiguing to you, and perhaps you will not be able to get up
above half-a-dozen rounds of the ladder, or climb a very few
feet of the pole; but do not be discouraged practice makes
perfect and you will accomplish it in time.
—
Now let me give you a lesson on climbing the rope, which,
being loose, affords a greater opportunity of displaying your
skill. Reach as high as you can, and grasp the rope firmly,
let it be across your left instep, now press upon it with your
right foot, pull your body up as high as you can, taking care
to keep the rope firmly clasped between your thighs, standing
thus as it were upon the rope, slide your hands up a little
higher once more draw your body up, as you see me, still
keeping the rope between your feet, till you attain the highest
point your strength will permit you to reach, Take care as
\


BOOK OF GYMNASTICS.
123
you come down not to let the rope slide swiftly through your
hands, otherwise you will be minus a skin, unless it be as
hard as a sailor's, tough as yarn, and tarred into the bargain;
but the thorough gymnast will not be satisfied with this
rocking-horse sort of mounting, he will try and learn to climb
hand over hand as it is called, with his feet and legs free, de-
pending solely upon the power of his arms, a power he will
have gained by this time.
The slanting pole, my lads, you will find a little more diffi-
cult, but not dangerous on that account. The difficulty arises
from the body being, as it were, suspended between the two
moving powers, and the awkward position in which the move-
ments are made; still it is necessary to try and overcome this,
which a little practice will surely do.
Again try to ascend the ladder, by grasping only the sides
of it, and sliding the hands alternately up each side till you
reach the top, and descend slowly in the same manner. We
often used to climb the pole, and, on reaching the top, walk
along upon the hands, and descend either by the ladder, the
rope, or the slanting pole.
In all your ascents, especially on the ladder, keep the feet
and legs as quiet as possible, and close together; for every
time you throw them about, you inevitably throw away sc
much power.




124
PRESTON'S
PAUL
A rope-ladder, suspended from the cross piece, would be an
excellent addition; it should not be fastened at the bottom;
the gymnast, by his power alone, should learn to keep it
steady. Should he be destined for the sea, such a training
will give more confidence-especially
"Should sleep, upon the high and giddy mast
Seal up the ship boy's eyes, and rock his brains
In cradle of the rude imperious surge."
Now, boys, this is all I have to tell you about climbing.
your own diligent practice must supply the rest; and I am
persuaded you will have too much spirit to allow trifles to
daunt you-only be careful.
PULLING THE ROPE.
Well, I declare, here is a tight rope; if a rope's end a-
board ship is like this, the sooner they made an end of ro-
ping me, the better, I should say. But, friend Paul, what's
it for? You shall soon see. Place it quite straight on the
ground, then take your places in your ranks, under your re-
spective leaders. Before I begin, I must tell you that, simple
as this exercise at first sight appears in the Gymnasium, it
was one which created more laughter, and brought out more


BOOK OF GYMNASTICS.
125
good humor than any other; it was not only a friendly con-
test and trial of strength, but te nded materially to increase
that strength, whether of the legs, arms, or loins. In con-
versing with my brother gymnasts on the feats of former
days, I have invariably found they recurred to this part of
the training, and recounted, with delight, the little manœuvres
they used to draw their opponents across the line.
I shall now divide you into two parties, endeavoring to
keep each party as nearly balanced in weight and strength as
I can. Let each party now march towards the rope. Take
your stations opposite each other, and on opposite sides of the
rope-the first boy on each side being a yard apart. When
I give the signal, stoop down, pick up the rope with your right
hand, and hold it till I tell you to put your left foot forward,
and seize the rope at the same time with the left hand, hold
tight, and plant your feet firmly on the ground, throwing
yourselves a little forward, to add weight to your pull.
Now watch me, when I have finished saying-One, two,
three, and away but not till I have said the last word-
throw yourselves back and pull with all your might, and see
which party can draw the other across the ground. Steady,
boys! Ah, that side is moving; take care, or you will be
drawn over. Put out all your powers-that's right-bravo,
the other side is giving way. Stop 'em, by hanging back,
every man of you, with all your weight. There, you are a


126
PAUL PRESTON'S
dead weight upon them, they can't stir you an inch now
But have a care, or they'll let you all down on your backs,
and then pull you up like a perch out of a pond—aſter that,
good bye to you. Up in an instant! and pull like artillery
horses at a cannon, or sailors at a capstan, or a steam-tug at
an Inʼliaman, or—but there they go; I told you so. Hurrah!
hurrah! we've won-what fun! How warm it makes us.

BOOK
127
OF GYMNASTICS.
CHAPTER VII.
THROWING THE LANCE OR SPEAR.
WHILE we have the poles in our hands, boys, let me show you
two or three exercises, which will assist in developing your
muscular powers.
1. Hold the pole before you, like this.
А
Hands over, grasping it firmly; bring it up sharply in a hor
izontal line over the head-so.
''


128
PRESTON'S
PAUL
•

Keep it elevated thus, at the full stretch of the arms, but with
the feet firm on the ground; and then, without changing the
position of the hands, as regards the grasp, bring it down
sharply behind, as you see me do.

Return to the first position, by again bringing it up sharply
above the head, and finally down to the front.
2. The same exercise may be begun with the pole behind
you. In this case, the pole is to lie, as it were, in your
hands, in the same manner as I directed you to take the
leaping pole in hand.
3. Again: hold the pole before you stoop, and bring the
legs over it, between the arms, and stand upright. Now
stoop, and bring. the poles under the feet, in this man-
ner.


BOOK OF GYMNASTICS.
129
4. Place one end of the stick on the ground; put the right
hand near the top, the left near the bottom, the feet about four
feet from the stick-then bend the body backward, head hang-
ing down-bring the head and body under the left arm, and
rise on the other side by pulling yourself up.

A variety of motions may be performed with these poles; I
have given these as a specimen; your own ingenuity will
supply the rest.
We will now make use of these poles as lances or spears,
and do that practically which Collins sings poetically:

• Brown Exercise rejoiced to hear,
And Sport leapt up and seized his beechen spear.'
1

130
PAUL PRESTON'S
In throwing the spear, it has been customary with some
merely to poise it between the finger and thumb, and then
project it to the mark. This may do very well with a light
arrow-like weapon; but even then, the force with which it is
thrown will be of little avail, compared with that obtained by
grasping it with the whole hand, and hurling it with all the
muscular strength of the upper and fore-arm, concentrated as
it were into one focus. I shall therefore give you the two
principal positions, most necessary to be observed to give the
aim its full effect. Grasp the spear in the middle, like this-

X
with the light end uppermost-let the left arm hang down at
ease by the side-look steadily for a moment at the object—

І

BOOK OF GYMNASTICS.
131
raise the spear so high as the ear, at the same time drawing
the arm back, so as to give it all the impetus you can-send
it quickly on its errand; but take care not to go after it, as I
have seen some, in consequence of not standing firmly on the
feet.

132
PAUL PRESTON'S
CHAPTER VIII.
CLIMBING THE PLANK.
Here's a pretty position for a stout alderman to be placed
in-how far up he would get in an hour it would not be diffi-
cult to prognosticate; but it would be still easier to guess how

BOOK OF GYMNASTICS.
133
in
soon he'ed come down. Let us hope he will never be placed
In such a predicament. It is, however, a capital exercise for
you boys-the ability to climb or crawl in any position, will
enable you to see many sights, explore mines, caverns, ravines.
and a host of other places, into which other people dare not
venture from the consciousness of their bodily inability. The
plank should be at first laid at a small slope or angle, and
gradually elevated till it is nearly perpendicular. It should.
be two feet wide, and about two inches thick, and firmly fixed
at the top and bottom. As the last steps become generally
more difficult, if possible, some one should be near the top to
assist; and in the first attempts you must not go more than
half way. Mind, as you go up, hold tight on each side, and
place your feet flat in the middle. As you come down, make
small steps, both with feet and hands-and as quickly as
possible.
GIANT STRIDE.
Look, boys, here is a practical illustration of the seven-
leagued boots, in that most wonderful "History of Tom
Thumb." Half-a-dozen at a time may go at a railroad pace,
without steam, in a sort of merry-go-round,
Never ending,
Still beginning,
Striding still, and still deploying

134
PRESTON'S
PAUL
Seize the cross-bars attached to the ropes, hold tight, and
start all together, left foot first, leaning the weight of your body
on the bars. Take good long strides, and let them rather be
directed outwards than otherwise. When at full speed, I
know not anything on earth that approaches so much to fly-
ing. Now start-increase your speed by degrees-that's
well. Keep your mouth closed-hold tight-and do not stop
suddenly.
CLIMBING THE MAST.
In the Naval and, I believe, in the Military School, there
is a kind of mast, with steps, or stout wooden pegs, at inter-
vals, to initiate the scholars in the art of climbing. These
steps may, however, be attached to the Giant Stride, as they
will enable the gymnast to ascend and unhook the ropes when
they are not wanted, as they should not be left in the damp.
The hands and feet in this exercise acquire a facility in pla
cing themselves on projecting points, and the eye is accustom-
ed by it, to measure distance more accurately.
1. The first and easiest exercise is to ascend in a sloping
or spiral direction. Put your left foot on the lowest step, the
left hand over on the next, and the right on the third-each

BOOK OF
135
GYMNASTICS.
step slanting to the right hand. So keep moving on to the
top-when you come down, which must be backwards, let the
right foot and hand make the first moves.
2. There is another method of climbing, which certainly
expands and strengthens the muscles of the chest, and which
I should like you boys to try. Now, look when you begin,
place your right foot on the first step, and your left hand on
the second-now move your left foot between your right leg
and the mast-place it on the next in the spiral direction, with
the heel turned backwards, and catch hold of the step above
with the right hand. You will now perceive, my whole
weight is suspended between my right hand and left foot.
Now I pass my head under my right arm, and keep on per-
forming this movement to the top. But mind, as I descend,
when I pass under the right arm, I seize the step with my
right hand under it, in order to obtain a firmer grasp.
3. To pass under the left arm, you must cross the left hand
over the right and grasp the second step of the second row,
with the nails turned upwards. Now pass your left leg be-
tween the mast and your right leg, and plant it firmly on the
first step of the second row, with the heel outside, as in the
last exercise-let go your right hand, and slide your head un-
der your left arm, then place your right hand and foot on the

136
PAUL PRESTON'S
next two steps, and so on to the top. Don't forget, that whe
ther you ascend or descend, when passing under the left arm,
the right hand and foot, or the left hand and foot, should be
placed on the same perpendicular row of steps. Do not go
up very far at first, but to ensure not letting go, try
4. To ascend the mast by the hands alone, hand over
hand, as I showed with the rope.
RUNNING.
This is an exercise, my young Racers, which, if properly
conducted and attended to, will be productive of infinite bene-
fit to the whole system. It tends to dilate the lungs and ex-
pand the chest, more surely fortifying both against the attacks
of many fatal diseases. It will not only make you more
healthy and strong, but enable you more readily to rescue oth-
ers from danger; and though I would not urge upon you the
same reason for excelling in it, that was given by an author
some years ago, in the following words: How many unhap-
py soldiers would have escaped a hard captivity, and even a
cruel death, if they had been accustomed in their youth to run
fast and long;' which means, I suppose,
He that fights and runs away,
May live to fight another day
C


BOOK OF GYMNASTICS.
137
He that hath no stomach to this fight,
Let him depart
as fast as his legs can carry him.
Now, though Paul Preston, with many others, hopes that
war, with all its attendant horrors, both moral and physical,
may soon be unknown in the world, he has too much patriot-
ism to wish that any of his fellow-countrymen should excel in
running away from their enemies. Nay, he would rather see
deeply engraven on the hearts and minds of every American,
the ever memorable words of the Spartan mother, when she
presented her son with his shield, Return with it or on it,'
than counsel any one basely to turn his back upon his coun-
try's foes. But there will arise in the course of your lives
many instances where the power of running fast and long will
be found of great utility. In the case of accidents during
travelling, with no house near, the animal disabled by being
thrown down, the bones of one individual fractured, or per-
haps he has been thrown on his head, causing a concussion of
the brain, while his companion, if he has any, has escaped
unhurt, and prompt assistance the only chance of saving life,
who would not then wish to fly on the wings of the wind,
and bring back relief with equal speed. The letter-carriers
in some parts of the East are capable of extraordinary exer-
12

138
PAUL PRESTON'S
tion, and are said to be able to tire out a horse-so long can
they keep up continuous running.
It has been truly asserted, that if we see but very few per-
sons run with grace and agility, we see still fewer run fast,
and continue it for a long time. This is partly because they
do it improperly, and partly from want of practice—they eith-
er swing their arms about-bend their knees too much-or
lift their legs up so high, that they lose much time, and tire
themselves very quickly.
I shall give you two or three plain directions, and then
take you a run round the ground for a few minutes, and slow-
ly increase the time and rapidity every day, up to a certain
point. Stand in a line, place your hands on hips, fingers in
front, arms thrown back, but do not press on your hips. My
object in requesting you to do this, is to accustom you to un
steadily, but afterwards you may discontinue this, only keep
your hands shut, with your arms close to your sides-the
right foot forward ready for the start-mouth closed-this
will prevent you from breathing too rapidly. When you run,
try to accustom yourselves to take a long breath, as you boys
call it in other words a long inspiration. When you run
with your mouth wide open, you take in more air than the
lungs can employ to advantage; hence that palpitation and
short breathing, which so frequently occur even after a shor'


run.

BOOK OF
139
GYMNASTICS.
When you commence running, let the left foot make tne
first step, bringing it down on the toe first, not the whole foot
flat at once, but press lightly on the ground; let every move-
ment bear the impress of elasticity. Right face-each cap-
tain at the head of his class must keep his eye fixed upon
me, that he may be ready to turn sharply or circuitously at the
very point that I do. Upon this precision, which must be
strictly maintained, depends a great part of the good resulting
from this exercise. To be able to stop in an instant, even at
full speed, as Cæsar says the ancient Britons stopped their
horses, is no mean advantage, as it will enable you to avoid
sudden and unlooked-for danger, and dart aside with the rap-
idity of thought. To vary the inclination of your body, I
shall turn sometimes to the right, sometimes to the left-one
time making a large circle, at another time a small one-and
sometimes forming angular figures. Now and then I shall go
between the parallel bars, to teach you to run in narrow and
confined places. In short, every way and any way that will
create variety. So now, my boys, off!



140
PAUL PRESTON'S
CHAPTER IX.
RECAPITULATION.
THE notion that a boy has of his own body is a very vague
one. If you ask him of what it consists, he will tell you of
flesh and blood and bone; and should you tell him that it re-
quires a considerable combination of machinery to move his
hand or his foot, he will be very likely to laugh; therefore he
cannot see the necessity there exists for exercise, but still he
will take it. He likes running about, driving a hoop, spinning
a top, or leaping over a ditch, because he has an instinct
within him for exercise, which propels him to take it he knows
not why, and but for this instinct he would be weak in body
and in mind. If the boy who reads this will pay attention to
what we have to impart, we will give him some reasons why
exercise is good for him, and what kind it should be, and
how it should be undertaken with a view to the benefit of his
health, and towards the perfection of those powers which have
been bestowed upon him by the Author of all things.


BOOK OF GYMNASTICS.
141
Man is made up of the passive organs of locomotion, that is
the bones; and of what are called the active organs of loco-
motion, which are the muscular and nervous apparatus. The
bones are an assemblage of compact organs united together
by ligaments, and give the body, whose frame-work they form,
shape and solidity. They serve therefore to support the bo-
dy, to render it capable of motion, and partly to protect the
more material parts. The back bone illustrates the first of
these positions, the arms and legs the second.
Such bones as have motion are held together by strong in-
elastic substances; and in some instances, as in the wrist and
instep, they bind down the tendons and muscles to increase
their strength of action.
The bones being destitute of the power of motion, some
machinery has been provided by which they may be moved at
pleasure; these are the muscles, which, by contracting, per-
form the required motions in the body; they are composed of
bundles of fibres like little red threads. The extremities of
the muscles are called tendons, and are the same fibres more
closely connected that they may possess less space in a limb,
and be inserted into a bone; all muscles end in tendons.
ends of the bones are covered, when intended to move in each
other, with a compact, elastic substance called gristle, this
naving a fine polished surface renders it insensible to friction
The



142
PAUL PRESTON'S
or rather prevents it, and by its elasticity defends the joints
from injury by their motion on each other.
The largest and most curious bone, or series of bones, in
the body is the spine or back-bone, being a chain of joints of
very wonderful construction; it possesses at once the greatest
strength and the greatest flexibility, bearing the weight of the
whole body, and sometimes six times its weight, and yet allow-
ing of the bending of the trunk in all directions, at the same
time that it is a safeguard and covering for the spinal marrow,
which, having its root or origin in the brain, is connected with
the nerves, and by some wonderful process assists in convey-
ing sensations from all parts of the surface of the body up to
the brain. So delicate is this substance that the least wound
of it instantly produces paralysis or death; it also furnishes
a fulcrum, stay, or basis for the insertion of the muscles that
are spread over the trunk of the body, and likewise a support
for the ends of the ribs to rest upon.
The ribs are articulated, that is, joined into the back-bone;
but the young reader will remark, that in their natural posi-
tion, they bend or slope downwards from the place of articula
tion, and the basis at which they rest at this end being fixed,
the consequence of the obliquity is, that when they come te
move, whatever pulls them upwards, at the same time draws
them out, and, that whilst the ribs are brought to a right angle
with the spine behind, the sternum, or part of the chest to
3%

BOOK OF GYMNASTICS.
143
which they are attached in front, is thrust forward. The sim-
ple action therefore of the elevating muscles opens the chest ;
whereas if the ribs had been joined with the back-bone at
right angles, the cavity or hollow of the breast would never
have been farther enlarged by a change of the position. If
each rib had been a fixed bone, the whole chest had been im-
moveable, but by this arrangement, at every breath we draw,
the chest is considerably increased in size, and this enlarge-
ment may be so increased by effort as that the lungs may be
distended with seventy or a hundred cubic inches of air.
Connected with the bones, or rather connecting the bones,
are the JOINTS. Every joint is strictly a mechanical curiosity.
In the knee we have what we call the Hinge-Joint, and at the
hip and shoulder the Ball-and-Socket Joint. The former is
sufficient at the knee, as only one kind of motion, backwards
and forwards, was to be provided for; the other is necessary
at the hip, as not only was the progressive step to be provided
for, but also the power of stretching out or widening the legs.
Had the hinge joint been used at the hip, the thighs must have
been kept constantly together, and the legs loose and strag-
gling. In a common hinge-joint used by artificers, a bolt is
observed to pass through the two parts of the hinge, which
connects and keeps them in their places. In the hinge-joint at
the knee the same thing is done, but by a different expedient;
a strong, tough, parchment-like membrane rising from the re-


144
PAUL PRESTON'S
ceiving bones and inserted all around them a little below their
heads, encloses the joint on every side; this membrane ties,
confines, and holds the ends of the bones together, keeping
the corresponding parts of the joint in close connexion. Con-
nected, or rather added, as a supplement to the knee, is a cu-
rious little bone, in its form and office unlike any other bone
in the body, called the Patella or Knee-Pan. It is circular,
the size of a dollar, rather thick, a little convex on the sides,
and covered with smooth cartilage. It lies upon the front of
the knee, and the powerful tendons by which the leg is
brought forward, pass through it; it protects both the tendons
and the joint from any injury which either might suffer by
the rubbing of one against the other, or by the pressure of un-
equal surfaces. It also gives the tendons a very considerable.
mechanical advantage by altering the line of their direction,
and by advancing it farther out from the centre of motion.
These are the uses of this little bone, and the young gymnast
will be cautious how he gives himself a blow on the knee, or
that he do not kneel on any pointed substance, as, in early
years, this little bone is liable to injury, and when badly in-
jured is often attended with very painful and dangerous re-
sults.
In the Ball-and-Sock Joint we find a membrane similar to
that of the hinge-joint surrounding and inclosing the joint.
In other important joints, such as the head of the thigh bone,

三河
​
BOOK OF GYMNASTICS.
145
Ω
is an additional security; a short, strong, string-like ligament
is inserted by one end into the head of the ball, by the other
into the bottom of the cup, which ligament keeps the two parts
of the joint so firmly in their place, that none of the motions
which this limb naturally performs, none of the jerks and
twists to which it is originally liable, nothing less indeed than
the most unnatural violence can pull them asunder. If the
young anatomist wishes to be convinced of this by experiment
let him try the ball-and-socket joint of a shoulder of mutton,
and endeavour to separate them without the aid of a knife.
A comparison of the ball-and-socket joint at the shoulder of
the human frame with the joint at the hip, exhibits a differ-
ence in their form and proportions well suited to the different
offices which the limbs have to execute; the cup or socket at
the shoulder is much shallower and flatter than it is at the
hip, and it is also in part formed of cartilage set round the rim
of the cup, which contributes more to a free motion and wide
range, both of which the arm wants; whereas in the lower
limb, forming a part of the base of the body, having to support
the body as well as to move it, firmness was to be consulted
as well as action ;-hence the deeper excavation of the socket
and a less proportion of cartilage.
In all the joints, the ends of the bones which work against
each other are covered with gristle to prevent friction; in the
13
K
146
PRESTON'S
PAUL
ball-and-socket joint the cup is lined, and the ball is capped
with it. In some joints, such as the knee, there are loose car
tilages or gristle between the bones and within the joints, so
that the ends of the bones, instead of working upon each oth
er, work upon the intermediate cartilages, to take off the effects.
of sudden shocks in running, jumping, and other gymnastic
exercises. But another more important provision, manifestly
adapted to their use, is the regular supply of a mucilaginous
matter called sinovia, more emollient and slippery than oil it-
self, which is continually softening and lubricating the parts
that rub against each other, and thereby diminishing the great
friction in machinery of such constant use. For the continual
supply of this important liniment there are glands near the
joint, and, for feeding the joints with it, excretory ducts hang-
ing like fringes in the cavity of the parts through which the
sinovia passes.
Thus we see every provision made—first, for
the wear and tear by the polish of the cartilages ;-secondly,
by the healing lubrications of the nucilage ;-thirdly, by that
astonishing property of animal constitution which restores all
the waste as it occurs. And there is nothing perhaps that so
ought to move our gratitude as the reflection, how well they
wear !—A limb shall swing upon its hinges, or play upon its
socket many hundred times in an hour for sixty or seventy
years together, with scarcely any diminution of its agility.
We said that muscles were distinct portions of flesh, which


BOOK OF
147
GYMNASTICS.
by contracting perform the motions of the body; they, with
their tendons, are in fact to the human machine what the rig-
ging is to a ship, used both to steady and put in motion the
various machinery. The head maintains its erect posture by
the assistance of muscles, and a finger is not bent or straight-
ened without the contraction of two muscles taking place.
There is an exact relation between the joint and the muscle
that moves it; whatever motion the joint by its mechanical
contraction is capable of performing, that motion the annexed
muscles by their position are capable of producing. All mus-
cles act by contraction; their force is exerted in no other way;
when the exertion ceases, it relaxes itself, that is, it returns to
its former state. Every muscle is provided with an adver-
sary; they act like two sawyers in a pit, by an opposite pull,
and what is most remarkable is, that they are almost univer-
sally so disposed as not to obstruct or to interfere with each
other's action. Now, when we reflect upon the number of
muscles, little short of five hundred known and named,-how
near they lie to each other, in layers as it were, one over ano-
ther, crossing each other, sometimes embedded in each other,
sometimes perforating each other, yet all having their perfect
liberty and full play, we are struck with astonishment at the
wisdom of the arrangement. Sometimes the action of mus-
cles is wanted where their action is inconvenient.
The mus-
cles that move the fingers, to be near the point of action,
*


148
PRESTON'S
PAUL
should have been placed in the wrist, which would have swel-
led the part to a clumsy thickness; but they are wisely dispo-
sed at the arm towards the elbow, and act by long tendons,
which, like wires, pass from there to the fingers; in the same
manner the muscles that move the toes are placed in the calf
of the leg. A contrivance strictly mechanical and beautiful
is found in the tendons which proceed from the muscles of the
leg and arm to the toes and fingers. The long tendon, as it
is called, in the foot, which bends the second joint, being a slit
in one tendon to let another pass through it. This course al-
lows to the limb more liberty and a more commodious action
than it could otherwise have been capable of exerting.
We have made use of these observations that our young
friends may understand that the motions they are called upon
to perform in gymnastic exercises, are for the purpose of exer-
cising the muscles, and by their exercise to develope their
power and increase their size and strength; in doing this the
body itself is kept in a proper condition, the circulation is pro-
moted, and vigorous bodily health is the result. We shall
make a few further observations relative to the positions which
are common to the body, and which it may sustain without
injury.
Position is that function, passive or active, by which the dif
ferent parts of the body are maintained in a fixed attitude.
The position is passive when the body is stretched its length


BOOK OF
149
GYMNASTICS.
on the earth; it is active when the trunk is supported by col-
umns, i. e. the limbs.
Biped Position. Man does not form a sole lever from head
to foot, he presents a great number of joints which incessantly
tend to afford each other mutual assistance. The head fixed
on the vertebral column, the top of the back bone, presents a
lever of the first order, the main arm of which being directed
forward, the head has a tendency to bend in that direction, but
the numerous muscles at the back part of the neck maintain
their equilibrium.
Spine. The superior limbs, the enormous weight of the
organs contained within the chest and the abdomen, finally,
the head itself, weigh upon the vertebral column, and would
unavoidably draw it forward if it did not, to the solidity of its
organization, unite numerous and powerful muscles, extended
along its back part, to counterbalance the weight under which
it would otherwise sink.
We have had occasion to mention levers of the first, second,
and third orders; to prevent being misunderstood, we subjoin
a definition of these powers.
A proper lever is a bar of iron or wood, supported by and
moved on a round centre called the fulcrum, having the thing
to be raised at its short arm, and the power capable of raising
it at the long end or arm.

150
PRESTON'S
PAUL
· །
There are three kinds of levers, according to the situation.
of the fulcrum. A lever of the first kind has its fulcrum be.
tween the weight and the power that is to move the weight;
a poker in stirring the fire is a lever of this kind—the bar of
the grate is the fulcrum, the coal is the weight to be moved,
and the hand is the moving power.
The second kind of lever has the weight between the ful-
crum at one end, and the power at the other. This kind of
lever is found in bellows, doors turning on hinges, nut crack-
ers, &c.
Levers of the third kind have the power between the prop
at one end and the weight at the other. The common tongs,
shears for shearing sheep, and above all, the limbs of animals,
are of this kind. A human arm affords one of the most stri-
king illustrations; here the prop or fulcrum being the socket
at the elbow.
SWIMMING.
It is
We ought to treat of this subject as a necessary art.
not so natural to man as the preceding motions. His phy-
sical organization has been calculated upon no hydrostatic.
law. His specific gravity, however, does not exceed that of
water. Thus, in swimming, the whole art consists in mul-
tiplying the surface of the body, by extensive motions, so as
to displace a greater volume of liquid.


BOOK OF GYMNASTICS.
151
The body, extended on its anterior part, advances on the
surface of the water in the following manner: The hands
brought together in front of the chest, form a point. The
thighs and legs, previously flexed or bent, abruptly extend,
striking the water backwards, and impart a slight progressive
motion to the body; at the same time, the superior extrem-
ities extend, striking the water in the form of paddles, and the
legs are brought together. Next, while progression takes place,
the limbs flex again, to be returned to their primitive position,
when the superior limbs describe a circle, which propel the ele-
ment under the trunk, and thus it is raised more or less above
the water. The spinal muscles are in a continual state of con-
traction, to fix the back and raise the head. Swimming on the
back hardly requires any exertion, with this exception, that the
antericr muscles of the trunk are slightly contracted.
A


152
PAUL PRESTON'S
GYMNASIUM.
Having shown that gymnastic exercises are requisite for
health and the developement of the bodily powers, we may
proceed to point out the kind of exercises necessary for this
desirable end. For this purpose a piece of ground should be
laid out in every school ground, and there should be erected a
couple of posts, about twenty feet apart, and sixteen feet high,
which should support a plank, about a foot wide, and six in-
ches thick; on the underside of this might be affixed a hook
from which a triangle might be swung, this of itself would be
capable of being used in a variety of ways. Two more hooks,
about a foot apart, might be used for two ropes, so that the
more advanced pupils could climb to the top by means of gras-
ping a rope in each hand, and without the assistance of the
feet. A pole may rise from the ground to the cross piece.
about midway, the pupils will be able to climb up without the
assistance of the feet. A wood ladder, and rope ladder, may
occasionally be fastened to the beam, but may, when necessa-
ry, be taken down. A board about a foot broad may also be
set up against the beam inclining four feet from the perpen-
dicular; the climber will grasp the sides with his hands, and
placing his feet almost flat against the board, will proceed to
the top; this is an advanced exercise. Another board may



BOOK OF
153
GYMNASTICS.
be set up which should be three feet broad, at least, and should
slant more than the other; the pupil will run up this to the
top of the beam easily, and down again; the middle of this,
up to the top, should be perforated with holes, about four in-
ches apart, in which a peg may be placed; this may be in the
first hole to begin with. The pupil will run up and bring this
down, and then run up and put it in the second, and so on till
he has arrived at the top; then two or more pegs may be
used, and it may be varied in many ways. A pole twenty-five
or thirty feet high should be erected, rather thin towards the
top; at distant intervals of this, three or four pegs as resting
places should be fastened; another pole thicker, from about
sixteen to twenty feet high, should be erected, on the top of
which should be placed four projecting hooks turning on a
pivot; to these hooks four ropes should be attached, reaching
to within two feet of the ground. This is called the flying
course, from an individual taking hold of the peg at the end of
each rope.
One person may cross a rope under the one in possession of
another, and by pulling round hard, make the other fly over
his head. Care should be taken to make the hooks at the top
quite secure, for otherwise many dangerous accidents might
ensue. A cross pole might also be set up, but most of the ex-
ercises for which this is used, may be performed by the trian-
gle. On the parallel bars several beneficial exercises may be

154
PAUL PRESTON'S
done, and also on the bridge. This is a pole thick at one end
and thin at the other, and supported at three or four feet from
the ground by a post at one end and another in the middle, so
that the end vibrates with the least touch. This, it will be
evident, is an exercise for the organ of equilibrium, and exer-
cises the muscles of the calf, of the neck, and the anterior part
of the neck, and those of the back, very gently. On this
bridge a sort of sportive combat may be instituted, two boys
meeting each other, giving and parrying strokes with the open
hands. The string for leaping is also another very pleasing
exercise, it is supported by a couple of pegs on two posts fas-
tened in the ground; the string may be heightened or lower-
ed at pleasure; it may be raised as high as the leaper's head
when a leaping pole is used. Besides these arrangements, a
trench about a foot and a half should be dug, and widening
gradually from one foot to seven, for the purpose of exercising
the long leap either with or without the aid of the pole. Such
are the general arrangements of a gymnasium, but before the
youth enters upon regular exercises, he may commence with
a few preliminary ones.

BOOK OF GYMNASTICS,
155
FIRST COURSE.
EXERCISE 1. Hold out your hand at arm's length till you
can hold it out no longer; repeat this till you have power in
the muscles to continue it, without fatigue, for a considerable
length of time.
2. Stand on one foot till you are tired-repeat this for a
similar period.
3. Hold out both arms parallel with the chin, letting the
thumbs and fingers touch each other.
4. Hold the hands behind the back in a similar manner,
the arms being stretched as far backward as possible, and hold
the hands high.
5. Hold up the right foot by the right hand, extending the
leg and arm by degrees.
6. Hold up the left foot in the same manner.
7. Stand with the knees bent, and exercise them towards
the ground till you can kneel on both knees at once without
supporting yourself as you drop.
S. Raise yourself from this position without the aid of
your hands, by springing back on your toes.
9. Endeavor to touch both your toes, with the back
straight, the legs close together, and the head down.

156
PRESTON'S
PAUL
10. Take a piece of wood three inches broad and twenty
ong, that will not bend, and hold it across the back, the three
first fingers touching the wood.
11. Endeavor to sit, but do not touch the ground, nor let
any part of your body touch your heels, with your arms stretch-
ed out in a line with your chin.
12. Stand with your legs and arms extended, so as to form
the letter X.

SECOND COURSE.
13. Lay down on your back, and raise your body from a
horizontal to a vertical position, without any assistance from
the hands and elbows.
14. Draw up the legs close to the back part of the thighs,
and rise without other assistance.
15. Extend yourself on your back again, and walk back
wards with the palms of your hands and your feet.
16. Sustain the weight of the whole body upon the palins
and the toes, the face being towards the ground.
17. Lay on the back, and take hold of each foot in your
hands, and throw yourself on your face by rolling over

BOOK OF GYMNASTICS.
157
18. Lay with your face down, and take hold of your toes
while in that position.
19. With your chest downwards, drag your body along by
walking only with your hands.
20. Place yourself on your back, and endeavor to advance
by means of the propulsion of the feet.
21. Place your body on your hands and feet, with the
breast upwards, and endeavor to bring the lips to the ground.
22. Lean on the breast and palms of the hands, and throw
the legs over towards the back of the head.
23. Extend yourself on the back, and throwing the hands
up above the head, at the utmost stretch, touch the ground,
and if possible bring up a piece of money, previously to be
placed there.
24. In the same manner endeavour to seize a ball by the
toes at full length.
These preliminary exercises having been practised, the
young pupil will commense a course of more advanced exer-
cises, such as walking, running, leaping, balancing, vaulting,
and climbing. Walking is common to all, but few have a
good walk, and nothing exhibits the person to so much disad-
vantage as a slovenly walk. It is true that the walk of a
person will indicate much of his character; nervous people
F
158
PAUL PRESTON'S
walk hurriedly, sometimes quick, sometimes slow, with a trip-
ping and sometimes a running step; phlegmatic people have.
a heavy, solid, and loitering step; the sanguine man walks.
rapidly, treads somewhat briskly and firmly; while the melan-
cholic wanders, and seems almost unconscious of touching the
ground which he seems to slide over. But the qualities of
the mind itself manifest themselves in the gait; the man of
high moral principle and virtuous integrity walks with a very
different step to the low sensualist, or the cunning knave ;-
therefore the young pupil will be sure that even the Art of
Walking, which seems to be an exertion purely physical, will
not be acquired properly if his mind has taken a vicious and
unprincipled bias; it will either indicate his pride or his das-
tardly humility, haughty self-sufficiency or mean truckling to
the opinion of others, his honest independence or his cringing
servility. But he who has been blessed with the full use of
muscular powers, in proportion as he is virtuous, will, with a
very little attention, indicate by his bearing, step, and carriage,
the nobility and modesty of his mind. Bodily exercise by
hands or feet, or when even the little gymnasts
Knit hands, and beat the ground,
In a light fantastic round,
as Miiton says, all aid in strengthening muscular power.

BOOK OF GYMNASTICS.
159
In walking, the arms should move freely by the side ;'they
act like the fly-wheel of an engine to equalize the motion of
the body, and to balance it. One hand in the breeches pocket,
or both, indicates the sot, and has a very bad appearance. The
head should be upright, without however any particular call
being made upon the muscles of the neck to support it in that
The
position, so that it may move freely in all directions.
body should be upright, the shoulders thrown moderately
backward, displaying a graceful fall. When the foot reaches
the ground, it should support the body, not on the toe or heel,
but on the ball of the foot. This manner of walking should
be practised daily, sometimes in a slow, sometimes in a mod-
erate walk, and sometimes in a quick pace, until each is per-
formed with elegance and ease.
In running, as the swiftness of the motion steadies the bo-
dy in its course, without the aid of the motions of the arins,
they are naturally drawn up towards the sides, and bent at the
elbows form a right angle; their motion is almost suspended
in very swift running. In moderate running a gentle oscilla-
tion is observed, increasing in proportion as the body approa-
ches to the walking pace. The knees are now more bent, the
same part of the foot does not touch the ground, the body be-
ing carried forward more by the toes; the degree of velocity
is acquired in proportion to the length and quickness of the
steps; the person should therefore endeavor to ascertain it


160
PRESTON'S
PAUL
ong or short steps suit his muscular powers best; generally
speaking, a moderately short step, quickly repeated, acceler-
ates motion most. In learning to run, the pupil should first
endeavor to improve his breath by degrees; he must try his
speed first in short distances, to be gradually increased; the
distance will vary according to the age and strength of the
runner.
The first exercises in running should commence at a gentle
trot over a distance of 150 yards, at the rate of about six feet
to a second; this should be varied up to eight feet in a sec-
ond, for the first three or four days, and the distance increased
from 150 to 250 yards. On following days the distance may
be increased to 500 yards, and afterwards gradually, until a
mile can be performed in ten minutes, which is tolerable good
running afterwards six miles may be tried in an hour, which
will be easily accomplished.
As regards rapid running, from 100 feet to 100 yards may
be attempted at full speed, and when the constitution is good,
the body not too fat, the muscular developements fine, and the
lungs sound, a quarter of a mile in a minute may be accom-
plished, and a mile in five minutes, which is seldom done
even in very good running. Ten miles an hour, which is the
average speed of the mail, may however be easily performed
with judicious and proper training.

1


BOOK
161
OF GYMNASTICS

LEAPING.
In leaping, that with the run is the most common and the
most useful. The object of the run is to impart to the nerves
of the body a certain quantity of motion which may carry it
onwards after the propelling power has ceased to act when
the body leaves the ground; the run need not exceed twelve
or fifteen paces; in this the steps are small and rapid. When
the body leaves the ground, the legs are drawn up, one foot
generally a little more than the other, and the great thing to
be avoided, is coming to the ground on your heels. When
springing, the height of the leap must be calculated, the breath
held, the body pressed forward, and the fall should be upon
the toes and the ball of the foot, although in an extended leap
14
L

162
PRESTON'S
PAUL
this is impossible. Leaping must, like running, be practised
gradually; in the high leap, a person may easily accomplish
the height of his own body, and should practise with a bar,
represented in the plate, which may be made of two upright
posts bored, through which ropes should be placed according
to the height required for the leap; on these should be hung
a string with weights attached to each end to keep it straight.
Should the leaper touch it with his feet as he takes his leap,
it will be thrown off the pegs, thus showing that he did not
make a clean leap.
The deep leap may be acquired from the top of a bank into
a hollow, or from the top of a house or wall, in a moment of
danger. It may be practised from a flight of steps, ascending
a step at a time to increase the height, till the limbs can bear
the shocks, to break which the body must be kept in ant
position, so that its gravity has to pass through many angles.
The leaper should always take advantage of any rivulet that
has one bank higher than the other, to practise himself.
In the long leap, a person ought to be able to clear with a
run, three times the length of his body.
The high leap, the deep leap, and the long leap, may be all
practised with the pole. For the high leap, the pole should
be taken with the right hand, about the height of the head,
and with the left hand about the height of the hips; when pu.
to the ground, the leaper should spring with the right foot ar.d

BOOK OF
163
GYMNASTICS.
pass by the left of the pole and swing round as he alights, so
as to face the place he leaped from. In the deep leap, the
pole being placed the depth you have to leap, the body should
be lowered forward, and then the feet being cast off, swing
round the pole in your descent. The long leap with the pole
is performed in the same manner.
VAULTING.
This exercise may be practised on that part of the balanc-
ing bar between the posts. It may be performed with or with-
out running; it should however be commenced with a short
The height should be, to commence, about the pit of
the stomach, which should be increased to your whole height.
run.
CLIMBING.
In climbing the rope, the hands are to be moved one above
the other alternately; the feet should be crossed, and the rope
held firm by their pressure; sometimes the rope may be
made to pass along the right thigh just above the knee, and
wind round the thigh under the knee.
In climbing the upright pole, the feet, legs, knees, and
hands, touch the pole. Taking a high grasp of the pole the
climber raises himself by bending his body, drawing up and
holding fast by the legs, and so on alternately.
164
PRESTON'S
PAUL

THE SLANT BOARD.
This should be seized with both hands, the feet being placed
in the middle. The board should be considerably aslant
when first attempted, and gradually brought towards the per-
pendicular.
THE ROPE LADDER.
The climber must keep the body stretched out, and upright,
so as to prevent the steps which are loose from being bent
forward.
The oblique rope must be climbed with the back turned to-
wards the ground, the legs crossed and thrown over so that
the rope passes under the calf, and thus he must work himself
up by raising his hands one above the other alternately.



BOOK OF
165
GYMNASTICS.
The Exercises on the ladder are,-1. to ascend and de-
scend rapidly ;-2. to ascend and descend with one hand ;--
3. without using the hand;-4. passing another person on the
ladder, or swinging to the back to let another pass.


BALANCING.
THERE are two kinds of balancing to which we shall al-
lude; the balancing of other bodies, and the balancing of our
own.

All feats of balancing depend on the centre of gravity be-
ing uniformly preserved in one position. The centre of grav-
ity is that point about which all the other parts exactly balance

166
PAUL PRESTON'S
each other; if a body be freely suspended upon this point, it
will rest with security, and as long as this point is supported,
it will never fall, while in every other position it will endea-
vor to descend to the lowest place at which it can arrive. If
a perpendicular line were drawn from the centre of gravity
of a body to the centre of the earth, such a line would be
termed the line of direction, along which every supported body
endeavors to fall. If this line falls within the base of a body,
such a body will be sure to stand.
When the line of direction is thrown beyond its centre, un-
less the base be enlarged to counterbalance it, the person or
body will fall. A person in stooping to look over a deep hole
will bend his trunk forward; the line of direction being alter-
ed he must extend his base to compensate for it, which he
does by putting his foot a step forward. A porter stoops for-
ward to prevent his burthen from throwing the line of direc-
tion out of the base behind, and a girl does the same thing in
carrying a pail of water, by stretching out her opposite arm,
for the weight of the pail throws the centre of gravity on one
side, and the stretching out of the opposite arm brings it back
again, and thus the two are balanced.
The art of balancing therefore simply consists in dexter-
ously altering the centre of gravity upon every new position
of the body, so as constantly to preserve the line of direction

BOOK OF GYMNASTICS.
167
within the base. Rope-dancers effect this by means of a long
pole held across the rope, and when you mount the balancing
rail, you will find it necessary to hold out both your arms for
the same purpose; nay, even when we slip or stumble with
one foot, we in a moment extend the opposite arm, making the
same use of it as the dancer does of his pole.
A balancer finds that a body to be balanced is the best for
his purpose if it has a loaded head, and a slender and pointed
base; for although the higher the weight is placed above the
point of support, the more ready will the line of direction be
thrown beyond the base, yet he can more easily restore it by
the motion of his hand, narrowly watching with his eyes its
deviations. Now the same watchfulness must be displayed
by the gymnastic balancer. He first uses the balancing pole,
and then mounts the balancing bar without it.
On mounting the bar the body should be held erect, the
hands must be extended; he must then learn to walk firmly
and steadily along the bar, to be able to turn round; then he
should practise going backwards.
Two balancers should then endeavor to pass each other on
the bar; afterwards to carry each other, and bodies of various
weights, in various positions.
Walking on stilts is connected with balancing. A person
can walk with greater security upon high than on low stilts.

16S
PRESTON.
PAUL
In some parts of France the peasantry, in looking after their
sheep, generally walk on stilts, and it only requires practice
to make this as easy as common walking. Some few years
ago several of these stilt-walkers were to be
and they could run, jump, stoop, and walk with ease and se-
curity, their legs seeming quite as natural to them as those
of the Stork.
seen in London,



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PICTURE BOOKS PUBLISHED BY MUNROE & FRANCIS.
HINTS FOR HAPPY HOURS, or Amuse-
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