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| author | nfenwick <nfenwick@pglaf.org> | 2025-02-05 23:53:21 -0800 |
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| committer | nfenwick <nfenwick@pglaf.org> | 2025-02-05 23:53:21 -0800 |
| commit | a05bf97e791c4c85e915d4b5604b0582a099db38 (patch) | |
| tree | d65ea5105b3d7da0870e7c7c7a4b57a1bb8888c2 /old/52293-h | |
| parent | e283eff9be5278f6f6f52d1ad037920fd36b6e11 (diff) | |
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diff --git a/old/52293-h/52293-h.htm b/old/52293-h/52293-h.htm deleted file mode 100644 index 8485492..0000000 --- a/old/52293-h/52293-h.htm +++ /dev/null @@ -1,12343 +0,0 @@ -<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" - "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> -<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> - <head> - <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> - <meta http-equiv="Content-Style-Type" content="text/css" /> - <title> - The Project Gutenberg eBook of On the Various Forces of Nature, by Michael Faraday. - </title> - <link rel="coverpage" href="images/cover.jpg" /> - <style type="text/css"> - -body { - margin-left: 10%; - margin-right: 10%; -} - -h1 -{ - margin-top: 2em; margin-bottom: 2em; - text-align: center; - font-size: x-large; - font-weight: normal; - line-height: 1.6; -} - - h2,h3{ - text-align: center; - clear: both; - } - -div.chapter {page-break-before: always;} - -p -{ - margin-top: .75em; - text-align: justify; - margin-bottom: .75em; -} - -.half-title { - margin-top: 2em; margin-bottom: 2em; - text-align: center; - font-size: x-large; - font-weight: normal; - line-height: 1.6; -} - -.space-above {margin-top: 6em;} -.hang1 {margin-left: 1.3em; text-align: justify; padding-left: 1.25em; text-indent: -1.25em;} -.hang {text-align: justify; padding-left: 1.25em; text-indent: -1.25em;} -.invisible {visibility: hidden; font-size: .1em} - -hr { - width: 33%; - margin-top: 2em; - margin-bottom: 2em; - margin-left: 33.5%; - margin-right: 33.5%; - clear: both; -} - -hr.chap {width: 65%; margin-left: 17.5%; margin-right: 17.5%;} -hr.full {width: 95%; margin-left: 2.5%; margin-right: 2.5%;} - -ul.books {list-style-type: none;} - -li.b {text-indent:-1.2em;} - -table { - margin-left: auto; - margin-right: auto; -} -tr.narrow {line-height: 0.25;} - .tdl {text-align: left;} - .tdr {text-align: right;} - .tdc {text-align: center;} - .tdrbb {text-align: right; border-bottom: solid thin;} - -.pagenum { /* uncomment the next line for invisible page numbers */ - /* visibility: hidden; */ - position: absolute; - left: 92%; - font-size: smaller; - text-align: right; -} /* page numbers */ - - -.bbox {border: solid 2px; font-size: small; padding: 0.5em;} - -.center {text-align: center;} - -.right {text-align: right;} - -.smcap {font-variant: small-caps;} -.lowercase {text-transform: lowercase;} -.u {text-decoration: underline;} - -.xs {font-size: x-small;} -.small {font-size: small;} - - -/* Images */ -.figcenter {margin: 1em auto; text-align: center;} -.caption {font-size: smaller; font-weight: bold;} -img {border: none; max-width: 100%} - - -.figright { - float: right; - clear: right; - margin-left: 1em; - margin-bottom: - 1em; - margin-top: 1em; - margin-right: 0; - padding: 0; - text-align: center; -} - -/* Footnotes */ -.footnote {margin-left: 10%; margin-right: 10%; font-size: 0.9em;} - -.footnote .label {position: absolute; right: 84%; text-align: right;} - -.fnanchor { - vertical-align: super; - font-size: .8em; - text-decoration: none; - white-space: nowrap -} - - -/* Transcriber's notes */ -.transnote {background-color: #E6E6FA; - color: black; - font-size:smaller; - padding:0.5em; - margin-bottom:5em; - font-family:sans-serif, serif; } - </style> - </head> -<body> - - -<pre> - -The Project Gutenberg EBook of On the various forces of nature and their -relations to each other, by Michael Faraday - -This eBook is for the use of anyone anywhere in the United States and most -other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms of -the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you'll have -to check the laws of the country where you are located before using this ebook. - -Title: On the various forces of nature and their relations to each other - -Author: Michael Faraday - -Editor: William Crookes - -Release Date: June 10, 2016 [EBook #52293] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK ON THE VARIOUS FORCES OF NATURE *** - - - - -Produced by MWS, Bryan Ness, Les Galloway and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive/Canadian Libraries) - - - - - - -</pre> - - - - - - -<p class="half-title"> -ON THE<br /> -VARIOUS FORCES OF NATURE. -</p> - - - -<div class="bbox"> -<p class="center"><i>WORKS by RICHARD A. PROCTOR.</i></p> - -<p class="hang">EASY STAR LESSONS. With Star Maps for Every Night in the Year, -Drawings of the Constellations, &c. Crown 8vo, cloth extra, 6s.</p> - -<p class="hang">FLOWERS OF THE SKY. With 55 Illustrations. Small crown 8vo, -cloth extra, 3s. 6d.</p> - -<p class="hang">SATURN AND ITS SYSTEM. Revised Edition, with 13 Steel Plates. -Demy 8vo, cloth extra, 10s. 6d.</p> - -<p class="hang">FAMILIAR SCIENCE STUDIES. Crown 8vo, cloth extra, 6s.</p> - -<p class="hang">MYSTERIES OF TIME AND SPACE. With Illustrations. Crown -8vo, cloth extra, 6s.</p> - -<p class="hang">THE UNIVERSE OF SUNS, and other Science Gleanings. With -Illustrations. Crown 8vo, cloth extra, 6s.</p> - -<p class="hang">WAGES AND WANTS OF SCIENCE WORKERS. Crown 8vo, 1s. 6d.</p> - -<p class="center"><i>By Dr. ANDREW WILSON, F.R.S.E.</i></p> - -<p class="hang">CHAPTERS ON EVOLUTION: A Popular History of the Darwinian -and Allied Theories of Development. Second Edition, with 259 Illustrations. -Crown 8vo, cloth extra, 7s. 6d.</p> - -<p class="hang">LEAVES FROM A NATURALIST’S NOTE-BOOK. Post 8vo, cloth -limp, 2s. 6d.</p> - -<p class="hang">LEISURE-TIME STUDIES, chiefly Biological. Third Edition, with -a New Preface and Numerous Illustrations. Crown 8vo, cloth extra, 6s.</p> - -<p class="hang">STUDIES IN LIFE AND SENSE. With numerous Illustrations. -Crown 8vo, cloth extra. 6s.</p> - -<p class="hang">COMMON ACCIDENTS AND HOW TO TREAT THEM. With -Illustrations. Crown 8vo, 1s.; cloth, 1s. 6d.</p> - -<p class="hang">GLIMPSES OF NATURE. With 35 Illustrations. Crown 8vo, cloth -extra, 3s. 6d.</p> - -<p class="center"><i>By Dr. J. E. TAYLOR, F.L.S.</i></p> - -<p class="hang">THE SAGACITY AND MORALITY OF PLANTS: A Sketch of the -Life and Conduct of the Vegetable Kingdom. With Coloured Frontispiece and -100 Illustrations. Crown 8vo, cloth extra, 7s. 6d.</p> - -<p class="hang">OUR COMMON BRITISH FOSSILS, and Where to Find Them. A -Handbook for Students. With over 300 Illustrations. Crown 8vo, cloth extra, 7s. 6d.</p> - -<p class="hang">THE PLAYTIME NATURALIST. With 366 Illustrations. Crown 8vo, -cloth extra, 5s.</p> - -<p class="center"><i>By GRANT ALLEN.</i></p> - -<p class="hang">THE EVOLUTIONIST AT LARGE. Crown 8vo, cloth extra, 6s.</p> - -<p class="hang">COLIN CLOUT’S CALENDAR. Crown 8vo, cloth extra, 6s.</p> - -<p class="center"><i>By W. MATTIEU WILLIAMS, F.R.A.S.</i></p> - -<p class="hang">SCIENCE IN SHORT CHAPTERS. Crown 8vo, cloth extra, 7s. 6d.</p> - -<p class="hang">A SIMPLE TREATISE ON HEAT. With Illustrations. Crown 8vo, -cloth limp, 2s. 6d.</p> - -<p class="hang">THE CHEMISTRY OF COOKERY. Crown 8vo, cloth extra, 6s.</p> - -<p class="center"><i>By Sir DAVID BREWSTER.</i></p> - -<p class="hang">MORE WORLDS THAN ONE: The Creed of the Philosopher and the -Hope of the Christian. With Plates. Post 8vo, cloth extra, 4s. 6d.</p> - -<p class="hang">THE MARTYRS OF SCIENCE: Lives of <span class="smcap">Galileo</span>, <span class="smcap">Tycho Brahe</span>, -and <span class="smcap">Kepler</span>. With Portraits. Post 8vo, cloth extra, 4s. 6d.</p> - -<p class="hang">LETTERS ON NATURAL MAGIC. A new Edition, with numerous -Illustrations, and Chapters on Additional Phenomena of Natural Magic, by -<span class="smcap">J. A. Smith</span>. Post 8vo, cloth extra, 4s. 6d.</p> - -<p class="center"><i>By MICHAEL FARADAY.</i></p> - -<p class="hang">THE CHEMICAL HISTORY OF A CANDLE. With Illustrations. -Edited by <span class="smcap">William Crookes</span>, F.C.S. Post 8vo, cloth extra, 4s. 6d.</p> - -<p class="hang">ON THE VARIOUS FORCES OF NATURE, and their Relations to -each other. With numerous Illustrations. Edited by <span class="smcap">William Crookes</span>, F.C.S. -Post 8vo, cloth extra, 4s. 6d.</p> - -<p class="center">LONDON: CHATTO & WINDUS, PICCADILLY.</p> -</div> - -<div class="figcenter" > -<img src="images/i_titlepage.jpg" alt="Title Page" /> -</div> - -<hr class="full" /> - -<h1> -<small>ON THE</small><br /> - -<i>Various Forces of Nature</i><br /> - -<span class="xs">AND</span><br /> - -<small>THEIR RELATIONS TO EACH OTHER:</small></h1> - -<p class="center"><small><i>A COURSE OF LECTURES DELIVERED BEFORE A JUVENILE<br /> -AUDIENCE AT THE ROYAL INSTITUTION</i></small></p> - -<p class="center"><span class="smcap lowercase">BY</span> MICHAEL FARADAY, D.C.L., F.R.S.</p> - -<p class="center"><span class="xs">EDITED BY</span><br /> - -WILLIAM CROOKES, F.C.S.</p> - - - -<p class="center space-above"><small><i>A NEW EDITION, WITH ILLUSTRATIONS.</i></small></p> - -<p class="center">London:<br /> - -CHATTO & WINDUS, PICCADILLY.<br /> - -<small>1894.</small> -</p> - -<hr class="chap" /> -<div class="chapter"> -<p><span class="pagenum" id="Page_5">5</span></p> - - - - - -<h2><a name="PREFACE" id="PREFACE">PREFACE.</a></h2> - - -<p>Which was first, Matter or Force? -If we think on this question, we -shall find that we are unable to conceive -of matter without force, or of force without -matter. When God created the elements -of which the earth is composed, He -created certain wondrous forces, which -are set free, and become evident when -matter acts on matter. All these forces, -with many differences, have much in common, -and if one is set free, it will immediately -endeavour to free its companions. -Thus, heat will enable us to eliminate -light, electricity, magnetism, and chemical<span class="pagenum" id="Page_6">6</span> -action; chemical action will educe light, -electricity, and heat. In this way we find -that all the forces in nature tend to form -mutually dependent systems; and as the -motion of one star affects another, so force -in action liberates and renders evident -forces previously tranquil.</p> - -<p>We say tranquil, and yet the word is -almost without meaning in the Cosmos.—Where -do we find tranquillity? The sea, -the seat of animal, vegetable, and mineral -changes, is at war with the earth, and the -air lends itself to the strife. The globe, -the scene of perpetual intestine change, is, -as a mass, acting on, and acted on, by the -other planets of our system, and the very -system itself is changing its place in space, -under the influence of a known force -springing from an unknown centre.</p> - -<p><span class="pagenum" id="Page_7">7</span></p> - -<p>For many years the English public -had the privilege of listening to the -discourses and speculations of Professor -Faraday, at the Royal Institution, on -Matter and Forces; and it is not too much -to say that no lecturer on Physical Science, -since the time of Sir Humphrey Davy, -was ever listened to with more delight. -The pleasure which all derived from the -expositions of Faraday was of a somewhat -different kind from that produced by any -other philosopher whose lectures we have -attended. It was partially derived from -his extreme dexterity as an operator: with -him we had no chance of apologies for -an unsuccessful experiment—no hanging -fire in the midst of a series of brilliant -demonstrations, producing that depressing -tendency akin to the pain felt by an -audience at a false note from a vocalist.<span class="pagenum" id="Page_8">8</span> -All was a sparkling stream of eloquence -and experimental illustration. We would -have defied a chemist loving his science, -no matter how often he might himself -have repeated an experiment, to feel -uninterested when seeing it done by -Faraday.</p> - -<p>The present publication presents one or -two points of interest. In the first place, -the Lectures were especially intended for -young persons, and are therefore as free -as possible from technicalities; and in the -second place, they are printed as they -were spoken, <i>verbatim et literatim</i>. A -careful and skilful reporter took them -down; and the manuscript, as deciphered -from his notes, was subsequently most -carefully corrected by the Editor as regards -any scientific points which were not<span class="pagenum" id="Page_9">9</span> -clear to the short-hand writer; hence all -that is different arises solely from the -impossibility, alas! of conveying the manner -as well as the matter of the Lecturer.</p> - -<p>May the readers of these Lectures derive -one-tenth of the pleasure and instruction -from their perusal which they gave to -those who had the happiness of hearing -them!</p> - -<p class="right"> -W. CROOKES. -</p> - -<hr class="chap" /> - -<p><span class="pagenum" id="Page_10">[Pg 10]</span></p> -<p><span class="pagenum" id="Page_11">[Pg 11]</span></p> - - - - -</div><div class="chapter"> -<h2>CONTENTS.</h2> - - - - -<div class="center"> -<table border="0" cellpadding="4" cellspacing="0" summary=""> -<tr> - <td class="tdc" colspan="2">LECTURE I.</td> -</tr> -<tr> - <td class="tdr" colspan="2"><span class="xs">PAGE</span></td> -</tr> -<tr> - <td class="tdl"><small>THE FORCE OF GRAVITATION,</small></td> - <td class="tdr"><a href="#Page_13">13</a></td> -</tr> -<tr> - <td class="tdc" colspan="2">LECTURE II.</td> -</tr> -<tr> - <td class="tdl"><small>GRAVITATION—COHESION,</small></td> - <td class="tdr"><a href="#Page_44">44</a></td> -</tr> -<tr> - <td class="tdc" colspan="2">LECTURE III.</td> -</tr> -<tr> - <td class="tdl"><small>COHESION—CHEMICAL AFFINITY,</small></td> - <td class="tdr"><a href="#Page_72">72</a></td> -</tr> -<tr> - <td class="tdc" colspan="2">LECTURE IV.</td> -</tr> -<tr> - <td class="tdl"><small>CHEMICAL AFFINITY—HEAT,</small></td> - <td class="tdr"><a href="#Page_99">99</a></td> -</tr> -<tr> - <td class="tdc" colspan="2">LECTURE V.</td> -</tr> -<tr> - <td class="tdl"><small>MAGNETISM—ELECTRICITY,</small></td> - <td class="tdr"><a href="#Page_122">122</a></td> -</tr> -<tr> - <td class="tdc" colspan="2">LECTURE VI.</td> -</tr> -<tr> - <td class="tdl"><small>THE CORRELATION OF THE PHYSICAL FORCES,</small></td> - <td class="tdr"><a href="#Page_147">147</a></td> -</tr> -<tr> - <td class="tdc" colspan="2"><hr class="small" /></td> -</tr> -<tr> - <td class="tdl"><small>LIGHT-HOUSE ILLUMINATION—THE ELECTRIC LIGHT,</small></td> - <td class="tdr"><a href="#Page_173">173</a></td> -</tr> -<tr> - <td class="tdl"><small>NOTES,</small></td> - <td class="tdr"><a href="#Page_195">195</a></td> -</tr> -<tr> - <td class="tdl"><small><a href="#Book_Catalogue">Book Catalogue</a></small></td> -</tr> -</table></div> - - -<hr class="chap" /> - -<p><span class="pagenum" id="Page_12">[Pg 12]</span></p> - - - -<p><span class="pagenum" id="Page_13">[Pg 13]</span></p> - - -<hr class="chap" /> -</div><div class="chapter"> -<p class="half-title">THE<br /> - -VARIOUS FORCES OF NATURE.</p> - - - - -<h2 title="THE FORCE OF GRAVITATION.">LECTURE I.<br /> - -<small>THE FORCE OF GRAVITATION.</small></h2> - - -<p>It grieves me much to think that I may -have been a cause of disturbance in your -Christmas arrangements<a id="FNanchor_1_2" href="#Footnote_1_2" class="fnanchor">1</a>, for nothing is more -satisfactory to my mind than to perform what -I undertake; but such things are not always -left in our own power, and we must submit -to circumstances as they are appointed. I will -to-day do my best, and will ask you to bear -with me if I am unable to give more than a -few words; and as a substitute, I will endeavour -to make the <i>illustrations</i> of the sense I try to -express as full as possible; and if we find by -the end of this lecture that we may be -justified in continuing them, thinking that next -week our power shall be greater,—why, then,<span class="pagenum" id="Page_14">14</span> -with submission to you, we will take such -course as you may think fit,—either to go on, -or discontinue them; and although I now -feel much weakened by the pressure of -illness (a mere cold) upon me, both in facility -of expression and clearness of thought, I shall -here claim, as I always have done on these -occasions, the right of addressing myself to -the younger members of the audience. And -for this purpose, therefore, unfitted as it may -seem for an elderly infirm man to do so, I -will return to second childhood and become, -as it were, young again amongst the young.</p> - -<p>Let us now consider, for a little while, how -wonderfully we stand upon this world. Here -it is we are born, bred, and live, and yet we -view these things with an almost entire -absence of wonder to ourselves respecting -the way in which all this happens. So -small, indeed, is our wonder, that we are -never taken by surprise; and I do think -that, to a young person of ten, fifteen, or -twenty years of age, perhaps the first sight -of a cataract or a mountain would occasion -him more surprise than he had ever felt con<span class="pagenum" id="Page_15">15</span>cerning -the means of his own existence,—how -he came here; how he lives; by what -means he stands upright; and through what -means he moves about from place to place. -Hence, we come into this world, we live, and -depart from it, without our thoughts being -called specifically to consider how all this -takes place; and were it not for the exertions -of some few inquiring minds, who have looked -<i>into</i> these things and ascertained the very -beautiful laws and conditions by which we <i>do</i> -live and stand upon the earth, we should -hardly be aware that there was anything -wonderful in it. These inquiries, which have -occupied philosophers from the earliest days, -when they first began to find out the laws by -which we grow, and exist, and enjoy ourselves, -up to the present time, have shewn us that all -this was effected in consequence of the existence -of certain <i>forces</i>, or <i>abilities</i> to do things, or -<i>powers</i>, that are so common that nothing can -be more so; for nothing is commoner than the -wonderful powers by which we are enabled -to stand upright—they are essential to our -existence every moment.</p> - -<p><span class="pagenum" id="Page_16">16</span></p> - -<p>It is my purpose to-day to make you acquainted -with some of these powers; not the -vital ones, but some of the more elementary, -and, what we call, <i>physical</i> powers: and, in the -outset, what can I do to bring to your minds -a notion of neither more nor less than that -which I mean by the word <i>power</i>, or <i>force</i>? -Suppose I take this sheet of paper, and place -it upright on one edge, resting against a support -before me (as the roughest possible illustration -of something to be disturbed), and suppose I -then pull this piece of string which is attached -to it. I pull the paper over. I have therefore -brought into use a <i>power</i> of doing so—the -<i>power</i> of my hand carried on through this -string in a way which is very remarkable when -we come to analyse it; and it is by means of -these powers conjointly (for there are several -powers here employed) that I pull the paper -over. Again, if I give it a push upon the -other side, I bring into play a <i>power</i>, but a -very different exertion of power from the -former; or, if I take now this bit of shell-lac -[a stick of shell-lac about 12 inches long and -1½ in diameter] and rub it with flannel, and<span class="pagenum" id="Page_17">17</span> -hold it an inch or so in front of the upper -part of this upright sheet, the paper is immediately -moved towards the shell-lac, and by -now drawing the latter away, the paper falls -over without having been touched by anything. -You see—in the first illustration I produced an -effect than which nothing could be commoner—I -pull it over now, not by means of that string -or the pull of my hand, but by some action -in the shell-lac. The shell-lac, therefore, has -a <i>power</i> wherewith it acts upon the sheet of -paper; and as an illustration of the exercise -of another kind of power, I might use gunpowder -with which to throw it over.</p> - -<p>Now, I want you to endeavour to comprehend -that when I am speaking of a <i>power</i> or <i>force</i>, -I am speaking of that which I used just now -to pull over this piece of paper. I will not -embarrass you at present with the <i>name</i> of that -power, but it is clear there was a <i>something</i> in -the shell-lac which acted by attraction, and -pulled the paper over; this, then, is one of -those things which we call <i>power</i>, or <i>force</i>; and -you will now be able to recognise it as such -in whatever form I shew it to you. We are<span class="pagenum" id="Page_18">18</span> -not to suppose that there are so very many -different powers; on the contrary, it is wonderful -to think how few are the powers by which -all the phenomena of nature are governed. -There is an illustration of another kind of -power in that lamp; <i>there</i> is a power of heat—a -power of doing something, but not the same -power as that which pulled the paper over: -and so, by degrees, we find that there are -certain other powers (not many) in the various -bodies around us. And thus, beginning with the -simplest experiments of pushing and pulling, -I shall gradually proceed to distinguish these -powers one from the other, and compare the -way in which they combine together. This -world upon which we stand (and we have not -much need to travel out of the world for -illustrations of our subject; but the mind of -man is not confined like the matter of his -body, and thus he may and does travel outwards; -for wherever his sight can pierce, there -his observations can penetrate) is pretty nearly -a round globe, having its surface disposed in -a manner of which this terrestrial globe by my -side is a rough model; so much is land and<span class="pagenum" id="Page_19">19</span> -so much is water, and by looking at it here -we see in a sort of map or picture how the -world is formed upon its surface. Then, when -we come to examine further, I refer you to -this sectional diagram of the geological strata -of the earth, in which there is a more elaborate -view of what is beneath the surface of our -globe. And when we come to dig into or -examine it (as man does for his own instruction -and advantage, in a variety of ways), we see -that it is made up of different kinds of matter, -subject to a very few powers, and all disposed -in this strange and wonderful way, which gives -to man a history—and such a history—as to -what there is in those veins, in those rocks, -the ores, the water springs, the atmosphere -around, and all varieties of material substances, -held together by means of <i>forces</i> in one great -mass, 8,000 miles in diameter, that the mind -is overwhelmed in contemplation of the wonderful -history related by these strata (some -of which are fine and thin like sheets of -paper),—all formed in succession by the forces -of which I have spoken.</p> - -<p>I now shall try to help your attention to what<span class="pagenum" id="Page_20">20</span> -I may say by directing, to-day, our thoughts to -one kind of power. You see what I mean by -the term <i>matter</i>—any of these things that I -can lay hold of with the hand, or in a bag (for -I may take hold of the air by enclosing it in -a bag)—they are all portions of matter with -which we have to deal at present, generally or -particularly, as I may require to illustrate my -subject. Here is the sort of matter which we -call <i>water</i>,—it is <i>there</i> ice [pointing to a block -of ice upon the table], <i>there</i> water [pointing -to the water boiling in a flask], <i>here</i> vapour—you -see it issuing out from the top [of the -flask]. Do not suppose that that ice and that -water are two entirely different things, or that -the steam rising in bubbles and ascending in -vapour <i>there</i> is absolutely different from the -fluid water. It may be different in some particulars, -having reference to the <i>amounts</i> of -power which it contains; but it is the same, -nevertheless, as the great ocean of water around -our globe, and I employ it here for the sake of -illustration, because if we look into it we shall -find that it supplies us with examples of all the -powers to which I shall have to refer. For in<span class="pagenum" id="Page_21">21</span>stance, -here is water—it is heavy; but let us -examine it with regard to the <i>amount</i> of its -heaviness, or its gravity. I have before me a -little glass vessel and scales [nearly equipoised -scales, one of which contained a half-pint glass -vessel], and the glass vessel is at present the -lighter of the two; but if I now take some -water and pour it in, you see that that side of -the scales immediately goes down; that shews -you (using common language, which I will not -suppose for the present you have hitherto applied -very strictly) that it is <i>heavy</i>: and if I put -this additional weight into the opposite scale, -I should not wonder if this vessel would hold -water enough to weigh <i>it</i> down. [The Lecturer -poured more water into the jar, which again -went down.] Why do I hold the bottle <i>above</i> -the vessel to pour the water into it? You will -say, because experience has taught me that it is -necessary. I do it for a better reason—because -it is a law of nature that the water should fall -towards the earth, and therefore the very means -which I use to cause the water to enter the -vessel are those which will carry the whole body -of water down. That power is what we call<span class="pagenum" id="Page_22">22</span> -<i>gravity</i>, and you see <i>there</i> [pointing to the -scales] a good deal of water gravitating towards -the earth. Now <i>here</i> [exhibiting a small piece -of platinum<a id="FNanchor_2_3" href="#Footnote_2_3" class="fnanchor">2</a>] is another thing which gravitates -towards the earth as much as the whole of -that water. See what a little there is of it—<i>that</i> -little thing is heavier than so much water -[placing the metal in opposite scales to the -water]. What a wonderful thing it is to see -that it requires so much water as <i>that</i> [a half-pint -vessel full] to fall towards the earth, compared -with the little mass of substance I have -<i>here</i>! And again, if I take this metal [a bar -of aluminium<a id="FNanchor_3_4" href="#Footnote_3_4" class="fnanchor">3</a> about eight times the bulk of -the platinum], we find the water will balance -that as well as it did the platinum; so that we -get, even in the very outset, an example of what -we want to understand by the words <i>forces</i> or -<i>powers</i>.</p> - -<p>I have spoken of water, and first of all of its -property of falling downwards. You know very -well how the oceans surround the globe—how -they fall round the surface, giving roundness -to it, clothing it like a garment; but, besides -that, there are other properties of water. <i>Here</i>,<span class="pagenum" id="Page_23">23</span> -for instance, is some quick-lime, and if I add -some water to it, you will find another power -or property in the water.<a id="FNanchor_4_5" href="#Footnote_4_5" class="fnanchor">4</a> It is now very -hot, it is steaming up, and I could perhaps light -phosphorus or a lucifer match with it. Now, -that could not happen without a <i>force</i> in the -water to produce the result; but that force is -entirely distinct from its power of falling to the -earth. Again, here is another substance [some -anhydrous sulphate of copper<a id="FNanchor_5_6" href="#Footnote_5_6" class="fnanchor">5</a>] which will -illustrate another kind of power. [The Lecturer -here poured some water over the white -sulphate of copper, which immediately became -blue, evolving considerable heat at the same -time.] Here is the same water, with a substance -which heats nearly as much as the lime does; -but see how differently. So great indeed is this -heat in the case of lime, that it is sufficient -sometimes (as you see here) to set wood on fire; -and this explains what we have sometimes -heard, of barges laden with quick-lime taking -fire in the middle of the river, in consequence -of this power of heat brought into play by a -leakage of the water into the barge. You see -how strangely different subjects for our con<span class="pagenum" id="Page_24">24</span>sideration -arise, when we come to think over -these various matters,—the power of heat -evolved by acting upon lime with water, and -the power which water has of turning this salt -of copper from white to blue.</p> - -<p>I want you now to understand the nature -of the most simple exertion of this power of -matter called <i>weight</i>, or <i>gravity</i>. Bodies are -heavy—you saw that in the case of water when -I placed it in the balance. Here I have what -we call a <i>weight</i> [an iron half cwt.]—a thing -called a weight, because in it the exercise of -that power of pressing downwards is especially -used for the purposes of weighing; and I have -also one of these little inflated india-rubber -bladders, which are very beautiful although very -common (most beautiful things are common), -and I am going to put the weight upon it, to -give you a sort of illustration of the downward -pressure of the iron, and of the power which -the air possesses of resisting that pressure. It -may burst, but we must try to avoid that -[During the last few observations the Lecturer -had succeeded in placing the half cwt. in a state -of quiescence upon the inflated india-rubber<span class="pagenum" id="Page_25">25</span> -ball, which consequently assumed a shape very -much resembling a flat cheese with round edges.] -There you see a bubble of air bearing half a -hundred weight, and you must conceive for -yourselves what a wonderful <i>power</i> there must -be to pull this weight downwards, to sink it -thus in the ball of air.</p> - -<div class="figcenter"> -<img src="images/fig_001.jpg" width="200" height="215" alt="" /> -<div class="caption">Fig. 1.</div> -</div> - -<p>Let me now give you another illustration of -this power. You know what a pendulum is. -I have one here (fig. 1), and if I set it swinging, -it will continue to swing to and fro. Now, I -wonder whether you can tell me why that body -oscillates to and fro—that pendulum bob as it -is sometimes called. Observe, if I hold the -straight stick horizontally, as high as the position -of the balls at the two ends of its journey<span class="pagenum" id="Page_26">26</span> -you see that the ball is in a higher position at -the two extremities than it is when in the -middle. Starting from one end of the stick, -the ball falls towards the centre; and then -rising again to the opposite end, it constantly -tries to fall to the lowest point, swinging and -vibrating most beautifully, and with wonderful -properties in other respects—the time of its -vibration, and so on—but concerning which we -will not now trouble ourselves.</p> - -<p>If a gold leaf, or piece of thread, or any -other substance, were hung where this ball is, -it would swing to and fro in the same manner, -and in the same time too. Do not be startled -at this statement: I repeat, in the same manner -and in the same time; and you will see by and -by how this is. Now, that power which caused -the water to descend in the balance—which -made the iron weight press upon and flatten -the bubble of air—which caused the swinging to -and fro of the pendulum,—that power is entirely -due to the attraction which there is between -the falling body and the earth. Let us be slow -and careful to comprehend this. It is not that -the earth has any <i>particular</i> attraction towards<span class="pagenum" id="Page_27">27</span> -bodies which fall to it, but, that <i>all</i> these -bodies possess an attraction, every one towards -the other. It is not that the earth has any -special power which these balls themselves have -not; for just as much power as the earth has -to attract these two balls [dropping two ivory -balls], just so much power have they in proportion -to their bulks to draw themselves one to -the other; and the only reason why they fall -so quickly to the earth is owing to its greater -size. Now, if I were to place these two balls -near together, I should not be able, by the most -delicate arrangement of apparatus, to make you, -or myself, sensible that these balls did attract -one another: and yet we know that such is the -case, because, if instead of taking a small ivory -ball, we take a mountain, and put a ball like -this near it, we find that, owing to the vast size -of the mountain, as compared with the billiard -ball, the latter is drawn slightly towards it; -shewing clearly that an attraction <i>does</i> exist, -just as it did between the shell-lac which I -rubbed and the piece of paper which was overturned -by it.</p> - -<p>Now, it is not very easy to make these things<span class="pagenum" id="Page_28">28</span> -quite clear at the outset, and I must take care -not to leave anything unexplained as I proceed; -and, therefore, I must make you clearly understand -that all bodies are attracted to the earth, -or, to use a more learned term, <i>gravitate</i>. You -will not mind my using this word; for when I -say that this penny-piece <i>gravitates</i>, I mean -nothing more nor less than that it falls towards -the earth, and if not intercepted, it would go on -falling, falling, until it arrived at what we call -the <i>centre of gravity</i> of the earth, which I will -explain to you by and by.</p> - -<div class="figcenter"> -<img src="images/fig_002.jpg" alt="" /> -<div class="caption">Fig. 2.</div> -</div> - -<p>I want you to understand that this property -of gravitation is never lost, that every substance -possesses it, that there is never any change in -the quantity of it; and, first of all, I will take -as illustration a piece of marble. Now this -marble has weight—as you will see if I put it -in these scales; it weighs the balance down, -and if I take it off, the balance goes back again -and resumes its equilibrium. I can decompose -this marble and change it, in the same manner -as I can change ice into water and water into -steam. I can convert a part of it into <i>its own</i> -steam easily, and shew you that this steam from<span class="pagenum" id="Page_29">29</span> -the marble has the property of remaining in the -same place at common temperatures, which -<i>water</i>-steam has not. If I add a little liquid to -the marble, and decompose it<a id="FNanchor_6_7" href="#Footnote_6_7" class="fnanchor">6</a>, I get that -which you see—[the Lecturer here put several -lumps of marble into a glass jar, and poured -water and then acid over them; the carbonic -acid immediately commenced to escape with -considerable effervescence]—the appearance of -boiling, which is only the separation of one part -of the marble from another. Now this [marble] -steam, and that [water] steam, and all other -steams <i>gravitate</i>, just like any other substance -does—they all are attracted the one towards the -other, and all fall towards the earth; and what<span class="pagenum" id="Page_30">30</span> -I want you to see is, that <i>this</i> steam gravitates. -I have here (fig. 2) a large vessel placed upon -a balance, and the moment I pour this steam -into it, you see that the steam gravitates. Just -watch the index, and see whether it tilts over -or not. [The Lecturer here poured the carbonic -acid out of the glass in which it was being -generated into the vessel suspended on the -balance, when the gravitation of the carbonic -acid was at once apparent.] Look how it is -going down. How pretty that is! I poured -nothing in but the invisible steam, or vapour, -or gas which came from the marble, but you see -that part of the marble, although it has taken -the shape of air, still gravitates as it did before. -Now, will it weigh down that bit of paper? -[Placing a piece of paper in the opposite scale.] -Yes, more than that; it nearly weighs down -this bit of paper. [Placing another piece of -paper in.] And thus you see that <i>other</i> forms -of matter besides solids and liquids tend to fall -to the earth; and, therefore, you will accept -from me the fact—that <i>all</i> things gravitate, -whatever may be their form or condition. Now -<i>here</i> is another chemical test which is very<span class="pagenum" id="Page_31">31</span> -readily applied. [Some of the carbonic acid -was poured from one vessel into another, and -its presence in the latter shewn by introducing -into it a lighted taper, which was immediately -extinguished.] You see from this result also -that it gravitates. All these experiments shew -you that, tried by the balance, tried by pouring -like water from one vessel to another, this -steam, or vapour, or gas, is, like all other things, -attracted to the earth.</p> - -<div class="figcenter"> -<img src="images/fig_003_004.jpg" alt="" /> -<div class="caption">Fig. 3. and Fig. 4.</div> -</div> - -<p>There is another point I want in the next -place to draw your attention to. I have here a -quantity of shot; each of these falls separately, -and each has its own gravitating power, as you -perceive when I let them fall loosely on a sheet -of paper. If I put them into a bottle, I collect -them together as one mass; and philosophers -have discovered that there is a certain point in -the middle of the whole collection of shots that -may be considered as the <i>one point</i> in which -all their gravitating power is centred, and that -point they call the <i>centre of gravity</i>: it is not -at all a bad name, and rather a short one—the -centre of gravity. Now suppose I take a sheet -of pasteboard, or any other thing easily dealt<span class="pagenum" id="Page_32">32</span> -with, and run a bradawl through it at one -corner <span class="smcap lowercase">A</span> (fig. 3), and Mr. Anderson hold that -up in his hand before us, and I then take a -piece of thread and an ivory ball, and hang -that upon the awl—then the centre of gravity -of both the pasteboard and the ball and string -are as near as they can get to the centre of -the earth; that is to say, the whole of the -attracting power of the earth is, as it were, -centred in a single point of the cardboard—and -this point is exactly below the point of -suspension. All I have to do, therefore, is to -draw a line, <span class="smcap lowercase">A B</span>, corresponding with the string, -and we shall find that the centre of gravity is<span class="pagenum" id="Page_33">33</span> -somewhere in that line. But where? To find -that out, all we have to do is to take another -place for the awl (fig. 4), hang the plumb-line, -and make the same experiment, and there [at -the point <span class="smcap lowercase">C</span>] is the centre of gravity—there -where the two lines which I have traced cross -each other; and if I take that pasteboard, and -make a hole with the bradawl through it at -that point, you will see that it will be supported -in any position in which it may be placed. -Now, knowing that, what do I do when I try -to stand upon one leg? Do you not see that I -push myself over to the left side, and quietly -take up the right leg, and thus bring some -central point in my body over this left leg. -What is that point which I throw over? You -will know at once that it is the <i>centre of gravity</i>—that -point in me where the whole gravitating -force of my body is centred, and which I thus -bring in a line over my foot.</p> - -<div class="figcenter"> -<img src="images/fig_005_006.jpg" alt="" /> -<div class="caption">Fig. 5. and Fig. 6.</div> -</div> - -<p>Here is a toy I happened to see the other -day, which will, I think, serve to illustrate our -subject very well. That toy <i>ought</i> to lie something -in this manner (fig. 5); and would do -so if it were uniform in substance. But you<span class="pagenum" id="Page_34">34</span> -see it does not; it will get up again. And now -philosophy comes to our aid; and I am perfectly -sure, without looking inside the figure, -that there is some arrangement by which the -centre of gravity is at the lowest point when -the image is standing upright; and we may be -certain, when I am tilting it over (see fig. 6), -that I am lifting up the centre of gravity (<i>a</i>), and -raising it from the earth. All this is effected by -putting a piece of lead inside the lower part -of the image, and making the base of large curvature; -and there you have the whole secret. -But what will happen if I try to make the -figure stand upon a sharp point? You observe, -I must get that point <i>exactly</i> under the centre -of gravity, or it will fall over thus [endeavouring -unsuccessfully to balance it]; and this you see<span class="pagenum" id="Page_35">35</span> -is a difficult matter—I cannot make it stand -steadily. But if I embarrass this poor old lady -with a world of trouble, and hang this wire -with bullets at each end about her neck, it is -very evident that, owing to there being those -balls of lead hanging down on either side, in -addition to the lead inside, I have lowered the -centre of gravity, and now she will stand upon -this point (fig. 7); and what is more, she proves -the truth of our philosophy by standing sideways.</p> - -<div class="figcenter"> -<img src="images/fig_007.jpg" alt="" /> -<div class="caption">Fig. 7.</div> -</div> - -<div class="figcenter"> -<img src="images/fig_008.jpg" alt="" /> -<div class="caption">Fig. 8.</div> -</div> - -<p>I remember an experiment which puzzled<span class="pagenum" id="Page_36">36</span> -me very much when a boy. I read it in a -conjuring book, and this was how the problem -was put to us: “How,” as the book said, -“how to hang a pail of water, by means of -a stick, upon the side of a table” (fig. 8). -Now, I have here a table, a piece of stick, -and a pail, and the proposition is, how can -that pail be hung to the edge of this table? -It is to be done; and can you at all anticipate -what arrangement I shall make to enable me -to succeed? Why, this. I take a stick, and -put it in the pail between the bottom and -the horizontal piece of wood, and thus give -it a stiff handle—and there it is; and what<span class="pagenum" id="Page_37">37</span> -is more, the more water I put into the pail -the better it will hang. It is very true that -before I quite succeeded I had the misfortune -to push the bottoms of several pails out; -but here it is hanging firmly (fig. 9), and you -now see how you can hang up the pail in the -way which the conjuring books require.</p> - -<div class="figcenter"> -<img src="images/fig_009.jpg" alt="" /> -<div class="caption">Fig. 9.</div> -</div> - -<p>Again, if you are really so inclined (and I do -hope all of you are), you will find a great -deal of philosophy in this [holding up a cork -and a pointed thin stick about a foot long]. -Do not refer to your toy-books, and say -you have seen that before. Answer me rather, -if I ask you have you <i>understood</i> it before?<span class="pagenum" id="Page_38">38</span> -It is an experiment which appeared very -wonderful to me when I was a boy; I used -to take a piece of cork (and I remember, I -thought at first that it was very important -that it should be cut out in the shape of a -man; but by degrees I got rid of that idea), -and the problem was to balance it on the -point of a stick. Now, you will see I have -only to place two sharp-pointed sticks one -on each side, and give it wings, thus, and -you will find this beautiful condition fulfilled.</p> - -<div class="figcenter"> -<img src="images/fig_010.jpg" alt="" /> -<div class="caption">Fig. 10.</div> -</div> - -<p>We come now to another point:—All bodies, -whether heavy or light, fall to the earth by -this force which we call gravity. By obser<span class="pagenum" id="Page_39">39</span>vation, -moreover, we see that bodies do not -occupy the same time in falling. I think you -will be able to see that this piece of paper -and that ivory ball fall with different velocities -to the table [dropping them]; and if, again, -I take a feather and an ivory ball, and let -them fall, you see they reach the table or -earth at different times—that is to say, the -ball falls faster than the feather. Now, that -should not be so, for all bodies do fall -equally fast to the earth. There are one or -two beautiful points included in that statement. -First of all, it is manifest that an ounce, -or a pound, or a ton, or a thousand tons, all -fall equally fast, no one faster than another: -here are two balls of lead, a very light one -and a very heavy one, and you perceive they -both fall to the earth in the same time. Now, -if I were to put into a little bag a number -of these balls sufficient to make up a bulk -equal to the large one, they would also fall -in the same time; for if an avalanche fall from -the mountains, the rocks, snow and ice, -together falling towards the earth, fall with -the same velocity, whatever be their size.</p> - -<p><span class="pagenum" id="Page_40">40</span></p> - -<p>I cannot take a better illustration of this -than that of gold leaf, because it brings before -us the reason of this apparent difference in the -time of the fall. Here is a piece of gold-leaf. -Now, if I take a lump of gold and -this gold-leaf, and let them fall through the -air together, you see that the lump of gold—the -sovereign, or coin—will fall much faster -than the gold leaf. But why? They are both -gold, whether sovereign or gold-leaf. Why -should they not fall to the earth with the same -quickness? <i>They would do so</i>, but that the air -around our globe interferes very much where -we have the piece of gold so extended and -enlarged as to offer much obstruction on falling -through it. I will, however, shew you that -gold-leaf <i>does</i> fall as fast when the resistance -of the air is excluded—for if I take a piece -of gold-leaf and hang it in the centre of a -bottle, so that the gold, and the bottle, and -the air within shall all have an equal chance -of falling, then the gold-leaf will fall as fast -as anything else. And if I suspend the bottle -containing the gold-leaf to a string, and set it -oscillating like a pendulum, I may make it<span class="pagenum" id="Page_41">41</span> -vibrate as hard as I please, and the gold-leaf -will not be disturbed, but will swing as steadily -as a piece of iron would do; and I might even -swing it round my head with any degree of -force, and it would remain undisturbed. Or I -can try another kind of experiment:—if I raise -the gold-leaf in this way [pulling the bottle up -to the ceiling of the theatre by means of a -cord and pulley, and then suddenly letting it -fall to within a few inches of the lecture-table], -and allow it then to fall from the ceiling downwards -(I will put something beneath to catch -it, supposing I should be <i>maladroit</i>), you will -perceive that the gold-leaf is not in the least -disturbed. The resistance of the air having -been avoided, the glass bottle and gold-leaf all -fall exactly in the same time.</p> - -<p>Here is another illustration,—I have hung -a piece of gold-leaf in the upper part of this -long glass vessel, and I have the means, by a -little arrangement at the top, of letting the -gold-leaf loose. Before we let it loose we will -remove the air by means of an air pump, -and while that is being done, let me shew -you another experiment of the same kind.<span class="pagenum" id="Page_42">42</span> -Take a penny-piece, or a half-crown, and a -round piece of paper a trifle smaller in diameter -than the coin, and try them, side by side, to -see whether they fall at the same time [dropping -them]. You see they do not—the penny-piece -goes down first. But, now place this paper flat -on the top of the coin, so that it shall not meet -with any resistance from the air, and upon <i>then</i> -dropping them you see they <i>do</i> both fall in -the same time [exhibiting the effect]. I dare -say, if I were to put this piece of gold-leaf, -instead of the paper, on the coin, it would do -as well. It is very difficult to lay the gold-leaf -so flat that the air shall not get under it -and lift it up in falling, and I am rather doubtful -as to the success of this, because the gold-leaf -is puckery; but will risk the experiment. -There they go together! [letting them fall] and -you see at once that they both reach the table -at the same moment.</p> - -<p>We have now pumped the air out of the -vessel, and you will perceive that the gold-leaf -will fall as quickly in this vacuum as the coin -does in the air. I am now going to let it loose, -and you must watch to see how rapidly it falls.<span class="pagenum" id="Page_43">43</span> -There! [letting the gold loose] there it is, falling -as gold should fall.</p> - -<p>I am sorry to see our time for parting is -drawing so near. As we proceed, I intend to -write upon the board behind me certain words, -so as to recall to your minds what we have -already examined—and I put the word <span class="smcap">Forces</span> -as a heading; and I will then add, beneath, the -names of the special forces according to the -order in which we consider them: and although -I fear that I have not sufficiently pointed out -to you the more important circumstances connected -with this force of <span class="smcap">Gravitation</span>, especially -the law which governs its attraction (for -which, I think, I must take up a little time -at our next meeting), still I will put that word -on the board, and hope you will now remember -that we have in some degree considered the -<i>force of gravitation</i>—that force which causes -all bodies to attract each other when they are -at sensible distances apart, and tends to draw -them together.</p> - -<hr class="chap" /> -</div><div class="chapter"> -<p><span class="pagenum" id="Page_44">44</span></p> - - - - - -<h2 title="GRAVITATION—COHESION.">LECTURE II.<br /> - -<small>GRAVITATION—COHESION.</small></h2> - - -<p>Do me the favour to pay me as much attention -as you did at our last meeting, -and I shall not repent of that which I have -proposed to undertake. It will be impossible -for us to consider the Laws of Nature, and -what they effect, unless we now and then give -our sole attention, so as to obtain a clear idea -upon the subject. Give me now that attention, -and then, I trust, we shall not part without your -knowing something about those Laws, and the -manner in which they act. You recollect, upon -the last occasion, I explained that all bodies -attracted each other, and that this power we -called <i>gravitation</i>. I told you that when we -brought these two bodies [two equal sized -ivory balls suspended by threads] near together, -they attracted each other, and that -we might suppose that the whole power of<span class="pagenum" id="Page_45">45</span> -this attraction was exerted between their -respective centres of gravity; and furthermore, -you learned from me, that if, instead of a small -ball, I took a larger one, like <i>that</i> [changing -one of the balls for a much larger one], -there was much more of this attraction exerted; -or, if I made this ball larger and larger, -until, if it were possible, it became as large as -the Earth itself—or, I might take the Earth -itself as the large ball—that <i>then</i> the attraction -would become so powerful as to cause them -to rush together in this manner [dropping the -ivory ball]. You sit <i>there</i> upright, and I stand -upright <i>here</i>, because we keep our centres of -gravity properly balanced with respect to the -earth; and I need not tell you that on the -other side of this world the people are standing -and moving about with their feet towards our -feet, in a reversed position as compared with -us, and all by means of this power of gravitation -to the centre of the earth.</p> - -<p>I must not, however, leave the subject of -gravitation, without telling you something about -its laws and regularity; and first, as regards its -power with respect to the distance that bodies<span class="pagenum" id="Page_46">46</span> -are apart. If I take one of these balls and -place it within an inch of the other, they attract -each other with a certain power. If I hold it -at a greater distance off, they attract with -less power; and if I hold it at a greater distance -still, their attraction is still less. Now this -fact is of the greatest consequence; for, knowing -this law, philosophers have discovered -most wonderful things. You know that there -is a planet, Uranus, revolving round the sun -with us, but eighteen hundred millions of miles -off; and because there is another planet as -far off as three thousand millions of miles, -this law of attraction, or gravitation, still holds -good—and philosophers actually discovered this -latter planet, Neptune, by reason of the effects -of its attraction at this overwhelming distance. -Now I want you clearly to understand what -this law is. They say (and they are right) -that two bodies attract each other <i>inversely as -the square of the distance</i>—a sad jumble of -words until you understand them; but I think -we shall soon comprehend what this law is, -and what is the meaning of the “inverse square -of the distance.”</p> - -<p><span class="pagenum" id="Page_47">47</span></p> - -<div class="figcenter"> -<img src="images/fig_011.jpg" alt="" /> -<div class="caption">Fig. 11.</div> -</div> - -<p>I have here (fig. 11) a lamp <span class="smcap lowercase">A</span>, shining most -intensely upon this disc, <span class="smcap lowercase">B, C, D</span>; and this light -acts as a sun by which I can get a shadow from -this little screen, <span class="smcap lowercase">B F</span> (merely a square piece of -card), which, as you know, when I place it close -to the large screen, just shadows as much of -it as is exactly equal to its own size. But now -let me take this card <span class="smcap lowercase">E</span>, which is equal to the -other one in size, and place it midway between -the lamp and the screen: now look at the size -of the shadow <span class="smcap lowercase">B D</span>—it is four times the original -size. Here, then, comes the “inverse square of -the distance.” This distance, <span class="smcap lowercase">A E</span>, is <i>one</i>, and -that distance, <span class="smcap lowercase">A B</span>, is <i>two</i>; but that size <span class="smcap lowercase">E</span> being<span class="pagenum" id="Page_48">48</span> -<i>one</i>, this size <span class="smcap lowercase">B D</span> of shadow is <i>four</i> instead of -<i>two</i>, which is the <i>square</i> of the distance; and, -if I put the screen at one-third of the distance -from the lamp, the shadow on the large screen -would be <i>nine</i> times the size. Again, if I hold -this screen <i>here</i>, at <span class="smcap">B F</span>, a certain amount of -light falls on it; and if I hold it nearer the -lamp at <span class="smcap lowercase">E</span>, <i>more</i> light shines upon it. And -you see at once how much—exactly the quantity -which I have shut off from the part of this -screen, <span class="smcap lowercase">B D</span>, now in shadow; moreover, you see -that if I put a single screen here, at <span class="smcap lowercase">G</span>, by the -side of the shadow, it can only receive <i>one-fourth</i> -of the proportion of light which is -obstructed. That, then, is what is meant by -the <i>inverse</i> of the square of the distance. This -screen <span class="smcap lowercase">E</span> is the brightest, because it is the -nearest; and there is the whole secret of this -curious expression, <i>inversely as the square of the -distance</i>. Now, if you cannot perfectly recollect -this when you go home, get a candle and throw -a shadow of something—your profile, if you like—on -the wall, and then recede or advance, and -you will find that your shadow is exactly in -proportion to the <i>square</i> of the distance you<span class="pagenum" id="Page_49">49</span> -are off the wall; and then if you consider how -much light shines on you at one distance, and -how much at another, you get the inverse -accordingly. So it is as regards the attraction -of these two balls—they attract according to -the square of the distance, inversely. I want -you to try and remember these words, and then -you will be able to go into all the calculations -of astronomers as to the planets and other -bodies, and tell why they move so fast, and -why they go <i>round</i> the sun without falling into -it, and be prepared to enter upon many other -interesting inquiries of the like nature.</p> - -<p>Let us now leave this subject which I have -written upon the board under the word <span class="smcap">Force</span>—<span class="smcap">Gravitation</span>—and -go a step further. All -bodies attract each other at sensible distances. -I shewed you the electric attraction on the last -occasion (though I did not call it so); that -attracts at a distance: and in order to make -our progress a little more gradual, suppose I -take a few iron particles [dropping some small -fragments of iron on the table]. There, I have -already told you that in all cases where bodies -fall, it is the <i>particles</i> that are attracted. You<span class="pagenum" id="Page_50">50</span> -may consider these then as separate particles -magnified, so as to be evident to your sight; -they are loose from each other—they all gravitate—they -all fall to the earth—for the force -of gravitation <i>never</i> fails. Now, I have here -a centre of power which I will not name at -present, and when these particles are placed -upon it, see what an attraction they have for -each other.</p> - -<div class="figcenter"> -<img src="images/fig_012.jpg" alt="" /> -<div class="caption">Fig. 12.</div> -</div> - -<p>Here I have an arch of iron filings (fig. 12) -regularly built up like an iron bridge, because -I have put them within a sphere of action which -will cause them to attract each other. See!—I -could let a mouse run through it, and yet if I -try to do the same thing with them <i>here</i> [on<span class="pagenum" id="Page_51">51</span> -the table], they do not attract each other at all. -It is <i>that</i> [the magnet] which makes them hold -together. Now, just as these iron particles hold -together in the form of an elliptical bridge, so -do the different particles of iron which constitute -this nail hold together and make it one. -And here is a bar of iron—why, it is only -because the different parts of <i>this</i> iron are so -wrought as to keep close together by the attraction -<i>between</i> the particles that it is held together -in one mass. It is kept together, in fact, merely -by the attraction of one particle to another, and -that is the point I want now to illustrate. If I -take a piece of flint and strike it with a hammer, -and break it thus [breaking off a piece of the -flint], I have done nothing more than separate -the particles which compose these two pieces so -far apart, that their attraction is too weak to -cause them to hold together, and it is only for -that reason that there are now two pieces in the -place of one. I will shew you an experiment -to prove that this attraction does still exist in -those particles, for here is a piece of glass (for -what was true of the flint and the bar of iron -is true of the piece of glass, and is true of<span class="pagenum" id="Page_52">52</span> -every other solid—they are all held together in -the lump by the attraction between their parts), -and I can shew you the attraction between its -separate particles; for if I take these portions -of glass, which I have reduced to very fine -powder, you see that I can actually build them -up into a solid wall by pressure between two -flat surfaces. The power which I thus have -of building up this wall is due to the attraction -of the particles, forming as it were the -cement which holds them together; and so in -this case, where I have taken no very great -pains to bring the particles together, you see -perhaps a couple of ounces of finely-pounded -glass standing as an upright wall. Is not this -attraction most wonderful? <i>That</i> bar of iron -one inch square has such power of attraction -in its particles—giving to it such strength—that -it will hold up twenty tons weight before -the little set of particles in the small space, -equal to one division across which it can be -pulled apart, will separate. In this manner -suspension bridges and chains are held together -by the attraction of their particles; and I am -going to make an experiment which will shew<span class="pagenum" id="Page_53">53</span> -how strong is this attraction of the particles. -[The Lecturer here placed his foot on a loop -of wire fastened to a support above, and swung -with his whole weight resting upon it for some -moments.] You see while hanging here all -my weight is supported by these little particles -of the wire, just as in pantomimes they sometimes -suspend gentlemen and damsels.</p> - -<p>How can we make this attraction of the particles -a little more simple? There are many -things which if brought together properly will -shew this attraction. Here is a boy’s experiment -(and I like a boy’s experiment). Get a -tobacco-pipe, fill it with lead, melt it, and then -pour it out upon a stone, and thus get a clean -piece of lead (this is a better plan than scraping -it—scraping alters the condition of the surface -of the lead). I have here some pieces of lead -which I melted this morning for the sake of -making them clean. Now these pieces of lead -hang together by the attraction of their particles; -and if I press these two separate pieces -close together, so as to bring their particles -within the sphere of attraction, you will see how -soon they become one. I have merely to give<span class="pagenum" id="Page_54">54</span> -them a good squeeze, and draw the upper piece -slightly round at the same time, and here they -are as one, and all the bending and twisting -I can give them will not separate them again: -I have joined the lead together, not with solder, -but simply by means of the attraction of the -particles.</p> - -<p>This, however, is not the best way of bringing -those particles together—we have many better -plans than that; and I will shew you one that -will do very well for juvenile experiments. -There is some alum crystallised very beautifully -by nature (for all things are far more beautiful -in their natural than their artificial form), and -here I have some of the same alum broken into -fine powder. In it I have destroyed that force -of which I have placed the name on this board—<span class="smcap">Cohesion</span>, -or the attraction exerted between -the particles of bodies to hold them together. -Now I am going to shew you that if we take -this powdered alum and some hot water, and -mix them together, I shall dissolve the alum—all -the particles will be separated by the water -far more completely than they are here in the -powder; but then, being in the water, they will<span class="pagenum" id="Page_55">55</span> -have the opportunity as it cools (for that is -the condition which favours their coalescence) -of uniting together again and forming one -mass.<a id="FNanchor_7_8" href="#Footnote_7_8" class="fnanchor">7</a></p> - -<p>Now, having brought the alum into solution, -I will pour it into this glass basin, and you will, -to-morrow, find that those particles of alum -which I have put into the water, and so separated -that they are no longer solid, will, as the water -cools, come together and cohere, and by to-morrow -morning we shall have a great deal of -the alum crystallised out—that is to say, come -back to the solid form. [The Lecturer here -poured a little of the hot solution of alum into -the glass dish, and when the latter had thus -been made warm, the remainder of the solution -was added.] I am now doing that which I advise -you to do if you use a glass vessel, namely, -warming it slowly and gradually; and in repeating -this experiment, do as I do—pour the liquid -out gently, leaving all the dirt behind in the -basin: and remember that the more carefully -and quietly you make this experiment at home, -the better the crystals. To-morrow you will -see the particles of alum drawn together; and<span class="pagenum" id="Page_56">56</span> -if I put two pieces of coke in some part of the -solution (the coke ought first to be washed very -clean, and dried), you will find to-morrow that -we shall have a beautiful crystallisation over -the coke, making it exactly resemble a natural -mineral.</p> - -<p>Now, how curiously our ideas expand by -watching these conditions of the attraction of -cohesion!—how many new phenomena it gives -us beyond those of the attraction of gravitation! -See how it gives us great strength. The things -we deal with in building up the structures on -the earth are of strength (we use iron, stone, -and other things of great strength); and only -think that all those structures you have about -you—think of the “Great Eastern,” if you please, -which is of such size and power as to be almost -more than man can manage—are the result of -this power of cohesion and attraction.</p> - -<p>I have here a body in which I believe you -will see a change taking place in its condition -of cohesion at the moment it is made. It is at -first yellow, it then becomes a fine crimson red. -Just watch when I pour these two liquids -together—both colourless as water. [The<span class="pagenum" id="Page_57">57</span> -Lecturer here mixed together solutions of perchloride -of mercury and iodide of potassium, -when a yellow precipitate of biniodide of mercury -fell down, which almost immediately became -crimson red.] Now, there is a substance which -is very beautiful, but see how it is changing -colour. It was reddish-yellow at first, but it -has now become red.<a id="FNanchor_8_9" href="#Footnote_8_9" class="fnanchor">8</a> I have previously prepared -a little of this red substance, which you see -formed in the liquid, and have put some of it -upon paper. [Exhibiting several sheets of paper -coated with scarlet biniodide of mercury.<a id="FNanchor_9_10" href="#Footnote_9_10" class="fnanchor">9</a>] -There it is—the same substance spread upon -paper; and there, too, is the same substance; and -here is some more of it [exhibiting a piece of -paper as large as the other sheets, but having -only very little red colour on it, the greater -part being yellow], a <i>little</i> more of it, you will -say. Do not be mistaken; there is as much -upon the surface of one of these pieces of paper -as upon the other. What you see yellow is -the same thing as the red body, only the attraction -of cohesion is in a certain degree changed; -for I will take this red body, and apply heat to -it (you may perhaps see a little smoke arise,<span class="pagenum" id="Page_58">58</span> -but that is of no consequence), and if you look -at it, it will first of all darken—but see, how it -is becoming yellow. I have now made it all -yellow, and what is more, it will remain so; but -if I take any hard substance, and rub the yellow -part with it, it will immediately go back again -to the red condition. [Exhibiting the experiment.] -There it is. You see the red is not -<i>put back</i>, but <i>brought back</i> by the change in -the substance. Now [warming it over the spirit -lamp] here it is becoming yellow again, and -that is all because its attraction of cohesion -is changed. And what will you say to me -when I tell you that this piece of common charcoal -is just the same thing, only differently -calesced, as the diamonds which you wear? -(I have put a specimen outside of a piece of -straw which was charred in a particular way—it -is just like black lead.) Now, this charred -straw, this charcoal, and these diamonds, are -all of them the same substance, changed but -in their properties as respects the force of -cohesion.</p> - -<p>Here is a piece of glass [producing a piece of -plate-glass about two inches square]—(I shall<span class="pagenum" id="Page_59">59</span> -want this afterwards to look to and examine -its internal condition)—and here is some of the -same sort of glass differing only in its power of -cohesion, because while yet melted it has been -dropped into cold water [exhibiting a “Prince -Rupert’s drop”.<a id="FNanchor_10_11" href="#Footnote_10_11" class="fnanchor">10</a> (fig. 13)]; -and if I take one -of these little tear-like pieces and break off -ever so little from the point, the whole will at -once burst and fall to pieces. I will now break -off a piece of this. [The Lecturer nipped off a -small piece from the end of one of the Rupert’s -drops, whereupon the whole immediately fell -to pieces.] There! you see the solid glass has -suddenly become powder—and more than that, -it has knocked a hole in the glass vessel in -which it was held. I can shew the effect -better in this bottle of water; and it is very -likely the whole bottle will go. [A 6-oz. vial -was filled with water, and a Rupert’s drop -placed in it, with the point of the tail just projecting -out; upon breaking the tip off, the drop -burst, and the shock being transmitted through -the water to the sides of the bottle, shattered -the latter to pieces.]</p> - -<p>Here is another form of the same kind of<span class="pagenum" id="Page_60">60</span> -experiment. I have here some more glass which -has not been annealed [showing some thick -glass vessels<a id="FNanchor_11_12" href="#Footnote_11_12" class="fnanchor">11</a> (fig. 14)], and if I take one of -these glass vessels and drop a piece of pounded -glass into it (or I will take some of these small -pieces of rock crystal—they have the advantage -of being harder than glass), and so make the -least scratch upon the inside, the whole bottle -will break to pieces,—it cannot hold together. -[The Lecturer here dropped a small fragment -of rock crystal into one of these glass vessels, -when the bottom immediately came out and fell -upon the plate.] There! it goes through, just as -it would through a sieve.</p> - -<div class="figcenter"> -<img src="images/fig_013_014.jpg" alt="" /> -<div class="caption">Fig. 13. and Fig. 14.</div> -</div> - -<p>Now, I have shewn you these things for the -purpose of bringing your minds to see that -bodies are not merely held together by this<span class="pagenum" id="Page_61">61</span> -power of cohesion, but that they are held together -in very curious ways. And suppose I -take some things that are held together by this -force, and examine them more minutely. I -will first take a bit of glass, and if I give it -a blow with a hammer, I shall just break it to -pieces. You saw how it was in the case of the -flint when I broke the piece off; a piece of a -similar kind would come off, just as you would -expect; and if I were to break it up still more, -it would be as you have seen, simply a collection -of small particles of no definite shape or -form. But supposing I take some other thing, -this stone for instance (fig. 15) [taking a piece -of mica<a id="FNanchor_12_13" href="#Footnote_12_13" class="fnanchor">12</a>], and if I hammer this stone, I may -batter it a great deal before I can break it -up. I may even bend it without breaking it; -that is to say, I may bend it in <i>one particular -direction</i> without breaking it much, although I -feel in my hands that I am doing it some injury. -But now, if I take it by the edges, I find -that it breaks up into leaf after leaf in a most -extraordinary manner. Why should it break up -like that? Not because all stones do, or all -crystals; for there is some salt (fig. 16)—you<span class="pagenum" id="Page_62">62</span> -know what common salt is<a id="FNanchor_13_14" href="#Footnote_13_14" class="fnanchor">13</a>: here is a piece -of this salt which by natural circumstances has -had its particles so brought together that they -have been allowed free opportunity of combining -or coalescing; and you shall see what -happens if I take this piece of salt and break -it. It does not break as flint did, or as the -mica did, but with a clean sharp angle and exact -surfaces, beautiful and glittering as diamonds -[breaking it by gentle blows with a hammer]; -there is a square prism which I may break -up into a square cube. You see these fragments -are all square—one side may be longer -than the other, but they will only split up so as -to form square or oblong pieces with cubical -sides. Now, I go a little further, and I find -another stone (fig. 17) [Iceland, or calc-spar]<a id="FNanchor_14_15" href="#Footnote_14_15" class="fnanchor">14</a>,<span class="pagenum" id="Page_63">63</span> -which I may break in a similar way, but <i>not</i> -with the same result. Here is a piece which I -have broken off, and you see there are plain -surfaces perfectly regular with respect to each -other; but it is not cubical—it is what we call -a rhomboid. It still breaks in three directions -most beautifully and regularly, with polished -surfaces, but with <i>sloping</i> sides, not like the -salt. Why not? It is very manifest that this -is owing to the attraction of the particles, one -for the other, being less in the direction in -which they give way than in other directions. -I have on the table before me a number of -little bits of calcareous spar, and I recommend -each of you to take a piece home, and then -you can take a knife and try to divide it in the -direction of any of the surfaces already existing. -You will be able to do it at once; but if you -try to cut it <i>across</i> the crystals, you cannot—by -hammering, you may bruise and break it up—but -you can only divide it into these beautiful -little rhomboids.</p> - -<div class="figcenter"> -<img src="images/fig_015_016_017.jpg" alt="" /> -<div class="caption">Fig. 15., Fig. 16. and Fig. 17.</div> -</div> - -<p>Now I want you to understand a little more -how this is—and for this purpose I am going -to use the electric light again. You see, we<span class="pagenum" id="Page_64">64</span> -cannot look into the <i>middle</i> of a body like this -piece of glass. We perceive the outside form, -and the inside form, and we look <i>through</i> it; -but we cannot well find out how these forms -become so: and I want you, therefore, to take -a lesson in the way in which we use a ray of -light for the purpose of seeing what is in the -interior of bodies. Light is a thing which is, -so to say, attracted by every substance that -gravitates (and we do not know anything that -does not). All matter affects light more or -less by what we may consider as a kind of -attraction, and I have arranged (fig. 18) a very -simple experiment upon the floor of the room -for the purpose of illustrating this. I have put -into that basin a few things which those who -are in the body of the theatre will not be able -to see, and I am going to make use of this -power, which matter possesses, of attracting a -ray of light. If Mr. Anderson pours some -water, gently and steadily, into the basin, the -water will attract the rays of light downwards, -and the piece of silver and the sealing-wax -will appear to rise up into the sight of those -who were before not high enough to see over<span class="pagenum" id="Page_65">65</span> -the side of the basin to its bottom. [Mr. Anderson -here poured water into the basin, and upon -the Lecturer asking whether any body could -see the silver and sealing-wax, he was answered -by a general affirmative.] Now, I suppose that -everybody can see that they are not at all disturbed, -whilst from the way they appear to have -risen up, you would imagine the bottom of the -basin and the articles in it were two inches -thick, although they are only one of our small -silver dishes and a piece of sealing-wax which -I have put there. The light which now goes -to you from that piece of silver was obstructed -by the edge of the basin, when there was no -water there, and you were unable to see anything -of it; but when we poured in water, the -rays were attracted down by it, over the edge<span class="pagenum" id="Page_66">66</span> -of the basin, and you were thus enabled to see -the articles at the bottom.</p> - -<div class="figcenter"> -<img src="images/fig_018.jpg" alt="" /> -<div class="caption">Fig. 18.</div> -</div> - -<div class="figcenter" style="width: 450px;"> -<img src="images/fig_019.jpg" alt="" /> -<div class="caption">Fig. 19.</div> -</div> - -<p>I have shewn you this experiment first, so -that you might understand how glass attracts -light, and might then see how other substances, -like rock-salt and calcareous spar, mica, and -other stones, would affect the light; and, if -Dr. Tyndall will be good enough to let us use -his light again, we will first of all shew you -how it may be bent by a piece of glass (fig. 19). -[The electric lamp was again lit, and the beam -of parallel rays of light which it emitted was -bent about and decomposed by means of the -prism.] Now, here you see, if I send the -light through this piece of plain glass, <span class="smcap lowercase">A</span>, it -goes straight through, without being bent, -unless the glass be held obliquely, and then -the phenomenon becomes more complicated;<span class="pagenum" id="Page_67">67</span> -but if I take this piece of glass, <span class="smcap lowercase">B</span> [a prism], -you see it will shew a very different effect. It -no longer goes to that wall, but it is bent to -this screen, <span class="smcap lowercase">C</span>; and how much more beautiful it -is now [throwing the prismatic spectrum on the -screen]. This ray of light is bent out of its -course by the attraction of the glass upon it. -And you see I can turn and twist the rays to -and fro, in different parts of the room, just as -I please. Now it goes there, now here. [The -Lecturer projected the prismatic spectrum about -the theatre.] Here I have the rays once more -bent on to the screen, and you see how wonderfully -and beautifully that piece of glass not -only bends the light by virtue of its attraction, -but actually splits it up into different colours. -Now, I want you to understand that this piece -of glass [the prism] being perfectly uniform in -its internal structure, tells us about the action -of these other bodies which are not uniform—which -do not merely <i>cohere</i>, but also have -within them, in different parts, different <i>degrees -of cohesion</i>, and thus attract and bend the light -with varying powers. We will now let the -light pass through one or two of these things<span class="pagenum" id="Page_68">68</span> -which I just now shewed you broke so -curiously; and, first of all, I will take a -piece of mica. Here, you see, is our ray of -light. We have first to make it what we call -<i>polarised</i>; but about that you need not trouble -yourselves—it is only to make our illustration -more clear. Here, then, we have our polarised -ray of light, and I can so adjust it as to make -the screen upon which it is shining either -light or dark, although I have nothing in the -course of this ray of light but what is perfectly -transparent [turning the <i>analyser</i> round]. I -will now make it so that it is quite dark; and -we will, in the first instance, put a piece of -common glass into the polarised ray, so as to -shew you that it does not enable the light to -get through. You see the screen remains -dark. The glass then, internally, has no effect -upon the light. [The glass was removed, and -a piece of mica introduced.] Now, there is the -mica which we split up so curiously into leaf -after leaf, and see how that enables the light -to pass through to the screen, and how, as -Dr. Tyndall turns it round in his hand, you -have those different colours, pink, and purple,<span class="pagenum" id="Page_69">69</span> -and green, coming and going most beautifully—not -that the mica is more transparent than -the glass, but because of the different manner -in which its particles are arranged by the force -of cohesion.</p> - -<div class="figcenter"> -<img src="images/fig_020.jpg" alt="" /> -<div class="caption">Fig. 20.</div> -</div> - -<p>Now we will see how calcareous spar acts -upon this light,—that stone which split up -into rhombs, and of which you are each of -you going to take a little piece home. [The -mica was removed, and a piece of calc-spar -introduced at <span class="smcap lowercase">A</span>.] See how that turns the light -round and round, and produces these rings and -that black cross (fig. 20). Look at those -colours—are they not most beautiful for you -and for me?—for I enjoy these things as much -as you do. In what a wonderful manner they<span class="pagenum" id="Page_70">70</span> -open out to us the internal arrangement of the -particles of this calcareous spar by the force of -cohesion.</p> - -<p>And now I will shew you another experiment. -Here is that piece of glass which before -had no action upon the light. You shall see -what it will do when we apply pressure to it. -Here, then, we have our ray of polarised light, -and I will first of all shew you that the glass -has no effect upon it in its ordinary state,—when -I place it in the course of the light, the -screen still remains dark. Now, Dr. Tyndall -will press that bit of glass between three little -points, one point against two, so as to bring a -strain upon the parts, and you will see what -a curious effect that has. [Upon the screen -two white dots gradually appeared.] Ah! these -points shew the position of the strain—in these -parts the force of cohesion is being exerted in -a different degree to what it is in the other -parts, and hence it allows the light to pass -through. How beautiful that is—how it makes -the light come through some parts, and leaves -it dark in others, and all because we weaken the -force of cohesion between particle and particle.<span class="pagenum" id="Page_71">71</span> -Whether you have this mechanical power of -straining, or whether we take other means, we -get the same result; and, indeed, I will shew -you by another experiment that if we heat the -glass in one part, it will alter its internal structure, -and produce a similar effect. Here is a -piece of common glass, and if I insert this in -the path of the polarised ray, I believe it will -do nothing. There is the common glass [introducing -it]—no light passes through—the screen -remains quite dark; but I am going to warm -this glass in the lamp, and you know yourselves -that when you pour warm water upon glass you -put a strain upon it sufficient to break it sometimes—something -like there was in the case -of the Prince Rupert’s drops. [The glass was -warmed in the spirit-lamp, and again placed -across the ray of light.] Now you see how -beautifully the light goes through those parts -which are hot, making dark and light lines -just as the crystal did, and all because of the -alteration I have effected in its internal condition; -for these dark and light parts are a proof -of the presence of forces acting and dragging -in different directions within the solid mass.</p> - -<hr class="chap" /> -</div><div class="chapter"> -<p><span class="pagenum" id="Page_72">72</span></p> - - - - - -<h2 title="COHESION—CHEMICAL AFFINITY.">LECTURE III.<br /> - -<small>COHESION—CHEMICAL AFFINITY.</small></h2> - - -<p>We will first return for a few minutes to -one of the experiments made yesterday. -You remember what we put together on that -occasion—powdered alum and warm water; -here is one of the basins then used. Nothing -has been done to it since; but you will find on -examining it, that it no longer contains any -powder, but a multitude of beautiful crystals. -Here also are the pieces of coke which I put -into the other basin—they have a fine mass of -crystals about them. That other basin I will -leave as it is. I will not pour the water from it, -because it will shew you that the particles of -alum have done something more than merely -crystallise together. They have pushed the -dirty matter from them, laying it around the -outside or outer edge of the lower crystals—squeezed -out as it were by the strong attrac<span class="pagenum" id="Page_73">73</span>tion -which the particles of alum have for each -other.</p> - -<p>And now for another experiment. We have -already gained a knowledge of the manner in -which the particles of bodies—of solid bodies—attract -each other, and we have learnt that -it makes calcareous spar, alum, and so forth, -crystallise in these regular forms. Now, let me -gradually lead your minds to a knowledge of -the means we possess of making this attraction -alter a little in its force; either of increasing, -or diminishing, or apparently of destroying it -altogether. I will take this piece of iron [a -rod of iron about two feet long, and a quarter -of an inch in diameter], it has at present a -great deal of strength, due to its attraction of -cohesion; but if Mr. Anderson will make part -of this red-hot in the fire, we shall then find -that it will become soft, just as sealing-wax will -when heated, and we shall also find that the -more it is heated the softer it becomes. Ah! -but what does <i>soft</i> mean? Why, that the -attraction between the particles is so weakened -that it is no longer sufficient to resist the -power we bring to bear upon it. [Mr. Anderson<span class="pagenum" id="Page_74">74</span> -handed to the Lecturer the iron rod, with one -end red-hot, which he shewed could be easily -twisted about with a pair of pliers.] You see, -I now find no difficulty in bending this end -about as I like; whereas I cannot bend the -cold part at all. And you know how the -smith takes a piece of iron and heats it, in -order to render it soft for his purpose: he acts -upon our principle of lessening the adhesion -of the particles, although he is not exactly -acquainted with the terms by which we express -it.</p> - -<p>And now we have another point to examine; -and this water is again a very good substance to -take as an illustration (as philosophers we call -it all water, even though it be in the form of -ice or steam). Why is this water hard? [pointing -to a block of ice] because the attraction of -the particles to each other is sufficient to make -them retain their places in opposition to force -applied to it. But what happens when we -make the ice warm? Why, in that case we -diminish to such a large extent the power of -attraction that the solid substance is destroyed -altogether. Let me illustrate this: I will take<span class="pagenum" id="Page_75">75</span> -a red-hot ball of iron [Mr. Anderson, by means -of a pair of tongs, handed to the Lecturer a red-hot -ball of iron, about two inches in diameter], -because it will serve as a convenient source of -heat [placing the red-hot iron in the centre of -the block of ice]. You see I am now melting -the ice where the iron touches it. You see the -iron sinking into it, and while part of the solid -water is becoming liquid, the heat of the ball -is rapidly going off. A certain part of the -water is actually rising in steam—the attraction -of some of the particles is so much diminished -that they cannot even hold together in the -liquid form, but escape as vapour. At the -same time, you see I cannot melt all this ice -by the heat contained in this ball. In the -course of a very short time I shall find it will -have become quite cold.</p> - -<p>Here is the water which we have produced -by destroying some of the attraction which -existed between the particles of the ice,—for -below a certain temperature the particles of -water increase in their mutual attraction, and -become ice; and above a certain temperature -the attraction decreases, and the water becomes<span class="pagenum" id="Page_76">76</span> -steam. And exactly the same thing happens -with platinum, and nearly every substance in -nature; if the temperature is increased to a -certain point, it becomes liquid, and a further -increase converts it into a gas. Is it not a -glorious thing for us to look at the sea, the -rivers, and so forth, and to know that this same -body in the northern regions is all solid ice and -icebergs, while here, in a warmer climate, it has -its attraction of cohesion so much diminished -as to be liquid water. Well, in diminishing -this force of attraction between the particles of -ice, we made use of another force, namely, that -of <i>heat</i>; and I want you now to understand that -this force of heat is always concerned when -water passes from the solid to the liquid state. -If I melt ice in <i>other</i> ways, I cannot do without -heat (for we have the means of making ice -liquid without heat; that is to say, without -using heat as a <i>direct</i> cause). Suppose, for -illustration, I make a vessel out of this piece of -tinfoil [bending the foil up into the shape of -a dish]. I am making it metallic, because I -want the heat which I am about to deal with -to pass readily through it; and I am going<span class="pagenum" id="Page_77">77</span> -to pour a little water on this board, and then -place the tin vessel on it. Now if I put some -of this ice into the metal dish, and then proceed -to make it liquid by any of the various -means we have at our command, it still must -take the necessary quantity of heat from something, -and in this case it will take the heat from -the tray, and from the water underneath, and -from the other things round about. Well, a -little salt added to the ice has the power of -causing it to melt, and we shall very shortly see -the mixture become quite fluid, and you will -then find that the water beneath will be frozen—frozen, -because it has been forced to give up -that heat which is necessary to keep it in the -liquid state, to the ice on becoming liquid. I -remember once, when I was a boy, hearing of -a trick in a country alehouse; the point was -how to melt ice in a quart-pot by the fire, and -freeze it to the stool. Well, the way they did -it was this: they put some pounded ice in a -pewter pot and added some salt to it, and the -consequence was, that when the salt was mixed -with it, the ice in the pot melted (they did -not tell me anything about the salt, and they<span class="pagenum" id="Page_78">78</span> -set the pot by the fire, just to make the result -more mysterious), and in a short time the pot -and the stool were frozen together, as we shall -very shortly find it to be the case here. And -all because salt has the power of lessening the -attraction between the particles of ice. Here -you see the tin dish is frozen to the board—I -can even lift this little stool up by it.</p> - -<div class="figcenter"> -<img src="images/fig_021.jpg" alt="" /> -<div class="caption">Fig. 21.</div> -</div> - -<p>This experiment cannot, I think, fail to impress -upon your minds the fact, that whenever -a solid body loses some of that force of attraction -by means of which it remains solid, heat is -absorbed; and if, on the other hand, we convert -a liquid into a solid, <i>e.g.</i>, water into ice, a corresponding -amount of heat is given out. I -have an experiment shewing this to be the case.<span class="pagenum" id="Page_79">79</span> -Here (fig. 21) is a bulb, <span class="smcap lowercase">A</span>, filled with air, the -tube from which dips into some coloured liquid -in the vessel <span class="smcap lowercase">B</span>. And I dare say you know -that if I put my hand on the bulb <span class="smcap lowercase">A</span>, and warm -it, the coloured liquid which is now standing -in the tube at <span class="smcap lowercase">C</span> will travel forward. Now we -have discovered a means, by great care and -research into the properties of various bodies, -of preparing a solution of a salt<a id="FNanchor_15_16" href="#Footnote_15_16" class="fnanchor">15</a> which, if -shaken or disturbed, will at once become a -solid; and as I explained to you just now (for -what is true of water is true of every other -liquid), by reason of its becoming solid, heat is -evolved, and I can make this evident to you -by pouring it over this bulb;—there! it is becoming -solid, and look at the coloured liquid, -how it is being driven down the tube, and how -it is bubbling out through the water at the -end; and so we learn this beautiful law of our -philosophy, that whenever we diminish the -attraction of cohesion, we absorb heat—and -whenever we increase that attraction, heat is -evolved. This, then, is a great step in advance, -for you have learned a great deal in addition -to the mere circumstance that particles attract<span class="pagenum" id="Page_80">80</span> -each other. But you must not now suppose that -because they are liquid they have lost their -attraction of cohesion; for here is the fluid -mercury, and if I pour it from one vessel into -another, I find that it will form a stream from -the bottle down to the glass—a continuous rod -of fluid mercury, the particles of which have -attraction sufficient to make them hold together -all the way through the air down to the glass -itself; and if I pour water quietly from a jug, -I can cause it to run in a continuous stream -in the same manner. Again, let me put a little -water on this piece of plate-glass, and then -take another plate of glass and put it on the -water; there! the upper plate is quite free to -move, gliding about on the lower one from side -to side; and yet, if I take hold of the upper -plate and lift it up straight, the cohesion is so -great that the lower one is held up by it. See -how it runs about as I move the upper one! and -this is all owing to the strong attraction of the -particles of the water. Let me shew you -another experiment. If I take a little soap and -water—not that the soap makes the particles -of the water more adhesive one for the other<span class="pagenum" id="Page_81">81</span> -but it certainly has the power of continuing in -a better manner the attraction of the particles -(and let me advise you, when about to experiment -with soap-bubbles, to take care to have -everything clean and soapy). I will now blow -a bubble; and that I may be able to talk and -blow a bubble too, I will take a plate with a -little of the soapsuds in it, and will just soap -the edges of the pipe, and blow a bubble on to -the plate. Now, there is our bubble. Why -does it hold together in this manner? Why, -because the water of which it is composed has -an attraction of particle for particle,—so great, -indeed, that it gives to this bubble the very -power of an india-rubber ball; for you see, if I -introduce one end of this glass tube into the -bubble, that it has the power of contracting so -powerfully as to force enough air through the -tube to blow out a light (fig. 22)—the light is -blown out. And look! see how the bubble is -disappearing, see how it is getting smaller and -smaller.</p> - -<div class="figcenter"> -<img src="images/fig_022_023.jpg" alt="" /> -<div class="caption">Fig. 22. and Fig. 23.</div> -</div> - -<p>There are twenty other experiments I might -shew you to illustrate this power of cohesion of -the particles of liquids. For instance, what<span class="pagenum" id="Page_82">82</span> -would you propose to me if, having lost the -stopper out of this alcohol bottle, I should want -to close it speedily with something near at hand. -Well, a bit of paper would not do, but a piece -of linen cloth would, or some of this cotton -wool which I have here. I will put a tuft of it -into the neck of the alcohol bottle, and you see, -when I turn it upside down, that it is perfectly -well stoppered, so far as the alcohol is concerned; -the air can pass through, but the alcohol cannot. -And if I were to take an oil vessel, this plan -would do equally well, for in former times they -used to send us oil from Italy in flasks stoppered -only with cotton wool (at the present time -the cotton is put in after the oil has arrived -here, but formerly it used to be sent so stoppered). -Now, if it were not for the particles of -liquid cohering together, this alcohol would run<span class="pagenum" id="Page_83">83</span> -out; and if I had time, I could have shewn you -a vessel with the top, bottom, and sides altogether -formed like a sieve, and yet it would hold -water, owing to this cohesion.</p> - -<p>You have now seen that the solid water can -become fluid by the addition of heat, owing to -this lessening the attractive force between its -particles, and yet you see that there is a good -deal of attractive force remaining behind. I -want now to take you another step beyond. -We saw that if we continued applying heat to -the water (as indeed happened with our piece -of ice here), that we did at last break up that -attraction which holds the liquid together; and -I am about to take some ether (any other liquid -would do, but ether makes a better experiment -for my purpose), in order to illustrate what will -happen when this cohesion is broken up. Now, -this liquid ether, if exposed to a very low temperature, -will become a solid; but if we apply -heat to it, it becomes vapour, and I want to -shew you the enormous bulk of the substance in -this new form—when we make ice into water, -we lessen its bulk, but when we convert water -into steam, we increase it to an enormous ex<span class="pagenum" id="Page_84">84</span>tent. -You see it is very clear that as I apply -heat to the liquid I diminish its attraction of -cohesion—it is now boiling, and I will set fire -to the vapour, so that you may be enabled to -judge of the space occupied by the ether in this -form by the size of its flame, and you now see -what an enormously bulky flame I get from -that small volume of ether below. The heat -from the spirit-lamp is now being consumed, -not in making the ether any warmer, but in -converting it into vapour; and if I desired to -catch this vapour and condense it (as I could -without much difficulty), I should have to do -the same as if I wished to convert steam into -water and water into ice: in either case it would -be necessary to increase the attraction of the -particles, by cold or otherwise. So largely is -the bulk occupied by the particles increased by -giving them this diminished attraction, that if -I were to take a portion of water a cubic inch in -bulk (<span class="smcap lowercase">A</span>, fig. 23) I should produce a volume of -steam of that size, <span class="smcap lowercase">B</span> [1700 cubic inches; nearly -a cubic foot], so greatly is the attraction of -cohesion diminished by heat; and yet it still -remains water. You can easily imagine the<span class="pagenum" id="Page_85">85</span> -consequences which are due to this change in -volume by heat—the mighty powers of steam -and the tremendous explosions which are sometimes -produced by this force of water. I want -you now to see another experiment, which will -perhaps give you a better illustration of the bulk -occupied by a body when in the state of vapour. -Here is a substance which we call iodine, and I -am about to submit this solid body to the same -kind of condition as regards heat that I did -the water and the ether [putting a few grains of -iodine into a hot glass globe, which immediately -became filled with the violet vapour], and you -see the same kind of change produced. Moreover, -it gives us the opportunity of observing -how beautiful is the violet-coloured vapour from -this black substance, or rather the mixture of -the vapour with air (for I would not wish you -to understand that this globe is entirely filled -with the vapour of iodine).</p> - -<p>If I had taken mercury and converted it into -vapour (as I could easily do), I should have a -perfectly colourless vapour; for you must understand -this about vapours, that bodies in what -we call the vaporous, or the gaseous state, are<span class="pagenum" id="Page_86">86</span> -always perfectly transparent, never cloudy or -smoky: they are, however, often coloured, and -we can frequently have coloured vapours or -gases produced by colourless particles themselves -mixing together, as in this case [the Lecturer -here inverted a glass cylinder full of binoxide of -nitrogen<a id="FNanchor_16_17" href="#Footnote_16_17" class="fnanchor">16</a> over a cylinder of oxygen, when the -dark-red vapour of hypo-nitrous acid was produced]. -Here also you see a very excellent -illustration of the effect of a power of nature -which we have not as yet come to, but which -stands next on our list—<span class="smcap">Chemical Affinity</span>. -And thus you see we can have a violet vapour -or an orange vapour, and different other kinds -of vapour; but they are always perfectly transparent, -or else they would cease to be vapours.</p> - -<p>I am now going to lead you a step beyond -this consideration of the attraction of the particles -for each other. You see we have come to -understand that, if we take water as an illustration, -whether it be ice, or water, or steam, it is -always to be considered by us as water. Well, -now prepare your minds to go a little deeper -into the subject. We have means of searching -into the constitution of water beyond any that<span class="pagenum" id="Page_87">87</span> -are afforded us by the action of heat, and -among these one of the most important is that -force which we call voltaic electricity, which we -used at our last meeting for the purpose of -obtaining light, and which we carried about -the room by means of these wires. This force -is produced by the battery behind me, to which, -however, I will not now refer more particularly: -before we have done we shall know more about -this battery, but it must grow up in our knowledge -as we proceed. Now, here (fig. 24) is a -portion of water in this little vessel <span class="smcap lowercase">C</span>, and -besides the water there are two plates of the -metal platinum, which are connected with the<span class="pagenum" id="Page_88">88</span> -wires (<span class="smcap lowercase">A</span> and <span class="smcap lowercase">B</span>) coming outside, and I want -to examine that water, and the state and the -condition in which its particles are arranged. -If I were to apply heat to it, you know what -we should get; it would assume the state of -vapour, but it would nevertheless remain water, -and would return to the liquid state as soon as -the heat was removed. Now, by means of these -wires (which are connected with the battery -behind me, and come under the floor and up -through the table), we shall have a certain -amount of this new power at our disposal. -Here you see it is [causing the ends of the -wires to touch]—that is the electric light we -used yesterday, and by means of these wires -we can cause water to submit itself to this -power; for the moment I put them into metallic -connection (at <span class="smcap lowercase">A</span> and <span class="smcap lowercase">B</span>), you see the water -boiling in that little vessel (<span class="smcap lowercase">C</span>), and you hear the -bubbling of the gas that is going through the -tube (<span class="smcap lowercase">D</span>). See how I am converting the water -into vapour; and if I take a little vessel (<span class="smcap lowercase">E</span>), and -fill it with water, and put it in the trough over -the end of the tube (<span class="smcap lowercase">D</span>), there goes the vapour -ascending into the vessel. And yet that is not<span class="pagenum" id="Page_89">89</span> -steam; for you know that if steam is brought -near cold water, it would at once condense, and -return back again to water. This then cannot -be steam, for it is bubbling through the cold -water in this trough; but it is a vaporous substance, -and we must therefore examine it carefully, -to see in what way the water has been -changed. And now, in order to give you a proof -that it is not steam, I am going to shew you -that it is combustible; for if I take this small -vessel to a light, the vapour inside explodes in -a manner that steam could never do.</p> - -<div class="figcenter"> -<img src="images/fig_024.jpg" alt="" /> -<div class="caption">Fig. 24.</div> -</div> - -<p>I will now fill this large bell-jar (<span class="smcap lowercase">F</span>) with -water; and I propose letting the gas ascend -into it, and I will then shew you that we can -reproduce the water back again from the -vapour or air that is there. Here is a strong -glass vessel (<span class="smcap lowercase">G</span>), and into it we will let the gas -(from <span class="smcap lowercase">F</span>) pass. We will there fire it by the -electric spark, and then after the explosion you -will find that we have got the water back -again: it will not be much, however, for you -will recollect that I shewed you how small a -portion of water produced a very large volume -of vapour. Mr. Anderson will now pump all<span class="pagenum" id="Page_90">90</span> -the air out of this vessel (<span class="smcap lowercase">G</span>); and when I have -screwed it on to the top of our jar of gas (<span class="smcap lowercase">F</span>), -you will see upon opening the stop-cocks (<span class="smcap lowercase">H´ H H</span>) -the water will jump up, shewing that some of -the gas has passed into the glass vessel. I will -now shut these stop-cocks, and we shall be able -to send the electric spark through the gas by -means of the wires (<span class="smcap lowercase">I</span>, <span class="smcap lowercase">K</span>) in the upper part of -the vessel, and you will see it burn with a most -intense flash. [Mr. Anderson here brought a -Leyden jar, which he discharged through the -confined gas by means of the wires <span class="smcap lowercase">I</span>, <span class="smcap lowercase">K</span>.] You -saw the flash; and now that you may see that -there is no longer any gas remaining, if I place -it over the jar and open the stop-cocks again, -up will go the gas, and we can have a second -combustion; and so I might go on again and -again, and I should continue to accumulate -more and more of the water to which the gas -has returned. Now, is not this curious?—in -this vessel (<span class="smcap lowercase">C</span>) we can go on making from water -a large bulk of <i>permanent gas</i>, as we call it, -and then we can reconvert it into water in this -way. [Mr. Anderson brought in another Leyden -jar, which, however, from some cause would not<span class="pagenum" id="Page_91">91</span> -ignite the gas. It was therefore recharged, -when the explosion took place in the desired -manner.] How beautifully we get our results -when we are right in our proceedings!—it is -not that Nature is wrong when we make a -mistake. Now, I will lay this vessel (<span class="smcap lowercase">G</span>) down -by my right hand, and you can examine it by -and by: there is not very much water flowing -down, but there is quite sufficient for you to -see.</p> - -<p>Another wonderful thing about this mode of -changing the condition of the water is this—that -we are able to get the separate parts of -which it is composed, at a distance the one from -the other, and to examine them, and see what -they are like, and how many of them there are; -and for this purpose I have here some more -water in a slightly different apparatus to the -former one (fig. 25), and if I place this in connection -with the wires of the battery (at <span class="smcap lowercase">A B</span>), I -shall get a similar decomposition of the water -at the two platinum plates. Now, I will put -this little tube (<span class="smcap lowercase">O</span>) over there, and that will -collect the gas together that comes from this -side (<span class="smcap lowercase">A</span>), and this tube (<span class="smcap lowercase">H</span>) will collect the gas<span class="pagenum" id="Page_92">92</span> -that comes from the other side (<span class="smcap lowercase">B</span>); and I think -we shall soon be able to see a difference. In -this apparatus the wires are a good way apart -from each other, and it now seems that <i>each</i> -of them is capable of drawing off particles from -the water and sending them off, and you see -that one set of particles (<span class="smcap lowercase">H</span>) is coming off twice -as fast as those collected in the other tube (<span class="smcap lowercase">O</span>). -Something is coming out of the water <i>there</i> -(at <span class="smcap lowercase">H</span>) which burns [setting fire to the gas]; but -what comes out of the water <i>here</i> (at <span class="smcap lowercase">O</span>), -although it will not burn, will support combustion -very vigorously. [The Lecturer here -placed a match with a glowing tip in the gas, -when it immediately rekindled.]</p> - -<div class="figcenter"> -<img src="images/fig_025.jpg" alt="" /> -<div class="caption">Fig. 25.</div> -</div> - -<p>Here, then, we have two things, neither of<span class="pagenum" id="Page_93">93</span> -them being water alone, but which we get out -of the water. Water is therefore composed of -two substances different to itself, which appear -at separate places when it is made to submit to -the force which I have in these wires; and if I -take an inverted tube of water and collect this -gas (<span class="smcap lowercase">H</span>), you will see that it is by no means the -same as the one we collected in the former -apparatus (fig. 24). That exploded with a loud -noise when it was lighted, but this will burn -quite noiselessly—it is called <i>hydrogen</i>; and -the other we call <i>oxygen</i>—that gas which so -beautifully brightens up all combustion, but -does not burn of itself. So now we see that -water consists of two kinds of particles attracting -each other in a very different manner to the -attraction of gravitation or cohesion; and this -new attraction we call <i>chemical affinity</i>, or the -force of chemical action between different -bodies. We are now no longer concerned with -the attraction of iron for iron, water for water, -wood for wood, or like bodies for each other, as -we were when dealing with the force of cohesion: -we are dealing with another kind of attraction,—the -attraction between particles of a <i>different</i><span class="pagenum" id="Page_94">94</span> -nature one to the other. Chemical affinity -depends entirely upon the energy with which -particles of <i>different</i> kinds attract each other. -Oxygen and hydrogen are particles of different -kinds, and it is their attraction to each other -which makes them chemically combine and -produce water.</p> - -<p>I must now shew you a little more at large -what chemical affinity is. I can prepare these -gases from other substances, as well as from -water; and we will now prepare some oxygen. -Here is another substance which contains oxygen—chlorate -of potash. I will put some of it into -this glass retort, and Mr. Anderson will apply -heat to it. We have here different jars filled -with water; and when, by the application of -heat, the chlorate of potash is decomposed, we -will displace the water, and fill the jars with -gas.</p> - -<p>Now, when water is opened out in this way -by means of the battery—which adds nothing -to it materially, which takes nothing from it -materially (I mean no <i>matter</i>; I am not speaking -of <i>force</i>), which adds no <i>matter</i> to the -water—it is changed in this way: the gas<span class="pagenum" id="Page_95">95</span> -which you saw burning a little while ago, -called <i>hydrogen</i>, is evolved in large quantity, -and the other gas, <i>oxygen</i>, is evolved in only -half the quantity; so that these two areas -represent water, and these are always the proportions -between the two gases.</p> - - -<div class="figcenter" > -<img src="images/i_095.jpg" alt="Image showing the 2:1 ratio of hydrogen to oxygen" /> -</div> - - -<div class="center"> -<table border="0" cellpadding="4" cellspacing="0" summary=""> -<tr> - <td class="tdl">Oxygen,</td> - <td class="tdr">88.9</td> -</tr> -<tr> - <td class="tdl">Hydrogen,</td> - <td class="tdrbb">11.1</td> -</tr> -<tr> - <td class="tdl">Water,</td> - <td class="tdr">100.0</td> -</tr> -</table></div> - - -<p>But oxygen is sixteen times the weight -of the other—eight times as heavy as the -particles of hydrogen in the water; and you -therefore know that water is composed of -nine parts by weight—one of hydrogen and -eight of oxygen; thus:—</p> - - -<div class="center"> -<table border="0" cellpadding="4" cellspacing="0" summary=""> -<tr> - <td class="tdl">Hydrogen,</td> - <td class="tdl">46.2 cubic inches,</td> - <td class="tdl">= 1 grain.</td> -</tr> -<tr> - <td class="tdl">Oxygen,</td> - <td class="tdl">23.1 cubic inches,</td> - <td class="tdl">= 8 grains.</td> -</tr> -<tr class="narrow"> - <td></td> - <td class="tdl">——</td> - <td class="tdl"> —</td> -</tr> -<tr> - <td class="tdl">Water (<i>steam</i>),</td> - <td class="tdl">69.3 cubic inches,</td> - <td class="tdl">= 9 grains.</td> -</tr> -</table></div> - -<p>Now, Mr. Anderson has prepared some oxy<span class="pagenum" id="Page_96">96</span>gen, -and we will proceed to examine what -is the character of this gas. First of all, you -remember, I told you that it does not burn, -but that it affects the burning of other bodies. -I will just set fire to the point of this little -bit of wood, and then plunge it into the jar -of oxygen, and you will see what this gas -does in increasing the brilliancy of the combustion. -It does not burn—it does not take -fire as the hydrogen would—but how vividly -the combustion of the match goes on. Again, -if I were to take this wax taper and light -it, and turn it upside down in the air, it -would in all probability put itself out, owing -to the wax running down into the wick. [The -Lecturer here turned the lighted taper upside -down, when in a few seconds it went out.] Now, -that will not happen in oxygen gas; you will -see how differently it acts (fig. 26). [The taper -was again lighted, turned upside down, and -then introduced into a jar of oxygen.] Look at -that! see how the very wax itself burns, and falls -down in a dazzling stream of fire, so powerfully -does the oxygen support combustion. Again, -here is another experiment which will serve to<span class="pagenum" id="Page_97">97</span> -illustrate the force, if I may so call it, of oxygen. -I have here a circular flame of spirit of wine, -and with it I am about to shew you the way -in which iron burns, because it will serve very -well as a comparison between the effect produced -by air and oxygen. If I take this ring flame, -I can shake by means of a sieve the fine -particles of iron filings through it, and you -will see the way in which they burn. [The -Lecturer here shook through the flame some -iron filings, which took fire and fell through -with beautiful scintillations.] But if I now -hold the flame over a jar of oxygen [the experiment -was repeated over a jar of oxygen, -when the combustion of the filings, as they<span class="pagenum" id="Page_98">98</span> -fell into the oxygen, became almost insupportably -brilliant], you see how wonderfully -different the effect is in the jar; because -there we have oxygen instead of common -air.</p> - -<div class="figcenter"> -<img src="images/fig_026.jpg" alt="" /> -<div class="caption">Fig. 26.</div> -</div> - -<hr class="chap" /> -</div><div class="chapter"> -<p><span class="pagenum" id="Page_99">99</span></p> - - - - - -<h2 title="CHEMICAL AFFINITY—HEAT.">LECTURE IV.<br /> - -<small>CHEMICAL AFFINITY—HEAT.</small></h2> - - -<p>We shall have to pay a little more attention -to the forces existing in -water before we can have a clear idea on the -subject. Besides the attraction which there -is between its particles to make it hold together -as a liquid or a solid, there is also -another force, different from the former—one -which, yesterday, by means of the voltaic -battery, we overcame, drawing from the water -two different substances—which, when heated -by means of the electric spark, attracted each -other, and rushed into combination to reproduce -water. Now, I propose to-day to continue this -subject, and trace the various phenomena of -chemical affinity; and for this purpose, as we -yesterday considered the character of oxygen, of -which I have here two jars (oxygen being those -particles derived from the water which enable<span class="pagenum" id="Page_100">100</span> -other bodies to burn), we will now consider -the other constituent of water; and, without -embarrassing you too much with the way in -which these things are made, I will proceed -now to shew you our common way of making -<i>hydrogen</i>. (I called it hydrogen yesterday—it -is so called because it helps to generate -water.)<a id="FNanchor_A_1" href="#Footnote_A_1" class="fnanchor">A</a> I put into this retort some zinc, water, -and oil of vitriol, and immediately an action -takes place, which produces an abundant evolution -of gas, now coming over into this jar, -and bubbling up in appearance exactly like -the oxygen we obtained yesterday.</p> - -<div class="footnote"> - -<p><a name="Footnote_A_1" id="Footnote_A_1"></a><a href="#FNanchor_A_1"><span class="label">[A]</span></a> ὕδωρ, “water,” and γενναω, “I generate.”. -</p></div> - - -<div class="figcenter"> -<img src="images/fig_027.jpg" alt="" /> -<div class="caption">Fig. 27.</div> -</div> - -<p>The processes, you see, are very different, -though the result is the same, in so far<span class="pagenum" id="Page_101">101</span> -as it gives us certain gaseous particles. Here, -then, is the hydrogen. I shewed you yesterday -certain qualities of this gas; now let me exhibit -you some other properties. Unlike oxygen, -which is a supporter of combustion, and will -not burn, hydrogen itself is combustible. There -is a jar full of it; and if I carry it along in -this manner, and put a light to it, I think -you will see it take fire, not with a bright light—you -will at all events hear it, if you do not -see it. Now, that is a body entirely different -from oxygen: it is extremely light; for although -yesterday you saw twice as much of this -hydrogen produced on the one side as on -the other, by the voltaic battery, it was only -one-eighth the weight of the oxygen. I carry -this jar upside-down. Why? Because I know -that it is a very light body, and that it will -continue in this jar upside-down quite as -effectually as the water will in that jar which -is not upside-down; and just as I can pour -water from one vessel into another in the -right position to receive it, so can I pour -this gas from one jar into another when they -are upside-down. See what I am about to<span class="pagenum" id="Page_102">102</span> -do. There is no hydrogen in this jar at present, -but I will gently turn this jar of hydrogen -up under this other jar (fig. 28), and then we -will examine the two. We shall see, on applying -a light, that the hydrogen has left the -jar in which it was at first, and has poured -upwards into the other, and there we shall -find it.</p> - -<div class="figcenter"> -<img src="images/fig_028.jpg" alt="" /> -<div class="caption">Fig. 28.</div> -</div> - -<p>You now understand that we can have particles -of very different kinds, and that they can -have different bulks and weights; and there are -two or three very interesting experiments which -serve to illustrate this. For instance, if I blow -soap bubbles with the breath from my mouth, -you will see them fall, because I fill them with -common air, and the water which forms the -bubble carries it down. But now, if I inhale<span class="pagenum" id="Page_103">103</span> -hydrogen gas into my lungs (it does no harm -to the lungs, although it does no good to them), -see what happens. [The Lecturer inhaled some -hydrogen, and after one or two ineffectual -attempts, succeeded in blowing a splendid -bubble, which rose majestically and slowly to -the ceiling of the theatre, where it burst.] That -shews you very well how light a substance this -is; for, notwithstanding all the heavy bad air -from my lungs, and the weight of the bubble, -you saw how it was carried up. I want you -now to consider this phenomenon of weight as -indicating how exceedingly different particles are<span class="pagenum" id="Page_104">104</span> -one from the other; and I will take as illustrations -these very common things—air, water, the -heaviest body, platinum, and this gas: and observe -how they differ in this respect; for if I -take a piece of platinum of that size (fig. 29), -it is equal to the weight of portions of water, -air, and hydrogen of the bulks I have represented -in these spheres. And this illustration -gives you a very good idea of the extraordinary -difference with regard to the gravity of the -articles having this enormous difference in bulk. -[The following tabular statement having reference -to this illustration appeared on the diagram -board.]</p> - -<div class="figcenter"> -<img src="images/fig_029.jpg" alt="" /> -<div class="caption">Fig. 29</div> -</div> - -<div class="center"> -<table border="1" cellpadding="4" cellspacing="0" summary=""> -<tr> - <td class="tdl"> Hydrogen,</td> - <td class="tdr">1 </td> -</tr> -<tr> - <td class="tdl"> Air,</td> - <td class="tdr">14.4</td> - <td class="tdr">1</td> -</tr> -<tr> - <td class="tdl"> Water,</td> - <td class="tdr">11943 </td> - <td class="tdr">829</td> - <td class="tdr">1 </td> -</tr> -<tr> - <td class="tdl"> Platinum,</td> - <td class="tdr">256774 </td> - <td class="tdr">17831</td><td class="tdr">21.5</td> -</tr> -</table></div> - -<p> -Whenever oxygen and hydrogen unite together -they produce water; and you have seen -the extraordinary difference between the bulk<span class="pagenum" id="Page_105">105</span> -and appearance of the water so produced, and -the particles of which it consists chemically. -Now, we have never yet been able to reduce -either oxygen or hydrogen to the liquid state; -and yet their first impulse, when chemically -combined, is to take up first this liquid condition, -and then the solid condition. We never combine -these different particles together without -producing water; and it is curious to think how -often you must have made the experiment of -combining oxygen and hydrogen to form water -without knowing it. Take a candle, for instance, -and a clean silver spoon (or a piece of -clean tin will do), and if you hold it over the -flame, you immediately cover it with dew—not -a smoke—which presently evaporates. This<span class="pagenum" id="Page_106">106</span> -perhaps will serve to shew it better. Mr. Anderson -will put a candle under that jar, and -you will see how soon the water is produced -(fig. 30). Look at that dimness on the sides -of the glass, which will soon produce drops, and -trickle down into the plate. Well, that dimness -and these drops are <i>water</i>, formed by the -union of the oxygen of the air with the hydrogen -existing in the wax of which that candle -is formed.</p> - -<div class="figcenter"> -<img src="images/fig_030.jpg" alt="" /> -<div class="caption">Fig. 30.</div> -</div> - -<p>And now, having brought you in the first -place to the consideration of chemical attraction, -I must enlarge your ideas so as to include -all substances which have this attraction for -each other—for it changes the character of -bodies, and alters them in this way and that -way in the most extraordinary manner, and -produces other phenomena wonderful to think -about. Here is some chlorate of potash, and -there some sulphuret of antimony.<a id="FNanchor_17_18" href="#Footnote_17_18" class="fnanchor">17</a> We will -mix these two different sets of particles together; -and I want to shew you in a general sort of -way some of the phenomena which take place -when we make different particles act together. -Now, I can make these bodies act upon each<span class="pagenum" id="Page_107">107</span> -other in several ways. In this case I am going -to apply heat to the mixture; but if I were to -give a blow with a hammer, the same result -would follow. [A lighted match was brought -to the mixture, which immediately exploded -with a sudden flash, evolving a dense white -smoke.] There you see the result of the action -of chemical affinity overcoming the attraction -of cohesion of the particles. Again, here is a -little sugar<a id="FNanchor_18_19" href="#Footnote_18_19" class="fnanchor">18</a>, quite a different substance from -the black sulphuret of antimony, and you shall -see what takes place when we put the two together. -[The mixture was touched with sulphuric -acid, when it took fire and burnt -gradually, and with a brighter flame than in -the former instance.] Observe this chemical -affinity travelling about the mass, and setting -it on fire, and throwing it into such wonderful -agitation! -</p> -<p> -I must now come to a few circumstances -which require careful consideration. We have -already examined one of the effects of this -chemical affinity; but to make the matter more -clear we must point out some others. And -here are two salts dissolved in water<a id="FNanchor_19_20" href="#Footnote_19_20" class="fnanchor">19</a>. They<span class="pagenum" id="Page_108">108</span> -are both colourless solutions, and in these -glasses you cannot see any difference between -them. But if I mix them, I shall have chemical -attraction take place. I will pour the two -together into this glass, and you will at once -see, I have no doubt, a certain amount of -change. Look, they are already becoming -milky, but they are sluggish in their action—not -quick as the others were—for we have endless -varieties of rapidity in chemical action. -Now, if I mix them together, and stir them, so -as to bring them properly together, you will -soon see what a different result is produced. -As I mix them, they get thicker and thicker, -and you see the liquid is hardening and stiffening, -and before long I shall have it quite hard; -and before the end of the lecture it will be a -solid stone—a wet stone, no doubt, but more -or less solid—in consequence of the chemical -affinity. Is not this changing two liquids into -a solid body a wonderful manifestation of -chemical affinity? -</p> -<p> -There is another remarkable circumstance in -chemical affinity, which is, that it is capable -of either waiting or acting at once. And this<span class="pagenum" id="Page_109">109</span> -is very singular, because we know of nothing of -the kind in the forces either of gravitation or -cohesion. For instance, here are some oxygen -particles, and here is a lump of carbon particles. -I am going to put the carbon particles into the -oxygen; they <i>can</i> act, but they <i>do</i> not—they -are just like this unlighted candle. It stands -here quietly on the table, waiting until we want -to light it. But it is not so in this other case. -Here is a substance, gaseous like the oxygen, -and if I put these particles of metal into it, -the two combine at once. The copper and -the chlorine unite by their power of chemical -affinity, and produce a body entirely unlike -either of the substances used. And in this -other case, it is not that there is any deficiency -of affinity between the carbon and oxygen; -for the moment I choose to put them in a -condition to exert their affinity, you will see the -difference. [The piece of charcoal was ignited, -and introduced into the jar of oxygen, when -the combustion proceeded with vivid scintillations.] -</p> -<p> -Now, this chemical action is set going exactly -as it would be if I had lighted the candle, or<span class="pagenum" id="Page_110">110</span> -as it is when the servant puts coals on and -lights the fire: the substances wait until we do -something which is able to start the action. -Can anything be more beautiful than this combustion -of charcoal in oxygen? You must -understand that each of these little sparks is a -portion of the charcoal, or the bark of the -charcoal, thrown off white-hot into the oxygen, -and burning in it most brilliantly, as you see. -And now let me tell you another thing, or you -will go away with a very imperfect notion of -the powers and effects of this affinity. There -you see some charcoal burning in oxygen. -Well, a piece of lead will burn in oxygen just -as well as the charcoal does, or indeed better; -for absolutely that piece of lead will act at once -upon the oxygen as the copper did in the other -vessel with regard to the chlorine. And here -also a piece of iron: if I light it and put it into -the oxygen, it will burn away just as the carbon -did. And I will take some lead, and shew you -that it will burn in the common atmospheric -oxygen at the ordinary temperature. These -are the lumps of lead which, you remember, we -had the other day—the two pieces which clung<span class="pagenum" id="Page_111">111</span> -together. Now these pieces, if I take them -to-day and press them together, will not stick; -and the reason is, that they have attracted from -the atmosphere a part of the oxygen there -present, and have become coated as with a -varnish by the oxide of lead, which is formed -on the surface by a real process of combustion -or combination. There you see the iron burning -very well in oxygen; and I will tell you the -reason why those scissors and that lead do -not take fire whilst they are lying on the table. -Here the lead is in a lump, and the coating of -oxide remains on its surface; whilst there you -see the melted oxide is clearing itself off from -the iron, and allowing more and more to go on -burning. In this case, however [holding up a -small glass tube containing lead pyrophorus.<a id="FNanchor_20_21" href="#Footnote_20_21" class="fnanchor">20</a>, -the lead has been very carefully produced in -fine powder, and put into a glass tube, and -hermetically sealed, so as to preserve it; and I -expect you will see it take fire at once. This -has been made about a month ago, and has -thus had time enough to sink down to its -normal temperature. What you see, therefore, -is the result of chemical affinity alone. [The<span class="pagenum" id="Page_112">112</span> -tube was broken at the end, and the lead -poured out on to a piece of paper, whereupon -it immediately took fire.] Look, look at the -lead burning; why, it has set fire to the paper! -Now, that is nothing more than the common -affinity always existing between very clean lead -and the atmospheric oxygen; and the reason -why this iron does not burn until it is made -red-hot is, because it has got a coating of oxide -about it, which stops the action of the oxygen—putting -a varnish, as it were, upon its surface, -as we varnish a picture, absolutely forming a -substance which prevents the natural chemical -affinity between the bodies from acting.</p> - -<p>I must now take you a little further in this -kind of illustration—or consideration, I would -rather call it—of chemical affinity. This attraction -between different particles exists also most -curiously in cases where they are previously -combined with other substances. Here is a -little chlorate of potash, containing the oxygen -which we found yesterday could be procured -from it. It contains the oxygen there combined -and held down by its chemical affinity with -other things; but still it can combine with<span class="pagenum" id="Page_113">113</span> -sugar, as you saw. This affinity can thus act -<i>across</i> substances; and I want you to see how -curiously what we call combustion acts with -respect to this force of chemical affinity. If I -take a piece of phosphorus and set fire to it, and -then place a jar of air over the phosphorus, -you see the combustion which we are having -there on account of chemical affinity (combustion -being in all cases the result of chemical -affinity). The phosphorus is escaping in that -vapour, which will condense into a snow-like -mass at the close of the lecture. But suppose -I limit the atmosphere, what then? why, even -the phosphorus will go out. Here is a piece -of camphor, which will burn very well in the -atmosphere, and even on water it will float -about and burn, by reason of some of its particles -gaining access to the air. But if I limit -the quantity of air by placing a jar over it, as -I am now doing, you will soon find the camphor -will go out. Well, why does it go out? Not for -want of air, for there is plenty of air remaining -in the jar. Perhaps you will be shrewd enough -to say, for want of oxygen.</p> - -<p>This, therefore, leads us to the inquiry as to<span class="pagenum" id="Page_114">114</span> -whether oxygen can do more than a certain -amount of work. The oxygen there (fig. 30) -cannot go on burning an unlimited quantity of -candle, for that has gone out, as you see; and -its amount of chemical attraction or affinity is -just as strikingly limited: it can no more be -fallen short of or exceeded than can the attraction -of gravitation. You might as soon attempt -to destroy gravitation, or weight, or all things -that exist, as to destroy the exact amount of -force exerted by this oxygen. And when I -pointed out to you that 8 by weight of oxygen -to 1 by weight of hydrogen went to form water, -I meant this, that neither of them would combine -in different proportions with the other; for -you cannot get 10 of hydrogen to combine with -6 of oxygen, or 10 of oxygen to combine with -6 of hydrogen—it must be 8 of oxygen and 1 -of hydrogen. Now, suppose I limit the action -in this way: this piece of cotton wool burns, -as you see, very well in the atmosphere; and I -have known of cases of cotton-mills being fired -as if with gunpowder, through the very finely-divided -particles of cotton being diffused through -the atmosphere in the mill, when it has some<span class="pagenum" id="Page_115">115</span>times -happened that a flame has caught these -raised particles, and it has run from one end of -the mill to the other, and blown it up. That, -then, is on account of the affinity which the -cotton has for the oxygen; but suppose I set -fire to this piece of cotton, which is rolled up -tightly, it does not go on burning, because I -have limited the supply of oxygen, and the -inside is prevented from having access to the -oxygen, just as it was in the case of the lead -by the oxide. But here is some cotton which -has been imbued with oxygen in a certain -manner. I need not trouble you now with the -way it is prepared; it is called gun-cotton.<a id="FNanchor_21_22" href="#Footnote_21_22" class="fnanchor">21</a> -See how that burns [setting fire to a piece]; it -is very different from the other, because the -oxygen that must be present in its proper -amount is put there beforehand. And I have -here some pieces of paper which are prepared -like the gun-cotton<a id="FNanchor_22_23" href="#Footnote_22_23" class="fnanchor">22</a>, and imbued with bodies -containing oxygen. Here is some which has -been soaked in nitrate of strontia—you will see -the beautiful red colour of its flame; and here is -another which I think contains baryta, which -gives that fine green light; and I have here<span class="pagenum" id="Page_116">116</span> -some more which has been soaked in nitrate of -copper—it does not burn quite so brightly, but -still very beautifully. In all these cases the -combustion goes on independent of the oxygen -of the atmosphere. And here we have some -gunpowder put into a case, in order to shew -that it is capable of burning under water. You -know that we put it into a gun, shutting off the -atmosphere, with shot, and yet the oxygen -which it contains supplies the particles with -that without which chemical action could not -proceed. Now, I have a vessel of water here, -and am going to make the experiment of putting -this fuse under the water, and you will see -whether that water can extinguish it. Here it is -burning out of the water, and there it is burning -under the water; and so it will continue until -exhausted, and all by reason of the requisite -amount of oxygen being contained within the -substance. It is by this kind of attraction of -the different particles one to the other that -we are enabled to trace the laws of chemical -affinity, and the wonderful variety of the exertions -of these laws.</p> - -<p>Now, I want you to observe that one great<span class="pagenum" id="Page_117">117</span> -exertion of this power, which is known as -<i>chemical affinity</i>, is to produce <span class="smcap lowercase">HEAT</span> and light. -You know, as a matter of fact, no doubt, that -when bodies burn they give out heat; but it is -a curious thing that this heat does not continue—the -heat goes away as soon as the action -stops, and you see thereby that it depends upon -the action <i>during the time</i> it is going on. It -is not so with gravitation: this force is continuous, -and is just as effective in making that -lead press on the table as it was when it first -fell there. Nothing occurs there which disappears -when the action of falling is over; the -pressure is upon the table, and will remain there -until the lead is removed; whereas, in the action -of chemical affinity to give light and heat, they -go away immediately the action is over. This -lamp <i>seems</i> to evolve heat and light continuously; -but it is owing to a constant stream -of air coming into it on all sides, and this work -of producing light and heat by chemical affinity -will subside as soon as the stream of air is -interrupted. What, then, is this curious condition -of heat? Why is the evolution of another -power of matter, of a power new to us, and<span class="pagenum" id="Page_118">118</span> -which we must consider as if it were now for -the very first time brought under our notice? -What is heat? We recognise heat by its power -of liquefying solid bodies and vaporising liquid -bodies, by its power of setting in action, and -very often overcoming, chemical affinity. Then, -how do we obtain heat? We obtain it in -various ways—most abundantly by means of -the chemical affinity we have just before been -speaking about; but we can also obtain it in -many other ways. Friction will produce heat. -The Indians rub pieces of wood together until -they make them hot enough to take fire; and -such things have been known as two branches -of a tree rubbing together so hard as to set the -tree on fire. I do not suppose I shall set these -two pieces of wood on fire by friction; but I -can readily produce heat enough to ignite some -phosphorus. [The Lecturer here rubbed two -pieces of cedar-wood strongly against each -other for a minute, and then placed on them -a piece of phosphorus, which immediately -took fire.] And if you take a smooth metal -button stuck on a cork, and rub it on a piece -of soft deal wood, you will make it so<span class="pagenum" id="Page_119">119</span> -hot as to scorch wood and paper, and burn a -match.</p> - -<div class="figright"> -<img src="images/fig_031.jpg" alt="" /> -<div class="caption">Fig. 31.</div> -</div> - -<p>I am now going to shew you that -we can obtain heat, not by chemical -affinity alone, but by the pressure of -air. Suppose I take a pellet of cotton -and moisten it with a little ether, and -put it into a glass tube (fig. 31), and -then take a piston and press it down -suddenly, I expect I shall be able to -burn a little of that ether in the vessel. -It wants a suddenness of pressure, -or we shall not do what we require. [The piston -was forcibly pressed down, when a flame, due -to the combustion of the ether, was visible in -the lower part of the syringe.] All we want -is to get a little ether in vapour, and give fresh -air each time, and so we may go on again and -again getting heat enough by the compression -of air to fire the ether-vapour.</p> - -<p>This, then, I think, will be sufficient, accompanied -with all you have previously seen, to -shew you how we procure heat. And now for -the effects of this power. We need not consider -many of them on the present occasion, because<span class="pagenum" id="Page_120">120</span> -when you have seen its power of changing ice -into water and water into steam, you have seen -the two principal results of the application of -heat. I want you now to see how it expands -all bodies—all bodies but one, and that under -limited circumstances. Mr. Anderson will hold -a lamp under that retort, and you will see the -moment he does so that the air will issue -abundantly from the neck, which is under water, -because the heat which he applies to the air -causes it to expand. And here is a brass rod -(fig. 32) which goes through that hole, and fits -also accurately into this gauge; but if I make it -warm with this spirit-lamp, it will only go in the -gauge or through the hole with difficulty; and -if I were to put it into boiling-water, it would -not go through at all. Again, as soon as the<span class="pagenum" id="Page_121">121</span> -heat escapes from bodies they collapse. See how -the air is contracting in the vessel, now that Mr. -Anderson has taken away his lamp: the stem -of it is filling with water. Notice, too, now, that -although I cannot get the tube through this -hole or into the gauge, the moment I cool it -by dipping it into water, it goes through with -perfect facility; so that we have a perfect proof -of this power of heat to contract and expand -bodies.</p> - -<div class="figcenter"> -<img src="images/fig_032.jpg" alt="" /> -<div class="caption">Fig. 32.</div> -</div> - -<hr class="chap" /> -</div><div class="chapter"> -<p><span class="pagenum" id="Page_122">122</span></p> - - - - - -<h2 title="MAGNETISM—ELECTRICITY.">LECTURE V.<br /> - -<small>MAGNETISM—ELECTRICITY.</small></h2> - - -<p>I wonder whether we shall be too deep -to-day or not. Remember that we spoke -of the attraction by gravitation of <i>all</i> bodies to -all bodies by their simple approach. Remember -that we spoke of the attraction of particles of the -<i>same</i> kind to each other,—that power which keeps -them together in masses,—iron attracted to iron, -brass to brass, or water to water. Remember -that we found, on looking into water, that there -were particles of two different kinds attracted to -each other; and this was a great step beyond -the first simple attraction of gravitation; because -here we deal with attraction between <i>different</i> -kinds of matter. The hydrogen could attract -the oxygen, and reduce it to water, but it could -not attract any of its own particles; so that there -we obtained a first indication of the existence of -<i>two</i> attractions.</p> - -<p><span class="pagenum" id="Page_123">123</span></p> - -<p>To-day we come to a kind of attraction even -more curious than the last, namely, the attraction -which we find to be of a double nature—of -a curious and dual nature. And I want first -of all to make the nature of this doubleness -clear to you. Bodies are sometimes endowed -with a wonderful attraction, which is not found -in them in their ordinary state. For instance, -here is a piece of shell-lac, having the attraction -of gravitation, having the attraction of cohesion; -and if I set fire to it, it would have the attraction -of chemical affinity to the oxygen in the -atmosphere. Now, all these powers we find <i>in</i> -it as if they were parts of its substance; but -there is another property which I will try and -make evident by means of this ball, this bubble -of air [a light india-rubber ball, inflated and -suspended by a thread]. There is no attraction -between this ball and this shell-lac at present: -there may be a little wind in the room slightly -moving the ball about, but there is no attraction. -But if I rub the shell-lac with a piece of -flannel [rubbing the shell-lac, and then holding -it near the ball], look at the attraction which -has arisen out of the shell-lac, simply by this<span class="pagenum" id="Page_124">124</span> -friction, and which I may take away as easily -by drawing it gently through my hand. [The -Lecturer repeated the experiment of exciting -the shell-lac, and then removing the attractive -power by drawing it through his hand.] Again, -you will see I can repeat this experiment with -another substance; for if I take a glass rod and -rub it with a piece of silk covered with what -we call amalgam, look at the attraction which -it has, how it draws the ball towards it; and -then, as before, by quietly rubbing it through -the hand, the attraction will be all removed -again, to come back by friction with this silk.</p> - -<div class="figcenter"> -<img src="images/fig_033.jpg" alt="" /> -<div class="caption">Fig. 33.</div> -</div> - -<p>But now we come to another fact. I will -take this piece of shell-lac and make it attractive -by friction; and remember that whenever we -get an attraction of gravity, chemical affinity, -adhesion, or electricity (as in this case), the -body which attracts is attracted also; and just -as much as that ball was attracted by the -shell-lac, the shell-lac was attracted by the ball. -Now, I will suspend this piece of excited shell-lac -in a little paper stirrup, in this way (fig. 33), in -order to make it move easily, and I will take -another piece of shell-lac, and after rubbing it<span class="pagenum" id="Page_125">125</span> -with flannel, will bring them near together. -You will think that they ought to attract each -other; but now what happens? It does not -attract; on the contrary, it very strongly <i>repels</i>, -and I can thus drive it round to any extent. -These, therefore, repel each other, although -they are so strongly attractive—repel each -other to the extent of driving this heavy piece -of shell-lac round and round in this way. But if -I excite this piece of shell-lac, as before, and take -this piece of glass and rub it with silk, and -then bring them near, what think you will -happen? [The Lecturer held the excited glass -near the excited shell-lac, when they attracted<span class="pagenum" id="Page_126">126</span> -each other strongly.] You see, therefore, what -a difference there is between these two attractions,—they -are actually two <i>kinds</i> of attraction -concerned in this case, quite different to -anything we have met with before; but the -<i>force</i> is the same. We have here, then, a -double attraction—a dual attraction or force—one -attracting, and the other repelling.</p> - -<p>Again, to shew you another experiment -which will help to make this clear to you. -Suppose I set up this rough indicator again -[the excited shell-lac suspended in the stirrup]—it -is rough, but delicate enough for my purpose; -and suppose I take this other piece of shell-lac, -and take away the power, which I can do by -drawing it gently through the hand; and suppose -I take a piece of flannel (fig. 34), which I -have shaped into a cap for it and made dry. -I will put this shell-lac into the flannel, and here -comes out a very beautiful result. I will rub -this shell-lac and the flannel together (which I -can do by twisting the shell-lac round), and leave -them in contact; and then, if I ask, by bringing -them nearer our indicator, what is the attractive -force?—it is nothing! But if I take them apart,<span class="pagenum" id="Page_127">127</span> -and then ask what will they do when they are -separated—why, the shell-lac is strongly repelled, -as it was before, but the cap is strongly attractive; -and yet if I bring them both together again, there -is no attraction—it has all disappeared [the -experiment was repeated]. Those two bodies, -therefore, still contain this attractive power: -when they were parted, it was evident to your -senses that they had it, though they do not -attract when they are together.</p> - -<div class="figcenter"> -<img src="images/fig_034.jpg" alt="" /> -<div class="caption">Fig. 34.</div> -</div> - -<div class="figcenter"> -<img src="images/fig_035.jpg" alt="" /> -<div class="caption">Fig. 35.</div> -</div> - -<p>This, then, is sufficient in the outset to give -you an idea of the nature of the force which -we call <span class="smcap lowercase">ELECTRICITY</span>. There is no end to the<span class="pagenum" id="Page_128">128</span> -things from which you can evolve this power. -When you go home, take a stick of sealing-wax—I -have rather a large stick, but a smaller one -will do—and make an indicator of this sort -(fig. 35). Take a watch-glass (or your watch -itself will do; you only want something which -shall have a round face), and now, if you place a -piece of flat glass upon that, you have a very -easily moved centre. And if I take this lath and -put it on the flat glass (you see I am searching -for the centre of gravity of this lath—I want to -balance it upon the watch-glass), it is very -easily moved round; and if I take this piece of -sealing-wax and rub it against my coat, and -then try whether it is attractive [holding it near -the lath], you see how strong the attraction is; -I can even draw it about. Here, then, you have -a very beautiful indicator, for I have, with a<span class="pagenum" id="Page_129">129</span> -small piece of sealing-wax and my coat, pulled -round a plank of that kind; so you need be in -no want of indicators to discover the presence -of this attraction. There is scarcely a substance -which we may not use. Here are some indicators -(fig. 36). I bend round a strip of paper into -a hoop, and we have as good an indicator as can -be required. See how it rolls along, travelling -after the sealing-wax. If I make them smaller, -of course we have them running faster, and -sometimes they are actually attracted up into -the air. Here also is a little collodion balloon. -It is so electrical that it will scarcely leave my -hand unless to go to the other. See, how curiously -electrical it is: it is hardly possible for me -to touch it without making it electrical; and -here is a piece which clings to anything it is -brought near, and which it is not easy to lay<span class="pagenum" id="Page_130">130</span> -down. And here is another substance, gutta-percha, -in thin strips: it is astonishing how, by -rubbing this in your hands, you make it electrical. -But our time forbids us to go further into -this subject at present. You see clearly there are -two kinds of electricities which may be obtained -by rubbing shell-lac with flannel, or glass with -silk.</p> - -<div class="figcenter"> -<img src="images/fig_036.jpg" alt="" /> -<div class="caption">Fig. 36.</div> -</div> - -<p>Now, there are some curious bodies in nature -(of which I have two specimens on the table) -which are called <i>magnets</i> or <i>loadstones</i>—ores of -iron, of which there is a great deal sent from -Sweden. They have the attraction of gravitation, -and attraction of cohesion, and certain -chemical attraction; but they also have a great -attractive power, for this little key is held up -by this stone. Now, that is not chemical -attraction,—it is not the attraction of chemical -affinity, or of aggregation of particles, or of -cohesion, or of electricity (for it will not -attract this ball if I bring it near it); but it is -a separate and dual attraction—and, what is -more, one which is not readily removed from -the substance, for it has existed in it for ages -and ages in the bowels of the earth. Now, we<span class="pagenum" id="Page_131">131</span> -can make artificial magnets (you will see me -to-morrow make artificial magnets of extraordinary -power). And let us take one of these -artificial magnets, and examine it, and see -where the power is in the mass, and whether it -is a dual power. You see it attracts these keys, -two or three in succession, and it will attract -a very large piece of iron. That, then, is a -very different thing indeed to what you saw -in the case of the shell-lac; for <i>that</i> only -attracted a light ball, but here I have several -ounces of iron held up. And if we come to -examine this attraction a little more closely, -we shall find it presents some other remarkable -differences: first of all, one end of this -bar (fig. 37) attracts this key, but the middle -does not attract. It is not, then, the <i>whole</i> of -the substance which attracts. If I place this -little key in the middle, it does not adhere; but -if I place it <i>there</i>, a little nearer the end, it -does, though feebly. Is it not, then, very -curious to find that there is an attractive power -at the extremities which is not in the middle—to -have thus in one bar two places in which -this force of attraction resides! If I take this<span class="pagenum" id="Page_132">132</span> -bar and balance it carefully on a point, so that -it will be free to move round, I can try what -action this piece of iron has on it. Well, it -attracts one end, and it also attracts the other -end, just as you saw the shell-lac and the glass -did, with the exception of its not attracting in -the middle. But if now, instead of a piece of -iron, I take a <i>magnet</i>, and examine it in a -similar way, you see that one of its ends <i>repels</i> -the suspended magnet—the force then is no -longer attraction, but repulsion; but if I take -the other end of the magnet and bring it near, -it shews attraction again.</p> - -<div class="figcenter"> -<img src="images/fig_037_038.jpg" alt="" /> -<div class="caption">Fig. 37. and Fig. 38.</div> -</div> - -<p>You will see this better, perhaps, by another -kind of experiment. Here (fig. 38) is a little -magnet, and I have coloured the ends differently, -so that you may distinguish one from the -other. Now this end (<span class="smcap lowercase">S</span>) of the magnet (fig. 37)<span class="pagenum" id="Page_133">133</span> -attracts the <i>uncoloured</i> end of the little magnet. -You see it pulls it towards it with great power; -and as I carry it round, the uncoloured end -still follows. But now, if I gradually bring -the middle of the bar magnet opposite the -uncoloured end of the needle, it has no effect -upon it, either of attraction or repulsion, until, -as I come to the opposite extremity (<span class="smcap lowercase">N</span>), you see -that it is the <i>coloured</i> end of the needle which is -pulled towards it. We are now therefore dealing -with two kinds of power, attracting different -ends of the magnet—a double power, already -existing in these bodies, which takes up the -form of attraction and repulsion. And now, -when I put up this label with the word -<span class="smcap lowercase">MAGNETISM</span>, you will understand that it is to -express this double power.</p> - -<p>Now, with this loadstone you may make -magnets artificially. Here is an artificial magnet -(fig. 39) in which both ends have been -brought together in order to increase the attraction. -This mass will lift that lump of iron; and, -what is more, by placing this <i>keeper</i>, as it is -called, on the top of the magnet, and taking -hold of the handle, it will adhere sufficiently<span class="pagenum" id="Page_134">134</span> -strongly to allow itself to be lifted up—so -wonderful is its power of attraction. If you -take a needle, and just draw one of its ends -along one extremity of the magnet, and then -draw the other end along the other extremity, -and then gently place it on the surface of some -water (the needle will generally float on the surface, -owing to the slight greasiness communicated -to it by the fingers), you will be able to get all -the phenomena of attraction and repulsion, by -bringing another magnetised needle near to it.</p> - -<div class="figcenter"> -<img src="images/fig_039.jpg" alt="" /> -<div class="caption">Fig. 39.</div> -</div> - -<p>I want you now to observe, that although I -have shewn you in these magnets that this -double power becomes evident principally at -the extremities, yet the <i>whole</i> of the magnet is -concerned in giving the power. That will at<span class="pagenum" id="Page_135">135</span> -first seem rather strange; and I must therefore -shew you an experiment to prove that this is -not an accidental matter, but that the whole -of the mass is really concerned in this force, -just as in falling the whole of the mass is -acted upon by the force of gravitation. I have -here (fig. 40) a steel bar, and I am going to -make it a magnet, by rubbing it on the large -magnet (fig. 39). I have now made the two -ends magnetic in opposite ways. I do not at -present know one from the other, but we can -soon find out. You see when I bring it near -our magnetic needle (fig. 38) one end repels -and the other attracts; and the middle will -neither attract nor repel—it <i>cannot</i>, because it -is <i>half-way between the two ends</i>. But now, -if I break out that piece (<i>n s</i>), and then examine -it—see how strongly one end (<i>n</i>) pulls at this -end (<span class="smcap lowercase">S</span>, fig. 38), and how it repels the other end -(<span class="smcap lowercase">N</span>). And so it can be shewn that every part -of the magnet contains this power of attraction -and repulsion, but that the power is only<span class="pagenum" id="Page_136">136</span> -rendered evident at the end of the mass. You -will understand all this in a little while; but -what you have now to consider is, that every -part of this steel is in itself a magnet. Here is -a little fragment which I have broken out of -the very centre of the bar, and you will still -see that one end is attractive and the other is -repulsive. Now, is not this power a most -wonderful thing? and very strange the means -of taking it from one substance and bringing -it to other matters? I cannot make a piece -of iron or anything else heavier or lighter than -it is. Its cohesive power it must and does have; -but, as you have seen by these experiments, we -can add or subtract this power of magnetism, -and almost do as we like with it.</p> - -<div class="figcenter"> -<img src="images/fig_040.jpg" alt="" /> -<div class="caption">Fig. 40.</div> -</div> - -<div class="figcenter"> -<img src="images/fig_041.jpg" alt="" /> -<div class="caption">Fig. 41.</div> -</div> - -<p>And now we will return for a short time to -the subject treated of at the commencement of -this lecture. You see here (fig. 41) a large -machine, arranged for the purpose of rubbing -glass with silk, and for obtaining the power -called <i>electricity</i>; and the moment the handle -of the machine is turned, a certain amount of -electricity is evolved, as you will see by the rise -of the little straw indicator (at <span class="smcap lowercase">A</span>). Now, I<span class="pagenum" id="Page_137">137</span> -know from the appearance of repulsion of the -pith ball at the end of the straw, that electricity -is present in those brass conductors (<span class="smcap lowercase">B B</span>), and I -want you to see the manner in which that -electricity can pass away. [Touching the conductor -(<span class="smcap lowercase">B</span>) with his finger, the Lecturer drew a -spark from it, and the straw electrometer immediately -fell.] There, it has all gone; and that I -have really taken it away, you shall see by an -experiment of this sort. If I hold this cylinder -of brass by the glass handle, and touch the -conductor with it, I take away a little of the -electricity. You see the spark in which it -passes, and observe that the pith-ball indicator<span class="pagenum" id="Page_138">138</span> -has fallen a little, which seems to imply that -so much electricity is lost; but it is not lost: -it is here in this brass; and I can take it away -and carry it about, not because it has any -substance of its own, but by some strange -property which we have not before met with -as belonging to any other force. Let us see -whether we have it here or not. [The Lecturer -brought the charged cylinder to a jet from -which gas was issuing; the spark was seen to -pass from the cylinder to the jet, but the gas -did not light.] Ah! the gas did not light, but -you saw the spark; there is, perhaps, some -draught in the room which blew the gas on -one side, or else it would light. We will try -this experiment afterwards. You see from the -spark that I can transfer the power from the -machine to this cylinder, and then carry it -away and give it to some other body. You -know very well, as a matter of experiment, that -we can transfer the power of heat from one -thing to another; for if I put my hand near -the fire it becomes hot. I can shew you this -by placing before us this ball, which has just -been brought red-hot from the fire. If I press<span class="pagenum" id="Page_139">139</span> -this wire to it, some of the heat will be transferred -from the ball; and I have only now to -touch this piece of gun-cotton with the hot -wire, and you see how I can transfer the heat -from the ball to the wire, and from the wire to -the cotton. So you see that some powers are -transferable, and others are not. Observe how -long the heat stops in this ball. I might touch -it with the wire, or with my finger, and if I -did so quickly, I should merely burn the surface -of the skin; whereas, if I touch that cylinder, -however rapidly, with my finger, the electricity -is gone at once—dispersed on the instant, in a -manner wonderful to think of.</p> - -<div class="figcenter"> -<img src="images/fig_042.jpg" alt="" /> -<div class="caption">Fig. 42.</div> -</div> - -<p>I must now take up a little of your time in -shewing you the manner in which these powers -are transferred from one thing to another; for -the manner in which <i>force</i> may be conducted -or transmitted is extraordinary, and most essential -for us to understand. Let us see in what -manner these powers travel from place to place. -Both heat and electricity can be conducted; and -here is an arrangement I have made to shew -how the former can travel. It consists of a bar -of copper (fig. 42); and if I take a spirit-lamp<span class="pagenum" id="Page_140">140</span> -(this is one way of obtaining the power of heat), -and place it under that little chimney, the flame -will strike against the bar of copper and keep it -hot. Now, you are aware that power is being -transferred from the flame of that lamp to the -copper, and you will see by-and-by that it is -being conducted along the copper from particle -to particle; for, inasmuch as I have fastened -these wooden balls by a little wax at particular -distances from the point where the copper is -first heated, first one ball will fall, and then the -more distant ones, as the heat travels along—and -thus you will learn that the heat travels -gradually through the copper. You will see -that this is a very slow conduction of power, as -compared with electricity. If I take cylinders<span class="pagenum" id="Page_141">141</span> -of wood and metal, joined together at the ends, -and wrap a piece of paper round, and then apply -the heat of this lamp to the place where the -metal and wood join, you will see how the heat -will accumulate where the wood is, and burn -the paper with which I have covered it; but -where the metal is beneath, the heat is conducted -away too fast for the paper to be burned. -And so, if I take a piece of wood and a piece of -metal joined together, and put it so that the -flame should play equally both upon one and -the other, we shall soon find that the metal -will become hot before the wood; for if I put a -piece of phosphorus on the wood, and another -piece on the copper, you will find that the -phosphorus on the copper will take fire before -that on the wood is melted—and this shews you -how badly the wood conducts heat. But with -regard to the travelling of electricity from place -to place, its rapidity is astonishing. I will, first -of all, take these pieces of glass and metal, and -you will soon understand how it is that the -glass does not lose the power which it acquired -when it is rubbed by the silk. By one or two -experiments I will shew you. If I take this<span class="pagenum" id="Page_142">142</span> -piece of brass and bring it near the machine, -you see how the electricity leaves the latter, -and passes to the brass cylinder. And, again, if -I take a rod of metal and touch the machine -with it, I lower the indicator; but when I touch -it with a rod of glass, no power is drawn away,—shewing -you that the electricity is conducted -by the glass and the metal in a manner entirely -different: and to make you see that more -clearly, we will take one of our Leyden jars. -Now, I must not embarrass your minds with -this subject too much; but if I take a piece of -metal, and bring it against the knob at the top -and the metallic coating at the bottom, you will -see the electricity passing through the air as a -brilliant spark. It takes no sensible time to -pass through this; and if I were to take a long -metallic wire, no matter what the length—at -least as far as we are concerned—and if I make -one end of it touch the outside, and the other -touch the knob at the top, see how the electricity -passes!—it has flashed instantaneously -through the whole length of this wire. Is not -this different from the transmission of heat -through this copper bar (fig. 42), which has<span class="pagenum" id="Page_143">143</span> -taken a quarter of an hour or more to reach -the first ball?</p> - -<div class="figcenter"> -<img src="images/fig_043.jpg" alt="" /> -<div class="caption">Fig. 43.</div> -</div> - -<p>Here is another experiment, for the purpose -of shewing the conductibility of this power -through some bodies, and not through others. -Why do I have this arrangement made of brass? -[pointing to the brass work of the electrical -machine, fig. 41]. Because it conducts electricity. -And why do I have these columns made -of glass? Because they obstruct the passage of -electricity. And why do I put that paper tassel -(fig. 43) at the top of the pole, upon a glass -rod, and connect it with this machine by means -of a wire? You see at once that as soon as the -handle of the machine is turned, the electricity -which is evolved travels along this wire and up -the wooden rod, and goes to the tassel at the -top, and you see the power of repulsion with -which it has endowed these strips of paper, each -spreading outwards to the ceiling and sides of -the room. The outside of that wire is covered -with gutta-percha. It would not serve to keep -the force from you when touching it with your -hands, because it would burst through; but it -answers our purpose for the present. And so<span class="pagenum" id="Page_144">144</span> -you perceive how easily I can manage to send -this power of electricity from place to place, by -choosing the materials which can conduct the -power. Suppose I want to fire a portion of -gunpowder, I can readily do it by this transferable -power of electricity. I will take a Leyden<span class="pagenum" id="Page_145">145</span> -jar, or any other arrangement which gives us -this power, and arrange wires so that they may -carry the power to the place I wish; and then -placing a little gunpowder on the extremities of -the wires, the moment I make the connection -by this discharging rod, I shall fire the gunpowder. -[The connection was made, and the -gunpowder ignited.] And if I were to shew -you a stool like this, and were to explain to you -its construction, you could easily understand -that we use glass legs, because these are capable -of preventing the electricity from going away to -the earth. If, therefore, I were to stand on this -stool, and receive the electricity through this -conductor, I could give it to anything that I -touched. [The Lecturer stood upon the insulating -stool, and placed himself in connection -with the conductor of the machine.] Now, I am -electrified—I can feel my hair rising up as the -paper tassel did just now. Let us see whether -I can succeed in lighting gas by touching the -jet with my finger. [The Lecturer brought his -finger near a jet from which gas was issuing, -when, after one or two attempts, the spark which -came from his finger to the jet set fire to the<span class="pagenum" id="Page_146">146</span> -gas.] You now see how it is that this power of -electricity can be transferred from the matter in -which it is generated, and conducted along -wires and other bodies, and thus be made to -serve new purposes utterly unattainable by the -powers we have spoken of on previous days; -and you will not now be at a loss to bring this -power of electricity into comparison with those -which we have previously examined; and to-morrow -we shall be able to go further into the -consideration of these transferable powers.</p> - -<hr class="chap" /> -</div><div class="chapter"> -<p><span class="pagenum" id="Page_147">147</span></p> - - - - - -<h2 title="THE CORRELATION OF THE PHYSICAL FORCES.">LECTURE VI.<br /> - -<small>THE CORRELATION OF THE PHYSICAL FORCES.</small></h2> - - -<p>We have frequently seen, during the course -of these lectures, that one of those -powers or forces of matter, of which I have -written the names on that board, has produced -results which are due to the action of some -other force. Thus, you have seen the force -of electricity acting in other ways than in attracting: -you have also seen it combine matters -together, or disunite them, by means of its action -on the chemical force; and in this case, therefore, -you have an instance in which these two -powers are related. But we have other and -deeper relations than these; we have not merely -to see how it is that one power affects another—how -the force of heat affects chemical affinity, -and so forth—but we must try and comprehend -what relation they bear to each other, and how -these powers may be changed one into the<span class="pagenum" id="Page_148">148</span> -other; and it will to-day require all my care, -and your care too, to make this clear to your -minds. I shall be obliged to confine myself -to one or two instances, because, to take in the -whole extent of this mutual relation and conversion -of forces, would surpass the human -intellect.</p> - -<p>In the first place, then, here is a piece of fine -zinc-foil; and if I cut it into narrow strips and -apply to it the power of heat, admitting the -contact of air at the same time, you will find -that it burns; and then, seeing that it burns, -you will be prepared to say that there is -chemical action taking place. You see all I -have to do is to hold the piece of zinc at the -side of the flame, so as to let it get heated, and -yet to allow the air which is flowing into the -flame from all sides to have access to it;—there -is the piece of zinc burning just like a piece of -wood, only brighter. A part of the zinc is -going up into the air, in the form of that white -smoke, and part is falling down on to the table. -This, then, is the action of chemical affinity -exerted between the zinc and the oxygen of the -air. I will shew you what a curious kind of<span class="pagenum" id="Page_149">149</span> -affinity this is by an experiment, which is rather -striking when seen for the first time. I have -here some iron filings and gunpowder, and will -mix them carefully together, with as little rough -handling as possible. Now, we will compare the -combustibility, so to speak, of the two. I will -pour some spirit of wine into a basin, and set it -on fire: and, having our flame, I will drop this -mixture of iron filings and gunpowder through -it, so that both sets of particles will have an -equal chance of burning. And now, tell me -which of them it is that burns? You see a -plentiful combustion of the iron-filings. But I -want you to observe that, though they have -equal chances of burning, we shall find that by -far the greater part of the gunpowder remains -untouched. I have only to drain off this spirit -of wine, and let the powder which has gone -through the flame dry, which it will do in a few -minutes, and I will then test it with a lighted -match. So ready is the iron to burn, that it -takes, under certain circumstances, even less -time to catch fire than gunpowder. [As soon as -the gunpowder was dry, Mr. Anderson handed -it to the Lecturer, who applied a lighted match<span class="pagenum" id="Page_150">150</span> -to it, when a sudden flash shewed how large a -proportion of gunpowder had escaped combustion -when falling through the flame of alcohol.]</p> - -<p>These are all cases of chemical affinity; and I -shew them to make you understand that we -are about to enter upon the consideration of a -strange kind of chemical affinity, and then to see -how far we are enabled to convert this force of -affinity into electricity or magnetism, or any -other of the forces which we have discussed. -Here is some zinc (I keep to the metal zinc, as -it is very useful for our purpose), and I can -produce hydrogen gas by putting the zinc and -sulphuric acid together, as they are in that -retort. There you see the mixture which gives -us hydrogen—the zinc is pulling the water to -pieces and setting free hydrogen gas. Now, -we have learned by experience that, if a little -mercury is spread over that zinc, it does not -<i>take away</i> its power of decomposing the water, -but <i>modifies</i> it most curiously. See how that -mixture is now boiling; but when I add a little -mercury to it, the gas ceases to come off. We -have now scarcely a bubble of hydrogen set free, -so that the action is suspended for the time. We<span class="pagenum" id="Page_151">151</span> -have not <i>destroyed</i> the power of chemical affinity, -but modified it in a wonderful and beautiful -manner. Here are some pieces of zinc covered -with mercury, exactly in the same way as the -zinc in that retort is covered; and if I put this -plate into sulphuric acid, I get no gas—but this -most extraordinary thing occurs, that if I introduce -along with the zinc another metal which is -<i>not</i> so combustible, then I reproduce all the action. -I am now going to put to the amalgamated -zinc in this retort some portions of copper wire -(copper not being so combustible a metal as the -zinc), and observe how I get hydrogen again. -As in the first instance, there the bubbles are -coming over through the pneumatic trough, and -ascending faster and faster in the jar. The zinc -now is acting by reason of its contact with the -copper.</p> - -<p>Every step we are now taking brings us to a -knowledge of new phenomena. That hydrogen -which you now see coming off so abundantly -does not come from the zinc, as it did before, -<i>but from the copper</i>. Here is a jar containing -a solution of copper. If I put a piece of this -amalgamated zinc into it, and leave it there, it<span class="pagenum" id="Page_152">152</span> -has scarcely any action; and here is a plate of -platinum, which I will immerse in the same -solution, and might leave it there for hours, -days, months, or even years, and no action -would take place. But by putting them both -together, and allowing them to touch (fig. 44), -you see what a coating of copper there is -immediately thrown down on the platinum. -Why is this? The platinum has no power of -itself to reduce that metal from that fluid, but it -has in some mysterious way received this power -by its contact with the metal zinc. Here, then, -you see a strange transfer of chemical force from -one metal to another—the chemical force from -the zinc is transferred, and made over to the -platinum by the mere association of the two -metals. I might take, instead of the platinum, a<span class="pagenum" id="Page_153">153</span> -piece of copper or of silver, and it would have -no action of its own on this solution; but the -moment the zinc was introduced and touched -the other metal, then the action would take -place, and it would become covered with copper. -Now, is not this most wonderful and beautiful -to see? We still have the identical chemical -force of the particles of zinc acting, and yet in -some strange manner we have power to make -that chemical force, or something it produces, -travel from one place to another—for we do -make the chemical force travel from the zinc to -the platinum by this very curious experiment of -using the two metals in the same fluid in contact -with each other.</p> - -<div class="figcenter"> -<img src="images/fig_044_045.jpg" alt="" /> -<div class="caption">Fig. 44. and Fig. 45.</div> -</div> - -<p>Let us now examine these phenomena a little -more closely. Here is a drawing (fig. 45) in -which I have represented a vessel containing the -acid liquid, and the slips of zinc and platinum -or copper, and I have shewn them touching each -other <i>outside</i> by means of a wire coming from -each of them (for it matters not whether they -touch in the fluid or outside—by pieces of metal -attached—they still by that communication -between them have this power transferred from<span class="pagenum" id="Page_154">154</span> -one to another). Now, if instead of only using -one vessel, as I have shewn there, I take -another, and another, and put in zinc and -platinum, zinc and platinum, zinc and platinum, -and connect the platinum of one vessel with the -zinc of another, the platinum of this vessel with -the zinc of that, and so on, we should only be -using a series of these vessels instead of one. -This we have done in that arrangement which -you see behind me. I am using what we call a -Grove’s voltaic battery, in which one metal is -zinc, and the other platinum, and I have as -many as forty pairs of these plates all exercising -their force at once in sending the whole amount -of chemical power there evolved through these -wires under the floor, and up to these two rods -coming through the table. We need do no -more than just bring these two ends in contact, -when the spark shews us what power is present; -and what a strange thing it is to see that this -force is brought away from the battery behind -me, and carried along through these wires. I -have here an apparatus (fig. 46) which Sir -Humphry Davy constructed many years ago, in -order to see whether this power from the voltaic<span class="pagenum" id="Page_155">155</span> -battery caused bodies to attract each other in -the same manner as the ordinary electricity did. -He made it in order to experiment with his -large voltaic battery, which was the most powerful -then in existence. You see there are in this -glass jar two leaves of gold, which I can cause -to move to and fro by this rack-work. I will -connect each of these gold leaves with separate -ends of this battery; and, if I have a sufficient -number of plates in the battery, I shall be able -to shew you that there will be some attraction<span class="pagenum" id="Page_156">156</span> -between those leaves, even before they come in -contact. If I bring them sufficiently near when -they are in communication with the ends of the -battery, they will be drawn gently together; and -you will know when this takes place, because -the power will cause the gold leaves to burn -away, which they could only do when they -touched each other. Now, I am going to cause -these two leaves of gold to approach gradually, -and I have no doubt that some of you will see -that they approach before they burn; and those -who are too far off to see them approach will -see by their burning that they have come -together. Now they are attracting each other, -long before the connection is complete; and -there they go! burnt up in that brilliant flash—so -strong is the force. You thus see, from the -attractive force at the two ends of this battery, -that these are really and truly electrical phenomena.</p> - -<div class="figcenter"> -<img src="images/fig_046_047.jpg" alt="" /> -<div class="caption">Fig. 46. and Fig. 47.</div> -</div> - -<p>Now, let us consider what is this spark. I -take these two ends and bring them together, -and there I get this glorious spark, like the -sunlight in the heavens above us. What is -this? It is the same thing which you saw<span class="pagenum" id="Page_157">157</span> -when I discharged the large electrical machine, -when you saw one single bright flash; it is -the same thing, only <i>continued</i>, because here we -have a more effective arrangement. Instead -of having a machine which we are obliged to -turn for a long time together, we have here a -<i>chemical</i> power which sends forth the spark; -and it is wonderful and beautiful to see how -this spark is carried about through these wires. -I want you to perceive, if possible, that this -very spark and the heat it produces (for there -is heat) is neither more nor less than the -chemical force of the zinc—its <i>very</i> force -carried along wires and conveyed to this place. -I am about to take a portion of the zinc and -burn it in oxygen gas, for the sake of shewing -you the kind of light produced by the actual -combustion in oxygen gas of some of this -metal. [A tassel of zinc-foil was ignited at a -spirit-lamp, and introduced into a jar of oxygen, -when it burnt with a brilliant light.] That -shews you what the affinity is when we come -to consider it in its energy and power. And -the zinc is being burned in the battery behind -me at a much more rapid rate than you see in<span class="pagenum" id="Page_158">158</span> -that jar, because the zinc is there dissolving -and <i>burning</i>, and produces here this great -electric light. That very same power, which in -that jar you saw evolved from the actual combustion -of the zinc in oxygen, is carried along -these wires and made evident here; and you -may, if you please, consider that the zinc is -burning in those cells, and that <i>this</i> is the light -of that burning [bringing the two poles in contact, -and shewing the electric light]; and we -might so arrange our apparatus as to shew that -the amounts of power evolved in either case -are identical. Having thus obtained power -over the chemical force, how wonderfully we -are able to convey it from place to place! -When we use gunpowder for explosive purposes, -we can send into the mine chemical affinity by -means of this electricity; not having provided -fire beforehand, we can send it in at the -moment we require it. Now, here (fig. 47) is -a vessel containing two charcoal points, and I -bring it forward as an illustration of the wonderful -power of conveying this force from place -to place. I have merely to connect these by -means of wires to the opposite ends of the<span class="pagenum" id="Page_159">159</span> -battery, and bring the points in contact. See -what an exhibition of force we have! We -have exhausted the air so that the charcoal -cannot burn; and, therefore, the light you see is -really the burning of the zinc in the cells behind -me—there is no disappearance of the carbon, -although we have that glorious electric light; -and the moment I cut off the connection, it -stops. Here is a better instance to enable some -of you to see the certainty with which we can -convey this force, where, under ordinary circumstances, -chemical affinity would not act. -We may absolutely take these two charcoal -poles down under water, and get our electric -light there;—there they are in the water, and -you observe, when I bring them into connection, -we have the same light as we had in that glass -vessel.</p> - -<p>Now, besides this production of light, we -have all the other effects and powers of burning -zinc. I have a few wires here which are -not combustible, and I am going to take one -of them, a small platinum wire, and suspend -it between these two rods, which are connected -with the battery; and, when contact is made<span class="pagenum" id="Page_160">160</span> -at the battery, see what heat we get (fig. 48). -Is not that beautiful?—it is a complete bridge -of power. There is metallic connection all the -way round in this arrangement; and where I -have inserted the platinum, which offers some -resistance to the passage of the force, you see -what an amount of heat is evolved,—this is -the heat which the zinc would give if burnt -in oxygen; but as it is being burnt in the -voltaic battery, it is giving it out at this spot. -I will now shorten this wire for the sake of -shewing you, that the shorter the obstructing -wire is, the more and more intense is the -heat, until at last our platinum is fused and -falls down, breaking off the circuit.</p> - -<div class="figcenter"> -<img src="images/fig_048.jpg" alt="" /> -<div class="caption">Fig. 48.</div> -</div> - -<div class="figcenter"> -<img src="images/fig_049.jpg" alt="" /> -<div class="caption">Fig. 49.]</div> -</div> - -<p>Here is another instance. I will take a<span class="pagenum" id="Page_161">161</span> -piece of the metal silver, and place it on charcoal, -connected with one end of the battery, -and lower the other charcoal pole on to it. -See how brilliantly it burns (fig. 49). Here is -a piece of iron on the charcoal—see what a -combustion is going on; and we might go on -in this way, burning almost everything we -place between the poles. Now, I want to shew -you that this power is still chemical affinity—that -if we call the power which is evolved at -this point <i>heat</i>, or <i>electricity</i>, or any other name -referring to its source, or the way in which it -travels, we still shall find it to be chemical -action. Here is a coloured liquid which can -shew by its change of colour the effects of -chemical action. I will pour part of it into -this glass, and you will find that these wires<span class="pagenum" id="Page_162">162</span> -have a very strong action. I am not going to -shew you any effects of combustion or heat; -but I will take these two platinum plates, and -fasten one to the one pole, and the other to -the other end, and place them in this solution, -and in a very short time you will see the -blue colour will be entirely destroyed. See, it -is colourless now!—I have merely brought the -end of the wires into the solution of indigo, -and the power of electricity has come through -these wires, and made itself evident by its -chemical action. There is also another curious -thing to be noticed, now we are dealing with -the chemistry of electricity, which is, that the -chemical power which destroys the colour is -only due to the action on one side. I will -pour some more of this sulpho-indigotic acid<a id="FNanchor_23_24" href="#Footnote_23_24" class="fnanchor">23</a> -into a flat dish, and will then make a porous -dyke of sand, separating the two portions of -fluid into two parts (fig. 50); and now we -shall be able to see whether there is any difference -in the two ends of the battery, and -which it is that possesses this peculiar action. -You see it is the one on my right hand which -has the power of destroying the blue—for the<span class="pagenum" id="Page_163">163</span> -portion on that side is thoroughly bleached—while -nothing has apparently occurred on the -other side. I say <i>apparently</i>, for you must not -imagine that, because you cannot perceive any -action, none has taken place.</p> - -<div class="figcenter"> -<img src="images/fig_050.jpg" alt="" /> -<div class="caption">Fig. 50.</div> -</div> - -<p>Here we have another instance of chemical -action. I take these platinum plates again, and -immerse them in this solution of copper, from -which we formerly precipitated some of the -metal, when the platinum and zinc were both -put in it together. You see that these two -platinum plates have no chemical action of -any kind—they might remain in the solution -as long as I liked, without having any power -of themselves to reduce the copper;—but the -moment I bring the two poles of the battery -in contact with them, the chemical action, -which is there transformed into electricity and<span class="pagenum" id="Page_164">164</span> -carried along the wires, again becomes chemical -action at the two platinum poles; and -now we shall have the power appearing on -the left-hand side, and throwing down the -copper in the metallic state on the platinum -plate; and in this way I might give you -many instances of the extraordinary way in -which this chemical action, or electricity, may -be carried about. That strange nugget of gold, -of which there is a model in the other room—and -which has an interest of its own in the -natural history of gold, and which came from -Ballarat, and was worth £8,000, or £9,000, -when it was melted down last November—was -brought together in the bowels of the earth, -perhaps ages and ages ago, by some such power -as this. And there is also another beautiful -result dependent upon chemical affinity in -that fine lead-tree<a id="FNanchor_24_25" href="#Footnote_24_25" class="fnanchor">24</a>—the lead growing and -growing by virtue of this power. The lead -and the zinc are combined together in a little -voltaic arrangement, in a manner far more -important than the powerful one you see here; -because, in nature, these minute actions are -going on for ever, and are of great and won<span class="pagenum" id="Page_165">165</span>derful -importance in the precipitation of metals -and formation of mineral veins, and so forth. -These actions are not for a limited time, like -my battery here, but they act for ever in -small degrees, accumulating more and more of -the results.</p> - -<p>I have here given you all the illustrations -that time will permit me to shew you of -chemical affinity producing electricity, and electricity -again becoming chemical affinity. Let -that suffice for the present, and let us now go a -little deeper into the subject of this chemical -force, or this electricity—which shall I name -first—the one producing the other in a variety -of ways? These forces are also wonderful in -their power of producing another of the forces -we have been considering, namely, that of magnetism; -and you know that it is only of late -years, and long since I was born, that the discovery -of the relations of these two forces of -electricity and chemical affinity to produce -magnetism have become known. Philosophers -had been suspecting this affinity for a long -time, and had long had great hopes of success; -for in the pursuit of science we first start with<span class="pagenum" id="Page_166">166</span> -hopes and expectations. These we realise and -establish, never again to be lost, and upon -them we found new expectations of further -discoveries, and so go on pursuing, realising, -establishing, and founding new hopes again and -again.</p> - -<div class="figcenter"> -<img src="images/fig_051.jpg" alt="" /> -<div class="caption">Fig. 51.</div> -</div> - -<div class="figcenter"> -<img src="images/fig_052.jpg" alt="" /> -<div class="caption">Fig. 52.</div> -</div> - -<p>Now, observe this: here is a piece of wire -which I am about to make into a bridge of -force—that is to say, a communicator between -the two ends of the battery. It is copper wire -only, and is therefore not magnetic of itself. We -will examine this wire with our magnetic needle -(fig. 51); and though connected with one extreme -end of the battery, you see that, before -the circuit is completed, it has no power over -the magnet. But observe it when I make contact; -watch the needle—see how it is swung -round, and notice how indifferent it becomes<span class="pagenum" id="Page_167">167</span> -if I break contact again; so you see we have -this wire evidently affecting the magnetic needle -under these circumstances. Let me shew you -that a little more strongly. I have here a -quantity of wire, which has been wound into a -spiral; and this will affect the magnetic needle -in a very curious manner, because, owing to its -shape, it will act very like a real magnet. The -copper spiral has no power over that magnetic -needle at present; but if I cause the electric -current to circulate through it, by bringing the -two ends of the battery in contact with the ends -of the wire which forms the spiral, what will -happen? Why, one end of the needle is most -powerfully drawn to it; and if I take the other -end of the needle, it is repelled: so you see I -have produced exactly the same phenomena -as I had with the bar magnet,—one end attracting, -and the other repelling. Is not this, then, -curious, to see that we can construct a magnet -of copper? Furthermore, if I take an iron bar, -and put it inside the coil, so long as there is -no electric current circulating round, it has no -attraction,—as you will observe if I bring a little -iron filings or nails near the iron. But now, if<span class="pagenum" id="Page_168">168</span> -I make contact with the battery, they are attracted -at once. It becomes at once a powerful -magnet—so much so, that I should not wonder -if these magnetic needles on different parts of -the table pointed to it. And I will shew you -by another experiment what an attraction it has. -This piece and that piece of iron, and many -other pieces, are now strongly attracted (fig. 52); -but as soon as I break contact, the power is all -gone, and they fall. What, then, can be a better -or a stronger proof than this of the relation of -the powers of magnetism and electricity? Again, -here is a little piece of iron which is not yet -magnetised. It will not at present take up -any one of these nails; but I will take a piece<span class="pagenum" id="Page_169">169</span> -of wire and coil it round the iron (the wire being -covered with cotton in every part, it does not -touch the iron), so that the current must go -round in this spiral coil. I am, in fact, preparing -an <i>electro-magnet</i> (we are obliged to use -such terms to express our meaning, because it -is a magnet made by electricity—because we -produce by the force of electricity a magnet of -far greater power than a permanent steel one). -It is now completed, and I will repeat the -experiment which you saw the other day, of -building up a bridge of iron nails. The contact -is now made, and the current is going through; -it is now a powerful magnet. Here are the iron -nails which we had the other day; and now I -have brought this magnet near them, they are -clinging so hard that I can scarcely move them -with my hand (fig. 53). But when the contact -is broken, see how they fall. What can shew -you better than such an experiment as this the -magnetic attraction with which we have endowed -these portions of iron? Here, again, is a -fine illustration of this strong power of magnetism. -It is a magnet of the same sort as the one you -have just seen. I am about to make the current<span class="pagenum" id="Page_170">170</span> -of electricity pass through the wires which are -round this iron for the purpose of shewing you -what powerful effects we get. Here are the -poles of the magnet; and let us place on one -of them this long bar of iron. You see, as soon -as contact is made, how it rises in position -(fig. 54); and if I take such a piece as this -cylinder, and place it on, woe be to me if I get -my finger between: I can roll it over, but if I -try to pull it off, I might lift up the whole -magnet; but I have no power to overcome the -magnetic power which is here evident. I might -give you an infinity of illustrations of this high -magnetic power. There is that long bar of iron<span class="pagenum" id="Page_171">171</span> -held out; and I have no doubt that, if I were to -examine the other end, I should find that it was -a magnet. See what power it must have to -support not only these nails but all those -lumps of iron hanging on to the end. What, -then, can surpass these evidences of the change -of chemical force into electricity, and electricity -into magnetism? I might shew you many -other experiments whereby I could obtain -electricity and chemical action, heat and light, -from a magnet; but what more need I shew -you to prove the universal correlation of the -physical forces of matter, and their mutual conversion -one into another?</p> - -<div class="figcenter"> -<img src="images/fig_053.jpg" alt="" /> -<div class="caption">Fig. 53.</div> -</div> - -<div class="figcenter"> -<img src="images/fig_054.jpg" alt="" /> -<div class="caption">Fig. 54.</div> -</div> - -<p>And now, let us give place, as juveniles, to<span class="pagenum" id="Page_172">172</span> -the respect we owe to our elders; and for a -time let me address myself to those of our -seniors who have honoured me with their presence -during these lectures. I wish to claim -this moment for the purpose of tendering our -thanks to them, and my thanks to you all, -for the way in which you have borne the inconvenience -that I at first subjected you to. I -hope that the insight which you have here -gained into some of the laws by which the -universe is governed, may be the occasion of -some amongst you turning your attention to these -subjects; for what study is there more fitted -to the mind of man than that of the physical -sciences? And what is there more capable of -giving him an insight into the actions of those -laws, a knowledge of which gives interest to the -most trifling phenomenon of nature, and makes -the observing student find—</p> - -<p> -“——tongues in trees, books in the running brooks,<br /> -Sermons in stones, and good in everything?”<br /> -</p> - -<hr class="chap" /> -</div><div class="chapter"> -<p><span class="pagenum" id="Page_173">173</span></p> - - - - - -<h2 title="LIGHT-HOUSE ILLUMINATION">LECTURE<br /> - -<span class="xs">ON</span><br /> - -<small>LIGHT-HOUSE ILLUMINATION—THE ELECTRIC -LIGHT.</small></h2> - - -<p class="center">[<i>Delivered before the Royal Institution on Friday, -9th March, 1860.</i>]</p> - - -<p>There is no part of my life which gives -me more delight than my connection -with the Trinity House. The occupation of -nations joined together to guide the mariner -over the sea, to all a point of great interest, -is infinitely more so to those who are concerned -in the operations which they carry into -effect; and it certainly has astonished me, since -I have been connected with the Trinity House, -to see how beautifully and how wonderfully -shines forth amongst nations at large the desire -to do good; and you will not regret having -come here to-night, if you follow me in the -various attempts which have been made to<span class="pagenum" id="Page_174">174</span> -carry out the great object of guiding in safety -all people across the dark and dreary waste of -waters. It is wonderful to think how eagerly -efforts at improvement are made by the various -public bodies—the Trinity House in this country, -and Commissions in France and other nations; -and whilst the improvements progress, we come -to the knowledge of such curious difficulties, and -such odd modes of getting over those difficulties, -as are not easy to be conceived. I must ask -you this evening to follow me from the simplest -possible method of giving a sign by means of a -light to persons at a distance, to the modes at -which we have arrived in the present day; and -to consider the difficulties which arise when -carrying out these improvements to a practical -result, and the extraordinary care which those -who have to judge on these points must take -in order to guard against the too hasty adoption -of some fancied improvement, thus, as has -happened in some few cases, doing harm instead -of good.</p> - -<p>If I try to make you understand these -things partly by old models, and partly by -those which we have here, it is only that I may<span class="pagenum" id="Page_175">175</span> -the better be enabled to illustrate that which -I look forward to as the higher mode of -lighting, by means of the electric lamp and -the lime light.</p> - -<div class="figcenter"> -<img src="images/fig_055.jpg" alt="" /> -<div class="caption">Fig. 55.</div> -</div> - -<p>There is nothing more simple than a candle -being set down in a cottage window to guide -a husband to his home; but when we want -to make a similar guide on a large scale, -not merely over a river or over a moor, but -over large expanses of sea, how can we then -make the signal, using only a candle? I -have shewn in this diagram (fig. 55) what we -may imagine to be the rays of a candle or -any other source of light emanating from the<span class="pagenum" id="Page_176">176</span> -centre of a sphere in all directions round to -infinite distances. After this simple kind of -light had been used for some time—it being -found to be liable to be obscured by fogs, or -distance, or other circumstance—there arose the -attempt to make larger lights by means of -fires; and after that there was introduced a -very important refinement in the mode of dealing -with the light, namely, the principle of -reflection,—for, understand this (which is not -known by all, and not known by many who -should know it), that when we take a source -of light—a single candle, for instance, giving off -any quantity of light—we can by no means -increase that light: we can make arrangements -around and about the light, as you see here, -but we can by no means <i>increase the quantity</i> -of light. The utmost I can do is to <i>direct</i> -the light which the lamp gives me by taking -a certain portion of the rays going off on one -side and reflecting them on to the course of -the rays which issue in the opposite direction. -First of all, let us consider how we may gather -in the rays of light which pass off from this -candle. You will easily see that if I could<span class="pagenum" id="Page_177">177</span> -take the half-rays on the one side, and could -send them by any contrivance over to the other -side, I should gain an advantage in light on the -side to which I directed them. This is effected -in a beautiful manner by the parabolic mirror, -by means of which I gather all that portion of -the rays which are included in it—upwards, -downwards, sideways, anywhere within its sphere -of action: they are all picked up and sent -forward. You thus see what a beautiful and -important invention is that of the parabolic -reflector for throwing forward the rays of -light.</p> - -<div class="figcenter"> -<img src="images/fig_056.jpg" alt="" /> -<div class="caption">Fig. 56.</div> -</div> - -<p>Before I go further into the subject of -reflection, let me point out a further mode -of dealing with the direction of the light. -For instance, here is a candle, and I can employ -the principle of <i>refraction</i> to bend and direct -the rays of light; and if I want to increase the -light in any one direction, I must either take<span class="pagenum" id="Page_178">178</span> -a reflector or use the principle of refraction. I -will place this lens (fig. 56) in front of the -candle, and you will easily see that by its means -I can throw on to that sheet of paper a great -light; that is to say, that instead of the light -being thrown all about, it is <i>refracted</i> and concentrated -on to that paper. So here I have -another means of bending the light and sending -it in one direction; and you see above a still -better arrangement for the same purpose,—one -which comes up to the maximum, I may say, -of the ability of directing light by this means. -You are aware that without that arrangement -of glass the light would be dispersed in all -directions; but the lens being there, all the -light which passes through it is thrown into -parallel beams and cast horizontally along. -There is consequently no loss of light—the -beam goes forward of the same dimensions, and -will consequently continue to go forward for -five or ten miles, or so long as the imperfection -of the atmosphere does not absorb it: and see, -what a glorious power that is, to be able to -convert what was just now darkness on that -paper into brilliant light!</p> - -<p><span class="pagenum" id="Page_179">179</span></p> - -<p>Whenever we have refraction of this sort, we -are liable to an evil consequent upon the -necessary imperfections in the form of the lens; -and Dr. Tyndall will take this lens, and will -shew you even in this small and perfect -apparatus what is the evil of spherical aberration -with which we have to fight. This can -be illustrated by means of the electric lamp: if -you look at the screen, you will see produced, -by means of this lens, a figure of the coal points. -This image is produced by the rays which pass -through the <i>middle</i> of the lens, a piece of card -with a hole in the centre being placed in front; -but if, keeping the rest of the apparatus in -the same position, I change this card for -another piece which will only allow the rays -to pass through the <i>edge</i> of the lens, you -observe how inferior the image will be. In -order to get it distinct, I have to bring the -screen much nearer the lamp; and so, if I take -the card away altogether, and allow the light -to pass through all parts of the lens, we cannot -get a perfect image, because the different parts -of the lens are not able to act together. This -spherical aberration is, therefore, what we try<span class="pagenum" id="Page_180">180</span> -to avoid by building up compound lenses in -the manner here shewn (fig. 58). Look at this -beautiful apparatus—is it not a most charming -piece of workmanship? Buffon first, and Fresnel -afterwards, built up these kind of lenses, ring -within ring, each at its proper adjustment, to -compensate for the effects of spherical aberration. -The ring round that centre lens is ground -so as to obviate what would otherwise give rise -to spherical aberration; and the next ring being -corrected in the same manner, you will perceive, -if you look at the disc of light thrown by the -apparatus upstairs, that there is nothing like the -amount of aberration that there would have -been if it had been one great bull’s-eye. Here -is one of Fresnel’s lamps of the fourth order -so constructed (fig. 57): observe the fine effect -obtained by these different lenses, as you see -them revolve before you, and understand that -all this upper part is made to form part of -the lens, each prism throwing its rays to increase -the effect; and although you may think it is -imperfect, because, if you happen to sit below or -above the horizontal line, you perceive but little -if any of the light, yet you must bear in mind<span class="pagenum" id="Page_181">181</span> -that we want the rays to go in a straight line to -the horizon. So that all that building up of -rings of glass is for the purpose of producing one -fine and glorious lens of a large size, to send -the rays all in one direction. Here is another -apparatus used to pull the rays down to a -horizontal sheet of light, so that the mariner -may see it as a constant and uniform fixed -light. The former lamp is a revolving one, -and the light is seen only at certain times, -as the lenses move round, and these are the<span class="pagenum" id="Page_182">182</span> -points which make them valuable in their -application.</p> - -<div class="figcenter"> -<img src="images/fig_057.jpg" alt="" /> -<div class="caption">Fig. 57.</div> -</div> - -<p>There are various orders and sizes of lights -in light-houses, to shine for twenty or thirty -miles over the sea, and to give indications -according to the purposes for which they are -required; but suppose we want more effect -than is produced by these means, how are -we to get more light? Here comes the difficulty. -We cannot get more light, because we -are limited by the condition of the burner. -In any of these cases, if the spreading of the -ray, or <i>divergence</i>, as it is called, is not restrained, -it soon fails from weakness; and if -it does not diverge at all, it makes the light -so small, that perhaps only one in a hundred -can see it at the same time. The South -Foreland light-house is, I think, 300 or 400 -feet above the level of the sea; and therefore -it is necessary to have a certain divergence -of the beam of light, in order that it may -shine along the sea to the horizon. I have -drawn here two wedges—one has an angle of -15°, and shews you the manner in which the -light opens out from this reflector, seen at the<span class="pagenum" id="Page_183">183</span> -distance of half-a-mile or more; the other -wedge has an angle of 6°, which is the beautiful -angle of Fresnel. When the angle is less -than 6°, the mariner is not quite sure that he -will see the light—he may be beneath or -above it; and, in practice, it is found that -we cannot have a larger angle than 15°, or a -less one than 6°. In order, therefore, to get -more light, we must have more combustion, -more cotton, more oil; but already there are -in that lamp four wicks, put in concentric -rings, one within the other; and we cannot -increase them much more, owing to the divergence -which would be caused by an increase in -the size of the light—the more the divergence, -the more the light is diffused and lost. We -are therefore restrained, by the condition of -the light and the apparatus, to a certain sized -lamp. At Teignmouth, some of the revolving -lights have ten lamps and reflectors, all throwing -their light forward at once. But even -with ten lamps and reflectors, we do not get -sufficient light; and we want, therefore, a -means of getting a light more intense than a -candle in the space of a candle—not merely<span class="pagenum" id="Page_184">184</span> -an accumulation of candle upon candle, but a -concentration, into the space of a candle, of -a greater amount of light; and it is here that -the electric light comes to be of so much -value.</p> - -<p>Let me now shew you what are the properties -of that light which make it useful for -light-house illumination, and which has been -brought to a practical condition by the energy -and constancy of Professor Holmes. I will, -first of all, shew you the image of the charcoal -points on the screen, and draw your -attention to the spot where the light is produced. -There are the coal points. The two -carbons are brought within a certain distance; -the electricity is being urged across by the -voltaic battery, and the coal points are brought -into an intense state of ignition. You will -observe that the light is essentially given by -the carbons. You see that one is much more -luminous than the other, and that is the end -which principally forms the spark. The other -does not shine so much, and there is a space -between the two, which, although not very -luminous, is most important to the production<span class="pagenum" id="Page_185">185</span> -of the light. Dr. Tyndall will help me in -shewing you that a blast of wind will blow -out that light—the electric light can, in fact, -be blown out easier than a candle. We have -the power of getting our light where we -please. If I cause the electricity to pass between -carbon and mercury, I get a most -intense and beautiful light—most of it being -given off from the portion of the mercury -between the liquid and the solid pole. I can -shew you that the light is sometimes produced -by the vapour between the two poles better, -if I take silver, than when I use mercury. -Here is the carbon pole, there is the silver, -and there is the beautiful green light, which -comes from the intervening portions. Now, -that light is more easily blown out than the -common lamp, the slightest puff of wind -being sufficient to extinguish it, as you will -see if Dr. Tyndall breathes upon it.</p> - -<p>You see, therefore, how we are able, by using -this electric spark, to get, first of all, the light -into a very small space. That oil-lamp has -a burner 3¾ inches in diameter. Compare the -size of the flame with the space occupied by<span class="pagenum" id="Page_186">186</span> -this electric light. Next, compare the intensity -of this light with any other. If I take -this candle, and place it by the side, I actually -seem to put out the candle. We are thus -able to get a light which, while it surpasses -all others in brilliancy, is at the same time -not too large; for I might put this light into -an apparatus not larger than a hat, and yet -I could count upon the rays being useful. -Moreover, when such large burners are used in -a lantern, we have to consider whether the -bars of the window do not interfere to throw -a shadow or otherwise; but with this light -there will be no difficulty of that sort, as a -single small speculum, no larger than a hat, -will send it in any direction we please; and -it is wonderful what advantages, by reason of -its small bulk, we have in the consideration -of the different kinds of apparatus required, -reflecting or refracting, irrespective of other -reasons for using the electric light. And it is -these kind of things which make us decide -most earnestly and carefully in favour of the -electric light.</p> - -<div class="figcenter"> -<img src="images/fig_058.jpg" alt="" /> -<div class="caption">Fig. 58.</div> -</div> - -<p>I am going to shew you the effect that will<span class="pagenum" id="Page_187">187</span> -take place with that large lens, when we throw -the oil-lamp out of action, and put the electric -light into use. It is astonishing to find how -little the eye can compare the relative intensities -of two lights. Look at that screen, and -try to recollect the amount of light thrown -upon it from the 3¾ inch lamp of Fresnel; -and, now, when we shift the lens sideways, -look at the glorious light arising from that -small carbon point (fig. 58)—see how beautifully -it shines in the focus of that lens, and -throws the rays forward. At present, the -electric light is put at just the same distance -as the oil light; and therefore, being in the -focus of the lens, we have parallel rays which -are thrown forward in a perfectly straight line—as -you will see by comparing the size of<span class="pagenum" id="Page_188">188</span> -the lens with that of the light thrown on the -screen. You will now see how far we can -affect this beam of light by increasing or -diminishing the distance of the lamp. We -are able, by a small adjustment, to get a -beam of a large or small angle; and observe -what power I have now over it,—for if I -want to increase the degrees of divergence, I -am limited by the power of light, in the case -of the oil-lamp; but, with the electric light, -I can make it spread over any width of the -horizon by this simple adjustment. These, -then, are some of the reasons which make it -desirable to employ the electric light.</p> - -<div class="figcenter"> -<img src="images/fig_059.jpg" alt="" /> -<div class="caption">Fig. 59.</div> -</div> - -<p>By means of a magnet, and of motion, we -can get the same kind of electricity as I have -here from the battery; and, under the authority -of the Trinity House, Professor Holmes has -been occupied in introducing the magneto-electric -light in the light-house at the South -Foreland; for the voltaic battery has been -tried under every conceivable circumstance, and, -I take the liberty of saying, it has hitherto -proved a decided failure. Here, however, is -an instrument wrought only by mechanical<span class="pagenum" id="Page_189">189</span> -motion. The moment we give motion to this -soft iron in front of the magnet, we get a -spark. It is true, in this apparatus it is very -small, but it is sufficient for you to judge of -its character. It is the <i>magneto-electric</i> light; -and an instrument has been constructed, as -there shewn (fig. 59), which represents a number -of magnets placed radially upon a wheel—three -wheels of magnets and two sets of -helices. When the machine, which is worked<span class="pagenum" id="Page_190">190</span> -by a two-horse power engine, is properly set -in motion, and the different currents are all -brought together, and thrown by Professor -Holmes up into the lantern, we have a light -equal to the one we have been using this -evening. For the last six months the South -Foreland has been shining by means of this -electric light—beyond all comparison, better -than its former light. It has shone into France, -and has been seen there and taken notice of by -the authorities, who work with beautiful accord -with us in all these matters. Never for once -during six months has it failed in doing its -duty—never once—more than was expected by -the inventor. It has shone forth with its -own peculiar character, and this even with the -old apparatus; for, as yet, no attempt has -been made to construct special reflectors or -refractors for it, because it is not yet established. -I will not tell you that the problem -of employing the magneto-electric spark for -light-house illumination is quite solved yet, -although I desire it should be established -most earnestly (for I regard this magnetic -spark as one of my own offspring). The thing<span class="pagenum" id="Page_191">191</span> -is not yet decidedly accomplished, and what -the considerations of expense and other matters -may be, I cannot tell. I am only here -to tell you as a philosopher, how far the -results have been carried; but I do hope that -the authorities will find it a proper thing to -carry out in full. If it cannot be introduced -at all the light-houses—if it can only be used at -one—why, really, it will be an honour to the -nation which can originate such an improvement -as this—one which must of necessity -be followed by other nations.</p> - -<p>You may ask, what is the use of this bright -light? It would not be useful to us, were it -not for the constant changes which are taking -place in the atmosphere, which is never pure. -Even when we can see the stars clearly on a -bright night, it is not a pure atmosphere. The -light of a light-house, more than any other, is -liable to be dimmed by vapours and fogs; and -where we most want this great power, is not in -the finest condition of the atmosphere, but -when the mariner is in danger—when the sleet -and rain are falling, and the fogs arise, and the -winds are blowing, and he is nearing coasts<span class="pagenum" id="Page_192">192</span> -where the water is shallow, and abounds with -rocks,—then is his time of danger, when he -most wants this light. I am going to shew you -how, by means of a little steam, I can completely -obscure this glorious sun, this electric -light which you see. The cloud now obscuring -the light on the screen is only such a cloud -as you see when sitting in a train on a fine -summer’s day. You may observe that the vapour -passing out of the funnel casts as deep a shadow -on the ground as the black funnel; the very -sun itself is extinguished by the steam from the -funnel, so that it cannot give any light; and -the sun itself, if set in the light-house, would not -be able to penetrate such a vapour.</p> - -<p>Now, the haze of this cloud of steam is just -what we have to overcome, and the electric -light is as soon, proportionally, extinguished -by an obstruction of this kind as any other -light. If we take two lights, one four times the -intensity of the other, and we extinguish half of -one by a vapour, we extinguish half of the -other—and that is a fact which cannot be set -aside by any arrangement. But, then, we fall -back upon the <i>amount</i> of light which the<span class="pagenum" id="Page_193">193</span> -electric spark does give us in aid of the power -of penetrating the fog; for the light of the electric -spark shines so far at times, that even -before it has arisen above the horizon, twenty-five -miles off, it can be seen. This intense light -has, therefore, that power which we can take -advantage of,—of bearing a great deal of obstruction, -before it is entirely obscured by fogs -or otherwise.</p> - -<p>Taking care that we do not lead our authorities -into error by the advice given, we hope -that we shall soon be able to recommend the -Trinity House, from what has passed, to establish -either one or more good electric lights in -this country.</p> - -<hr class="chap" /> - -<p><span class="pagenum" id="Page_194">194</span></p> -</div><div class="chapter"> -<p><span class="pagenum" id="Page_195">195</span></p> - - - -<h2>NOTES.</h2> - - -<p class="center">LECTURE I.</p> - -<div class="footnote"> - -<p><a id="Footnote_1_2" href="#FNanchor_1_2" class="label">1</a> -Page 13. The opening lecture was twice postponed -on account of Dr. Faraday’s illness.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2_3" href="#FNanchor_2_3" class="label">2</a> -Page 22. <i>Platinum</i>, with one exception, the heaviest -body known, is 21½ times heavier than water.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_3_4" href="#FNanchor_3_4" class="label">3</a> -Page 22. <i>Aluminium</i> is 2½ times heavier than -water.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_4_5" href="#FNanchor_4_5" class="label">4</a> -Pages 23 and 24. <i>Power or Property in Water.</i>—This -power—the heat by which the water is kept in a -<i>fluid</i> state—is said, under ordinary circumstances, to be -<i>latent</i> or <i>insensible</i>. When, however, the water changes -its form, and, by uniting with the lime or sulphate of -copper, becomes <i>solid</i>, the heat which retained it in a -liquid state is evolved.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_5_6" href="#FNanchor_5_6" class="label">5</a> -Page 23. <i>Anhydrous Sulphate of Copper</i>: sulphate -of copper deprived of its water of crystallisation. To -obtain it, the blue sulphate is calcined in an earthen -crucible.</p></div> - -<p><span class="pagenum" id="Page_196">196</span></p> - -<div class="footnote"> - -<p><a id="Footnote_6_7" href="#FNanchor_6_7" class="label">6</a> -Page 29. <i>Add a little liquid to the marble, and -decompose it.</i>—Marble is composed of <i>carbonic acid</i> and -<i>lime</i>, and, in chemical language, is called <i>carbonate of -lime</i>. When sulphuric acid is added to it, the carbonic -acid is set free, and the sulphuric acid unites with the -lime to form sulphate of lime. -</p> -<p> -<i>Carbonic acid</i>, under ordinary circumstances, is a -colourless invisible gas, about half as heavy again as -air. Dr. Faraday first shewed that, under great pressure, -it could be obtained in a liquid state. Thilorier, -a French chemist, afterwards found that it could be -solidified.</p></div> - - -<p class="center">LECTURE II.</p> - -<div class="footnote"> - -<p><a id="Footnote_7_8" href="#FNanchor_7_8" class="label">7</a> -Page 55. <i>Crystallisation of Alum.</i>—The solution -must be saturated—that is, it must contain as much alum -as can possibly be dissolved. In making the solution, it -is best to add powdered alum to hot water as long as it -dissolves; and when no more is taken up, allow the solution -to stand a few minutes, and then pour it off from the -dirt and undissolved alum.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_8_9" href="#FNanchor_8_9" class="label">8</a> -Page 57. <i>Red Precipitate of Biniodide of Mercury.</i>—A -little care is necessary to obtain this precipitate. The -solution of potassium should be added to the solution -of perchloride of mercury (corrosive sublimate) very -gradually. The red precipitate which first falls is redissolved -when the liquid is stirred: when a little more -of the iodide of potassium is added, a pale, red<span class="pagenum" id="Page_197">197</span> -precipitate is formed, which, on the further addition of the -iodide, changes into the brilliant scarlet biniodide of -mercury. If too much iodide of potassium is added, the -scarlet precipitate disappears, and a colourless solution -is left.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_9_10" href="#FNanchor_9_10" class="label">9</a> -Page 57. <i>Paper Coated with Scarlet Biniodide of -Mercury.</i>—In order to fix the biniodide on paper, it must -be mixed with a little weak gum water, and then spread -over the paper, which must be dried without heat. -</p> -<p> -<i>Biniodide of Mercury</i> is said to be <i>dimorphous</i>; that is, -is able to assume two different forms.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_10_11" href="#FNanchor_10_11" class="label">10</a> -Page 59. “<i>Prince Rupert’s Drops.</i>”-These are -made by pouring drops of melted green glass into cold -water. They were not, as is commonly supposed, invented -by Prince Rupert, but were first brought to England -by him, in 1660. They excited a great deal of -curiosity, and were considered “a kind of miracle in -nature.”.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_11_12" href="#FNanchor_11_12" class="label">11</a> -Page 60. <i>Thick Glass Vessels.</i>—They are called -<i>Proofs</i> or <i>Bologna phials</i>.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_12_13" href="#FNanchor_12_13" class="label">12</a> -Page 61. <i>Mica.</i>—A silicate of alumina and magnesia. -It has a bright metallic lustre—hence its name, -from <i>mico</i>, to shine.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_13_14" href="#FNanchor_13_14" class="label">13</a> -Page 62. <i>Common salt</i>, or chloride of sodium, -crystallises in the form of solid cubes, which, aggregated -together, form a mass, which may be broken up into the -separate cubes.</p></div> - -<p><span class="pagenum" id="Page_198">198</span></p> - -<div class="footnote"> - -<p><a id="Footnote_14_15" href="#FNanchor_14_15" class="label">14</a> -Page 62. <i>Iceland</i> or <i>Calc Spar</i>.—Native carbonate -of lime in its primitive crystalline form.</p></div> - - -<p class="center">LECTURE III.</p> - -<div class="footnote"> - -<p><a id="Footnote_15_16" href="#FNanchor_15_16" class="label">15</a> -Page 79. <i>Solution of a Salt.</i>—Acetate of soda. A -solution saturated, or nearly so, at the boiling point, is -necessary, and it must be allowed to cool, and remain at -rest until the experiment is made.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_16_17" href="#FNanchor_16_17" class="label">16</a> -Page 86. <i>Binoxide of Nitrogen and Hypo-nitrous -Acid.</i>—Binoxide of nitrogen is formed when nitric acid -and a little water are added to some copper turnings. -It produces deep red fumes as soon as it comes in contact -with the air, by combining with the oxygen of the -latter to form hypo-nitrous acid. <i>Binoxide of nitrogen</i> is -composed of two parts oxygen and one part of nitrogen; -<i>hypo-nitrous acid</i> is composed of one part of nitrogen and -three parts of oxygen.</p></div> - - -<p class="center">LECTURE IV.</p> - -<div class="footnote"> - -<p><a id="Footnote_17_18" href="#FNanchor_17_18" class="label">17</a> -Page 106. <i>Chlorate of Potash and Sulphuret of -Antimony.</i>—Great care must be taken in mixing these -substances, as the mixture is dangerously explosive. -They must be powdered separately, and mixed together -with a feather on a sheet of paper, or by passing them -several times through a small sieve.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_18_19" href="#FNanchor_18_19" class="label">18</a> -Page 107. The mixture of chlorate of potash and -sugar does not require the same precautions. They may<span class="pagenum" id="Page_199">199</span> -be rubbed together in a pestle and mortar without fear. -One part of chlorate of potash and three parts of sugar -will answer. The mixture need only be touched with a -glass rod dipped in oil of vitriol.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_19_20" href="#FNanchor_19_20" class="label">19</a> -Page 107. <i>Two Salts Dissolved in Water.</i>—Sulphate -of soda and chloride of calcium. The solutions -must be saturated for the experiment to succeed well.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_20_21" href="#FNanchor_20_21" class="label">20</a> -Page 111. <i>Lead Pyrophorous.</i>—This is a tartrate -of lead which has been heated in a glass tube to dull redness -as long as vapours are emitted. As soon as they -cease to be evolved, the end of the tube is sealed, and it -is allowed to cool.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_21_22" href="#FNanchor_21_22" class="label">21</a> -Page 115. <i>Gun-Cotton</i> is made by immersing -cotton-wool in a mixture of sulphuric acid and the -strongest nitric acid, or of sulphuric acid and nitrate of -potash.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_22_23" href="#FNanchor_22_23" class="label">22</a> -Page 115. <i>Paper Prepared like Gun-Cotton.</i>—It -should be bibulous paper, and must be soaked for ten -minutes in a mixture of ten parts by measure of oil of -vitriol with five parts of strong fuming nitric acid. The -paper must afterwards be thoroughly washed with warm -distilled water, and then carefully dried at a gentle heat. -The paper is then saturated with chlorate of strontia, or -chlorate of baryta, or nitrate of copper, by immersion in -a warm solution of these salts. (See <i>Chemical News</i>, -Vol. I., page 36.)</p></div> - -<p><span class="pagenum" id="Page_200">200</span></p> - - -<p class="center">LECTURE VI.</p> - -<div class="footnote"> - -<p><a id="Footnote_23_24" href="#FNanchor_23_24" class="label">23</a> -Page 162. <i>Sulpho-indigotic Acid.</i>—A mixture of -one part of indigo and fifteen parts of concentrated oil of -vitriol. It is bleached on the side at which hydrogen -gas is evolved, in consequence of the liberated hydrogen -withdrawing oxygen from the indigo, thereby forming a -colourless deoxidised indigo. In making the experiment, -only enough of the sulpho-indigotic acid must be added to -give the water a decided blue colour.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_24_25" href="#FNanchor_24_25" class="label">24</a> -Page 164. <i>Lead Tree.</i>—To make a lead tree, pass -a bundle of brass wires through the cork of a bottle, and -fasten a plate of zinc round them just as they issue from -the cork, so that the zinc may be in contact with every -one of the wires. Make the wires to diverge so as to -form a sort of cone, and having filled the bottle quite -full of a solution of sugar of lead, insert the wires and -cork, and seal it down, so as to perfectly exclude the -air. In a short time the metallic lead will begin to -crystallise around the divergent wires, and form a beautiful -object.</p></div> - - -<p class="center">THE END.</p> - - -<p class="center"><small>BELL AND BAIN, LIMITED, PRINTERS, GLASGOW.</small></p> - -<hr class="full" /> -</div><div class="chapter"> -<h2 class="invisible"><a id="Book_Catalogue"></a>Book Catalogue</h2> -<p class="center small"> -<span class="u">Telegraphic Address—BOOKSTORE, LONDON.</span> <span class="u">Telephone No.—3524 CENTRAL.</span> -</p> - -<p class="center"> -AN ALPHABETICAL CATALOGUE<br /> -OF BOOKS IN FICTION AND<br /> -GENERAL LITERATURE<br /> -PUBLISHED BY<br /> -CHATTO & WINDUS<br /> -111 ST. MARTIN’S LANE<br /> -CHARING CROSS<br /> -LONDON, W.C.<br /> -[JUNE, 1904.]<br /> -</p> - -<div class="figcenter"> -<img src="images/i_201.jpg" alt="Acorn" /> -</div> - - -<div class="small"> -<p class="hang"><b>A B C (The) of Cricket</b>: a Black View of the Game. 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McD., K.C.), Books by.</b></p> - - - -<p class="hang"><b>Dora Myrl, the Lady Detective.</b> Crown 8vo, cloth, 3<i>s.</i> 6<i>d.</i>; picture cloth, flat back, 2<i>s.</i></p> - -<p class="hang">Crown 8vo, cloth, 3<i>s.</i> 6<i>d.</i> each.</p> - -<ul class="books"> -<li class="b"><b>Shillelagh and Shamrock.</b></li> -<li class="b"><b>Patsey the Omadaun.</b></li> -</ul> - - -<p class="hang"><b>Bourget (Paul).</b>—<b>A Living Lie.</b> Translated by <span class="smcap">John de Villiers</span>. -Crown 8vo, cloth, 3<i>s.</i> 6<i>d.</i></p> - - - -<p class="hang"><b>Besant (Sir Walter) and James Rice, Novels by.</b></p> - -<p class="hang">Crown 8vo, cloth extra, 3<i>s.</i> 6<i>d.</i> each; post 8vo, illustrated boards, 2<i>s.</i> each; cloth limp. 2<i>s.</i> 6<i>d.</i> each.</p> - -<ul class="books"> -<li class="b"><b>Ready-Money Mortiboy.</b></li> -<li class="b"><b>The Golden Butterfly.</b></li> -<li class="b"><b>My Little Girl.</b></li> -<li class="b"><b>With Harp and Crown.</b></li> -<li class="b"><b>This Son of Vulcan.</b></li> -<li class="b"><b>The Monks of Thelema.</b></li> -<li class="b"><b>By Celia’s Arbour.</b></li> -<li class="b"><b>The Chaplain of the Fleet.</b></li> -<li class="b"><b>The Seamy Side.</b></li> -<li class="b"><b>The Case of Mr. Lucraft.</b></li> -<li class="b"><b>‘Twas in Trafalgar’s Bay.</b></li> -<li class="b"><b>The Ten Years’ Tenant.</b></li> -</ul> - -<p class="hang">⁂ There are also <span class="smcap">Library Editions</span> of all excepting the first two. Large crown 8vo, cloth, 6<i>s.</i> each.</p> - - -<p class="hang"><b>Besant (Sir Walter), Novels by.</b></p> - -<p class="hang">Crown 8vo, cloth extra, 3<i>s.</i> 6<i>d.</i> each; post 8vo, illustrated boards, 2<i>s.</i> each; cloth limp, 2<i>s.</i> 6<i>d.</i> each.</p> - -<ul class="books"> -<li class="b"><b>All Sorts and Conditions of Men.</b> With 12 Illustrations by <span class="smcap">Fred. Barnard</span>.</li> -<li class="b"><b>The Captains’ Room</b>, &c. With Frontispiece by <span class="smcap">E. J. Wheeler</span>.</li> -<li class="b"><b>All in a Garden Fair.</b> With 6 Illustrations by <span class="smcap">Harry Furniss</span>.</li> -<li class="b"><b>Dorothy Forster.</b> With Frontispiece by <span class="smcap">Charles Green</span>.</li> -<li class="b"><b>Uncle Jack</b>, and other Stories.</li> -<li class="b"><b>Children of Gibeon.</b></li> -<li class="b"><b>The World Went Very Well Then.</b> With 12 Illustrations by <span class="smcap">A. Forestier</span>.</li> -<li class="b"><b>Herr Paulus</b>: His Rise, his Greatness, and his Fall.</li> -<li class="b"><b>The Bell of St. Paul’s.</b></li> -<li class="b"><b>For Faith and Freedom.</b> With Illustrations by <span class="smcap">A. Forestier</span> and <span class="smcap">F. Waddy</span>.</li> -<li class="b"><b>To Call Her Mine</b>, &c. With 9 Illustrations by <span class="smcap">A. Forestier</span>.</li> -<li class="b"><b>The Holy Rose</b>, &c. With Frontispiece by <span class="smcap">F. Barnard</span>.</li> -<li class="b"><b>Armorel of Lyonesse</b>: A Romance of To-day. With 12 Illustrations by <span class="smcap">F. Barnard</span>.</li> -<li class="b"><b>St. Katherine’s by the Tower.</b> With 12 Illustrations by <span class="smcap">C. Green</span>.</li> -<li class="b"><b>Verbena Camellia Stephanotis</b>, &c. With a Frontispiece by <span class="smcap">Gordon Browne</span>.</li> -<li class="b"><b>The Ivory Gate.</b></li> -<li class="b"><b>The Rebel Queen.</b></li> -<li class="b"><b>Beyond the Dreams of Avarice.</b> With 12 Illustrations by <span class="smcap">W. H. Hyde</span>.</li> -<li class="b"><b>In Deacon’s Orders</b>, &c. With Frontispiece by <span class="smcap">A. Forestier</span>.</li> -<li class="b"><b>The Revolt of Man.</b></li> -<li class="b"><b>The Master Craftsman.</b></li> -<li class="b"><b>The City of Refuge.</b></li> -</ul> - -<p class="center">Crown 8vo, cloth, 3<i>s.</i> 6<i>d.</i> each.</p> - -<ul class="books"> -<li class="b"><b>A Fountain Sealed.</b></li> -<li class="b"><b>The Changeling.</b></li> -<li class="b"><b>The Fourth Generation.</b></li> -<li class="b"><b>The Orange Girl.</b> With 8 Illustrations by <span class="smcap">F. Pegram</span>.</li> -</ul> - -<p class="center">Crown 8vo, cloth, gilt top, 6<i>s.</i> each.</p> - -<ul class="books"> -<li class="b"><b>The Lady of Lynn.</b> With 12 Illustrations by <span class="smcap">G. Demain-Hammond</span>.</li> -<li class="b"><b>No Other Way.</b> With 12 Illustrations by <span class="smcap">Charles D. Ward</span>.</li> -</ul> - -<p class="center">Crown 8vo, picture cloth, flat back, 2<i>s.</i> each.</p> - -<ul class="books"> -<li class="b"><b>St. Katherine’s by the Tower.</b></li> -<li class="b"><b>The Rebel Queen.</b></li> -</ul> - -<p class="center"><span class="smcap">Popular Editions</span>, medium 8vo, 6<i>d.</i> each.</p> - -<ul class="books"> -<li class="b"><b>All Sorts and Conditions of Men.</b></li> -<li class="b"><b>The Chaplain of the Fleet.</b></li> -<li class="b"><b>The Golden Butterfly.</b></li> -<li class="b"><b>Orange Girl.</b></li> -<li class="b"><b>For Faith and Freedom.</b></li> -<li class="b"><b>Ready-Money Mortiboy.</b></li> -<li class="b"><b>Children of Gibeon.</b></li> -</ul> - -<p class="center"><span class="smcap">Large Type. Fine Paper Editions. </span> post 8vo, cloth, 2<i>s.</i> net each; leather, gilt edges, 3<i>s.</i> net each.</p> - -<ul class="books"> -<li class="b"><b>All Sorts and Conditions of Men.</b></li> -<li class="b"><b>London.</b></li> -</ul> - -<p class="center">Demy 8vo, cloth, 7<i>s.</i> 6<i>d.</i> each.</p> - -<p class="hang1"><b>London.</b> With 125 Illustrations.</p> - -<p class="hang1"><b>Westminster.</b> With Etching by <span class="smcap">F. S. Walker</span>, and 130 Illustrations.</p> - -<p class="hang1"><b>South London.</b> With Etching by <span class="smcap">F. S. Walker</span>, and 118 Illustrations.</p> - -<p class="hang1"><b>East London.</b> With an Etched Frontispiece by <span class="smcap">F. S. Walker</span>, and 56 Illustrations by <span class="smcap">Phil -May</span>, <span class="smcap">L. Raven Hill</span>, and <span class="smcap">Joseph Pennell</span>.</p> - -<p class="hang1"><b>Jerusalem</b>: The City of Herod and Saladin. By <span class="smcap">Walter Besant</span> and <span class="smcap">E. H. Palmer</span>. With a -new Chapter, a Map, and 12 Illustrations.</p> - -<p class="center">Crown 8vo, buckram, 6<i>s.</i> each.</p> - -<ul class="books"> -<li class="b"><b>As We Are and As We May Be.</b></li> -<li class="b"><b>Essays and Historiettes.</b></li> -<li class="b"><b>The Eulogy of Richard Jefferies.</b> With a Portrait.</li> -</ul> - -<p class="center">Crown 8vo, cloth, 3<i>s.</i> 6<i>d.</i> each.</p> - -<ul class="books"> -<li class="b"><b>Fifty Years Ago.</b> With 144 Illustrations.</li> -<li class="b"><b>Gaspard de Coligny.</b> With a Portrait.</li> -<li class="b"><b>Sir Richard Whittington.</b> Lord Mayor of London.</li> -<li class="b"><b>The Charm</b>, and other Drawing-room Plays. With 50 Illustrations by <span class="smcap">Chris Hammond</span>, &c.</li> -</ul> - - - -<p class="hang1"><b>The Art of Fiction.</b> Fcap. 8vo, cloth, 1<i>s.</i> net.</p> - - -<p class="hang1"><b>Blundell’s Worthies, 1604-1694.</b> By <span class="smcap">M. L. Banks</span>, M.A. With 10 -Illustrations. Demy 8vo, cloth, 7<i>s.</i> 6<i>d.</i> net.</p> - - -<p class="hang"><b>Bourne (H. R. Fox), Books by.</b></p> - -<ul class="books"> -<li class="b"><b>English Merchants.</b> With 32 Illustrations. Crown 8vo, cloth, 3<i>s.</i> 6<i>d.</i></li> -<li class="b"><b>The Other Side of the Emin Pasha Relief Expedition.</b> Crown 8vo, cloth, 6<i>s.</i></li> -</ul> - - -<p class="hang"><b>Boyd.</b>—<b>A Versailles Christmas-tide.</b> By <span class="smcap">Mary Stuart Boyd</span>. With -53 Illustrations by <span class="smcap">A. S. Boyd</span>. Fcap. 4to, cloth gilt and gilt top, 6<i>s.</i></p> - - -<p class="hang"><b>Boyle (Frederick), Works by.</b> Post 8vo, illustrated bds., 2<i>s.</i> each.</p> - -<ul class="books"> -<li class="b"><b>Chronicles of No-Man’s Land.</b></li> -<li class="b"><b>Camp Notes.</b></li> -<li class="b"><b>Savage Life.</b></li> -</ul> - - -<p class="hang"><b>Brand (John).</b>—<b>Observations on Popular Antiquities</b>; chiefly -illustrating the Origin of our Vulgar Customs, Ceremonies, and Superstitions. With the Additions of Sir -<span class="smcap">Henry Ellis</span>. Crown 8vo, cloth, 3<i>s.</i> 6<i>d.</i></p> - - -<p class="hang"><b>Brayshaw (J. Dodsworth).</b>—<b>Slum Silhouettes</b>: Stories of London -Life. Crown 8vo, cloth, 3<i>s.</i> 6<i>d.</i></p> - - -<p class="hang"><b>Brewer’s (Rev. 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With Plates.</li> -<li class="b"><b>The Martyrs of Science</b>: <span class="smcap">Galileo</span>, <span class="smcap">Tycho Brahe</span>, and <span class="smcap">Kepler</span>.</li> -<li class="b"><b>Letters on Natural Magic.</b> With numerous Illustrations.</li> -</ul> - - -<p class="hang"><b>Bright (Florence).</b>—<b>A Girl Capitalist.</b> Cr. 8vo, cloth, gilt top, 6<i>s.</i></p> - - -<p class="hang"><b>Brillat-Savarin.</b>—<b>Gastronomy as a Fine Art.</b> Translated by -<span class="smcap">R. E. Anderson</span>, M.A. Post 8vo, half-bound, 2<i>s.</i></p> - - -<p class="hang"><b>Bryden (H. A.).</b>—<b>An Exiled Scot</b>: A Romance. With a Frontispiece, -by <span class="smcap">J. S. Crompton</span>, R.I. Crown 8vo, cloth, 3<i>s.</i> 6<i>d.</i></p> - - -<p class="hang"><b>Brydges (Harold).</b>—<b>Uncle Sam at Home.</b> With 91 Illustrations. -Post 8vo, illustrated boards, 2<i>s.</i>; cloth limp, 2<i>s.</i> 6<i>d.</i></p> - - -<p class="hang"><b>Buchanan (Robert), Poems and Novels by.</b></p> - - - -<p class="hang1"><b>The Complete Poetical Works of Robert Buchanan.</b> 2 vols., crown 8vo, buckram, with -Portrait Frontispiece to each volume, 12<i>s.</i></p> - -<p class="center">Crown 8vo, cloth, 3<i>s.</i> 6<i>d.</i> each; post 8vo, illustrated boards, 2<i>s.</i> each.</p> - -<ul class="books"> -<li class="b"><b>The Shadow of the Sword.</b></li> - -<li class="b"><b>A Child of Nature.</b> With Frontispiece.</li> - -<li class="b"><b>God and the Man.</b> With 11 Illustrations by -<span class="smcap">Fred. Barnard</span>.</li> - -<li class="b"><b>Lady Kilpatrick.</b></li> - -<li class="b"><b>The Martyrdom of Madeline.</b> With -Frontispiece by <span class="smcap">A. W. Cooper</span>.</li> - -<li class="b"><b>Love Me for Ever.</b> With Frontispiece.</li> - -<li class="b"><b>Annan Water.</b></li> - -<li class="b"><b>Foxglove Manor.</b></li> - -<li class="b"><b>The New Abelard.</b></li> - -<li class="b"><b>Rachel Dene.</b></li> - -<li class="b"><b>Matt</b>: A Story of a Caravan. With Frontispiece.</li> - -<li class="b"><b>The Master of the Mine.</b> With Frontispiece.</li> - -<li class="b"><b>The Heir of Linne.</b></li> - -<li class="b"><b>Woman and the Man.</b></li> -</ul> -<p class="center">Crown 8vo, cloth, 3<i>s.</i> 6<i>d.</i> each.</p> -<ul class="books"> -<li class="b"><b>Red and White Heather.</b></li> -<li class="b"><b>Andromeda</b>: An Idyll of the Great River.</li> -<li class="b"><b>The Shadow of the Sword.</b> <span class="smcap">Popular Edition</span>, medium 8vo, 6<i>d.</i></li> - -<li class="b"><b>The Charlatan.</b> By <span class="smcap">Robert Buchanan</span> and <span class="smcap">Henry Murray</span>. Crown 8vo, cloth, with a -Frontispiece by <span class="smcap">T. H. Robinson</span>, 3<i>s.</i> 6<i>d.</i>; post 8vo, picture boards, 2<i>s.</i></li> -</ul> - -<p class="hang"><b>Burgess (Gelett) and Will Irwin.</b>—<b>The Picaroons</b>: A San Francisco -Night’s Entertainment. Crown 8vo, cloth, 3<i>s.</i> 6<i>d.</i></p> - - -<p class="hang"><b>Burton (Robert).</b>—<b>The Anatomy of Melancholy.</b> With Translations -of the Quotations. Demy 8vo, cloth extra, 7<i>s.</i> 6<i>d.</i></p> - -<p class="hang"><b>Melancholy Anatomised</b>: An Abridgment of <span class="smcap">Burton’s Anatomy</span>. Post 8vo, half-cl., 2<i>s.</i> 6<i>d.</i></p> - -<p class="hang"><b>Caine (Hall), Novels by.</b> Crown 8vo, cloth extra, 3<i>s.</i> 6<i>d.</i> each; post -8vo, illustrated boards, 2<i>s.</i> each; cloth limp, 2<i>s.</i> 6<i>d.</i> each.</p> - -<ul class="books"> -<li class="b"><b>The Shadow of a Crime.</b></li> -<li class="b"><b>A Son of Hagar.</b></li> -<li class="b"><b>The Deemster.</b></li> -</ul> - -<p>Also <span class="smcap">Library Editions</span> of the three novels, set in new type, crown 8vo, bound uniform with -<b>The Christian</b>, 6<i>s.</i> each; and <span class="smcap">Cheap Popular Editions</span>, medium 8vo, portrait-cover, 6<i>d.</i> each.—Also -the <span class="smcap">Fine-paper Edition</span> of <b>The Deemster</b>, post 8vo, cloth, gilt top, 2<i>s.</i> net; leather, gilt -edges, 3<i>s.</i> net.</p> - - -<p class="hang"><b>Cameron (Commander V. Lovett).</b>—<b>The Cruise of the ‘Black -Prince’ Privateer.</b> Post 8vo, picture boards, 2<i>s.</i></p> - - -<p class="hang"><b>Canada (Greater)</b>: The Past, Present, and Future of the Canadian -North-West. By <span class="smcap">E. B. Osborn</span>, B.A. With a Map. Crown 8vo, cloth, 3<i>s.</i> 6<i>d.</i></p> - - -<p class="hang"><b>Captain Coignet, Soldier of the Empire</b>: An Autobiography. -Edited by <span class="smcap">Loredan Larchey</span>. Translated by Mrs. <span class="smcap">Carey</span>. With 100 Illustrations. Crown 8vo, -cloth, 3<i>s.</i> 6<i>d.</i></p> - - -<p class="hang"><b>Carlyle (Thomas).</b>—<b>On the Choice of Books.</b> Post 8vo, cl., 1<i>s.</i> 6<i>d.</i></p> - - -<p class="hang"><b>Carruth (Hayden).</b>—<b>The Adventures of Jones.</b> With 17 Illustrations. -Fcap. 8vo, cloth, 2<i>s.</i></p> - - -<p class="hang"><b>Chambers (Robert W.), Stories of Paris Life by.</b></p> - -<ul class="books"> -<li class="b"><b>The King in Yellow.</b> Crown 8vo, cloth, 3<i>s.</i> 6<i>d.</i>; fcap. 8vo, cloth limp, 2<i>s.</i> 6<i>d.</i></li> -<li class="b"><b>In the Quarter.</b> Fcap. 8vo, cloth, 2<i>s.</i> 6<i>d.</i></li> -</ul> - - -<p class="hang"><b>Chapman’s (George), Works.</b> Vol. I., Plays Complete, including the -Doubtful Ones.—Vol. II., Poems and Minor Translations, with Essay by <span class="smcap">A. C. Swinburne</span>.—Vol. -III., Translations of the Iliad and Odyssey. Three Vols., crown 8vo, cloth, 3<i>s.</i> 6<i>d.</i> each.</p> - - -<p class="hang"><b>Chaucer for Children</b>: A Golden Key. By Mrs. <span class="smcap">H. R. Haweis</span>. With -8 Coloured Plates and 30 Woodcuts. Crown 4to, cloth extra, 3<i>s.</i> 6<i>d.</i></p> - -<p class="hang1"><b>Chaucer for Schools.</b> With the Story of his Times and his Work. By Mrs. <span class="smcap">H. R. Haweis</span>. -A New Edition, revised. With a Frontispiece. Demy 8vo, cloth, 2<i>s.</i> 6<i>d.</i></p> - - -<p class="hang"><b>Chess, The Laws and Practice of.</b> With an Analysis of the Openings. -By <span class="smcap">Howard Staunton</span>. Edited by <span class="smcap">R. B. Wormald</span>. Crown 8vo, cloth, 5<i>s.</i></p> - -<p class="hang1"><b>The Minor Tactics of Chess</b>: A Treatise on the Deployment of the Forces in obedience to Strategic -Principle. By <span class="smcap">F. K. Young</span> and <span class="smcap">E. C. Howell</span>. Long fcap. 8vo, cloth, 2<i>s.</i> 6<i>d.</i></p> - -<p class="hang1"><b>The Hastings Chess Tournament.</b> Containing the Authorised Account of the 230 Games -played Aug.-Sept., 1895. With Annotations by <span class="smcap">Pillsbury</span>, <span class="smcap">Lasker</span>, <span class="smcap">Tarrasch</span>, <span class="smcap">Steinitz</span>, -<span class="smcap">Schiffers</span>, <span class="smcap">Teichmann</span>, <span class="smcap">Bardeleben</span>, <span class="smcap">Blackburne</span>, <span class="smcap">Gunsberg</span>, <span class="smcap">Tinsley</span>, <span class="smcap">Mason</span>, and -<span class="smcap">Albin</span>; Biographical Sketches of the Chess Masters, and 22 Portraits. Edited by <span class="smcap">H. F. Cheshire</span>. -Cheaper Edition. Crown 8vo, cloth, 5<i>s.</i></p> - -<p class="hang"><b>Chapple (J. Mitchell).</b>—<b>The Minor Chord</b>: The Story of a Prima -Donna. Crown 8vo, cloth, 3<i>s.</i> 6<i>d.</i></p> - - -<p class="hang"><b>Clare (Austin), Stories by.</b></p> - -<ul class="books"> -<li class="b"><b>For the Love of a Lass.</b> Post 8vo, illustrated boards, 2<i>s.</i>; cloth, 2<i>s.</i> 6<i>d.</i></li> -<li class="b"><b>By the Rise of the River</b>: Tales and Sketches in South Tynedale. 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Crown 8vo, cloth, 7<i>s.</i> 6<i>d.</i></p> - - -<p class="hang"><b>Wynman (Margaret).</b>—<b>My Flirtations.</b> With 13 Illustrations by -<span class="smcap">J. Bernard Partridge</span>. Post 8vo, cloth limp, 2<i>s.</i></p> - - -<p class="hang"><b>Zangwill (Louis).</b>—<b>A Nineteenth Century Miracle.</b> Cr. 8vo, 2<i>s.</i></p> - - -<p class="hang"><b>Zola’s (Emile) Novels.</b> <span class="smcap">Uniform Edition.</span> Translated or Edited, with -Introductions, by <span class="smcap">Ernest A. Vizetelly</span>. Crown 8vo, cloth, 3<i>s.</i> 6<i>d.</i> each.</p> - -<ul class="books"> -<li class="b"><b>His Masterpiece.</b></li> -<li class="b"><b>The Joy of Life.</b></li> -<li class="b"><b>Germinal: Master and Man.</b></li> -<li class="b"><b>The Honour of the Army.</b></li> -<li class="b"><b>Abbe Mouret’s Transgression.</b></li> -<li class="b"><b>The Fortune of the Rougons.</b></li> -<li class="b"><b>The Conquest of Plassans.</b></li> -<li class="b"><b>The Dram-Shop.</b></li> -<li class="b"><b>The Fat and the Thin.</b></li> -<li class="b"><b>Money.</b></li> -<li class="b"><b>His Excellency.</b></li> -<li class="b"><b>The Dream.</b></li> -<li class="b"><b>The Downfall.</b></li> -<li class="b"><b>Doctor Pascal.</b></li> -<li class="b"><b>Lourdes.</b></li> -<li class="b"><b>Rome.</b></li> -<li class="b"><b>Paris.</b></li> -<li class="b"><b>Fruitfulness.</b></li> -<li class="b"><b>Work.</b></li> -<li class="b"><b>Truth.</b></li> -</ul> - -<p class="center"><span class="smcap">Popular Editions</span>, medium 8vo, 6<i>d.</i> each.</p> - -<ul class="books"> -<li class="b"><b>The Dram-Shop.</b></li> -<li class="b"><b>The Downfall.</b></li> -<li class="b"><b>Rome.</b></li> -</ul> - - -<p class="hang"><b>With Zola in England.</b> By <span class="smcap">Ernest A. Vizetelly</span>. With Four Portraits. Crown 8vo, cloth, 3<i>s.</i> 6<i>d.</i></p> - -<hr class="full" /> - -<p class="center">SOME BOOKS CLASSIFIED IN SERIES.</p> - - -<p class="hang"><b>The St. Martin’s Library.</b> Pott 8vo, cloth, 2<i>s.</i> net each; leather, 3<i>s.</i> net each.</p> - -<ul class="books"> -<li class="b"><b>London.</b> By Sir <span class="smcap">Walter Besant</span>.</li> -<li class="b"><b>The Woman in White.</b> By <span class="smcap">Wilkie Collins</span>.</li> -<li class="b"><b>All Sorts and Conditions of Men.</b> By Sir <span class="smcap">Walter Besant</span>.</li> -<li class="b"><b>The Cloister and the Hearth.</b> By <span class="smcap">Chas. Reade</span>.</li> -<li class="b"><b>‘It is Never Too Late to Mend.’</b> By <span class="smcap">Ch. Reade</span>.</li> -<li class="b"><b>Familiar Studies of Men and Books.</b> By <span class="smcap">Robert Louis Stevenson</span>.</li> -<li class="b"><b>Virginibus Puerisque</b>, and other Papers. By <span class="smcap">R. Louis Stevenson</span>.</li> -<li class="b"><b>The Pocket R.L.S.</b>: Favourite Passages from <span class="smcap">Stevenson’s</span> Works.</li> -<li class="b"><b>New Arabian Nights.</b> By <span class="smcap">Robert Louis Stevenson</span>.</li> -<li class="b"><b>The Deemster.</b> By <span class="smcap">Hall Caine</span>.</li> -<li class="b"><b>Under the Greenwood Tree.</b> By <span class="smcap">Thomas Hardy</span>.</li> -<li class="b"><b>The Life of the Fields.</b> By <span class="smcap">Richard Jefferies</span>.</li> -<li class="b"><b>Walton and Cotton’s Complete Angler.</b></li> -<li class="b"><b>Mark Twain’s Sketches.</b></li> -<li class="b"><b>Condensed Novels.</b> (The Two Series in One Volume.) By <span class="smcap">Bret Harte</span>.</li> -</ul> - - -<p class="hang"><b>The Mayfair Library.</b> Post 8vo, cloth limp, 2<i>s.</i> 6<i>d.</i> per Volume.</p> - -<ul class="books"> -<li class="b"><b>Quips and Quiddities.</b> By <span class="smcap">W. D. 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Pennell</span>.</li> -<li class="b"><b>By Stream and Sea.</b> By <span class="smcap">William Senior</span>.</li> -</ul> - - -<p class="hang"><b>The Golden Library.</b> Post 8vo, cloth limp, 2<i>s.</i> per Volume.</p> - -<ul class="books"> -<li class="b"><b>Songs for Sailors.</b> By <span class="smcap">W. C. Bennett</span>.</li> -<li class="b"><b>Lives of the Necromancers.</b> By <span class="smcap">W. Godwin</span>.</li> -<li class="b"><b>The Autocrat of the Breakfast Table.</b> By <span class="smcap">Oliver Wendell Holmes</span>.</li> -<li class="b"><b>Scenes of Country Life.</b> By <span class="smcap">Edward Jesse</span>.</li> -<li class="b"><b>La Mort d’Arthur</b>: Selections from <span class="smcap">Mallory</span>.</li> -<li class="b"><b>Diversions of the Echo Club.</b> <span class="smcap">Bayard Taylor</span>.</li> -</ul> - - -<p class="hang"><b>My Library.</b> Printed on laid paper, post 8vo, half-Roxburghe, 2<i>s.</i> 6<i>d.</i> each.</p> - -<ul class="books"> -<li class="b"><b>The Journal of Maurice de Guerin.</b></li> -<li class="b"><b>The Dramatic Essays of Charles Lamb.</b></li> -<li class="b"><b>Citation of William Shakspeare.</b> By <span class="smcap">W. S. Landor.</span></li> -<li class="b"><b>Christie Johnstone.</b> By <span class="smcap">Charles Reade</span>.</li> -<li class="b"><b>Peg Woffington.</b> By <span class="smcap">Charles Reade</span>.</li> -</ul> - - -<p class="hang"><b>The Pocket Library.</b> Post 8vo, printed on laid paper and hf.-bd., 2<i>s.</i> each.</p> - -<ul class="books"> -<li class="b"><b>Gastronomy.</b> By <span class="smcap">Brillat-Savarin</span>.</li> -<li class="b"><b>Robinson Crusoe.</b> Illustrated by <span class="smcap">G. Cruikshank</span>.</li> -<li class="b"><b>Autocrat</b> and <b>Professor</b>. By <span class="smcap">O. W. Holmes</span>.</li> -<li class="b"><b>Provincial Letters of Blaise Pascal.</b></li> -<li class="b"><b>Whims and Oddities.</b> By <span class="smcap">Thomas Hood</span>.</li> -<li class="b"><b>Leigh Hunt’s Essays.</b> Edited by <span class="smcap">E. Ollier</span>.</li> -<li class="b"><b>The Barber’s Chair.</b> By <span class="smcap">Douglas Jerrold</span>.</li> -<li class="b"><b>The Essays of Elia.</b> By <span class="smcap">Charles Lamb</span>.</li> -<li class="b"><b>Anecdotes of the Clergy.</b> By <span class="smcap">Jacob Larwood</span>.</li> -<li class="b"><b>The Epicurean</b>, &c. By <span class="smcap">Thomas Moore</span>.</li> -<li class="b"><b>Plays</b> by <span class="smcap">Richard Brinsley Sheridan</span>.</li> -<li class="b"><b>Gulliver’s Travels</b>, &c. By Dean <span class="smcap">Swift</span>.</li> -<li class="b"><b>Thomson’s Seasons.</b> Illustrated.</li> -<li class="b"><b>White’s Natural History of Selborne.</b></li> -</ul> - -<hr class="full" /> - -<p class="center"><big>POPULAR SIXPENNY NOVELS</big>.</p> - -<p>By GRANT ALLEN.</p> - -<p class="hang1">The Tents of Shem.</p> - -<p>By WALTER BESANT.</p> - -<ul class="books"> -<li class="b">Children of Gibeon.</li> -<li class="b">The Orange Girl.</li> -<li class="b">All Sorts and Conditions of Men.</li> -<li class="b">For Faith and Freedom.</li> -</ul> - -<p>By BESANT and RICE.</p> - -<ul class="books"> -<li class="b">The Golden Butterfly.</li> -<li class="b">Ready-Money Mortiboy.</li> -<li class="b">The Chaplain of the Fleet.</li> -</ul> - -<p>By ROBERT BUCHANAN.</p> - -<p class="hang1">The Shadow of the Sword.</p> - -<p>By HALL CAINE.</p> - -<ul class="books"> -<li class="b">A Son of Hagar.</li> -<li class="b">The Deemster.</li> -<li class="b">The Shadow of a Crime.</li> -</ul> - -<p>By WILKIE COLLINS.</p> - -<ul class="books"> -<li class="b">Armadale.</li> -<li class="b">Man and Wife.</li> -<li class="b">Antonina.</li> -<li class="b">The Moonstone.</li> -<li class="b">The Woman in White.</li> -<li class="b">The Dead Secret.</li> -<li class="b">The New Magdalen.</li> -<li class="b">No Name.</li> -</ul> - -<p>By B. M. CROKER.</p> - -<ul class="books"> -<li class="b">Diana Barrington.</li> -<li class="b">Pretty Miss Neville.</li> -</ul> - -<p>By D. CHRISTIE MURRAY.</p> - -<p class="hang1">Joseph’s Coat.</p> - -<p>By OUIDA.</p> - -<ul class="books"> -<li class="b">Puck.</li> -<li class="b">Moths.</li> -<li class="b">Strathmore.</li> -<li class="b">Tricotrin.</li> -<li class="b">Held in Bondage.</li> -<li class="b">Under Two Flags.</li> -</ul> - -<p>By JAMES PAYN.</p> - -<p class="hang1">Walter’s Ward.</p> - -<p>By CHARLES READE.</p> - -<ul class="books"> -<li class="b">Griffith Gaunt.</li> -<li class="b">Put Yourself in His Place.</li> -<li class="b">Peg Woffington: and Christie Johnstone.</li> -<li class="b">The Cloister and the Hearth.</li> -<li class="b">Foul Play.</li> -<li class="b">It is Never Too Late to Mend.</li> -<li class="b">Hard Cash.</li> -</ul> - -<p>By W. CLARK RUSSELL.</p> - -<p class="hang1">The Convict Ship.</p> - -<p>By ROBERT LOUIS STEVENSON.</p> - -<p class="hang1">New Arabian Nights.</p> - -<p>By WILLIAM WESTALL.</p> - -<p class="hang1">The Old Factory.</p> - -<p>By EMILE ZOLA.</p> - -<ul class="books"> -<li class="b">The Downfall.</li> -<li class="b">The Dram-Shop.</li> -<li class="b">Rome.</li> -</ul> - - -<p class="center"><big>THE PICCADILLY NOVELS.</big></p> - -<p class="hang1"><span class="smcap">Library Editions of Novels</span>, many Illustrated, crown 8vo, cloth extra, 3<i>s.</i> 6<i>d.</i> each.</p> - -<p>By Mrs. ALEXANDER.</p> - -<ul class="books"> -<li class="b">Valerie’s Fate.</li> -<li class="b">A Life Interest.</li> -<li class="b">Mona’s Choice.</li> -<li class="b">By Woman’s Wit.</li> -<li class="b">The Cost of Her Pride.</li> -<li class="b">Barbara.</li> -<li class="b">A Fight with Fate.</li> -<li class="b">A Golden Autumn.</li> -<li class="b">Mrs. Crichton’s Creditor.</li> -<li class="b">The Step-mother.</li> -<li class="b">A Missing Hero.</li> -</ul> - -<p>By M. ANDERSON.—Othello’s Occupation.</p> - -<p>By G. W. APPLETON.</p> - -<p class="hang1">Rash Conclusions.</p> - -<p>By F. M. ALLEN.—Green as Grass.</p> - -<p>By GRANT ALLEN.</p> - -<ul class="books"> -<li class="b">Philistia.</li> -<li class="b">Babylon.</li> -<li class="b">Strange Stories.</li> -<li class="b">For Maimie’s Sake.</li> -<li class="b">In all Shades.</li> -<li class="b">The Beckoning Hand.</li> -<li class="b">The Devil’s Die.</li> -<li class="b">This Mortal Coil.</li> -<li class="b">The Tents of Shem.</li> -<li class="b">The Great Taboo.</li> -<li class="b">Dumaresq’s Daughter.</li> -<li class="b">Duchess of Powysland.</li> -<li class="b">Blood Royal.</li> -<li class="b">I. Greet’s Masterpieces.</li> -<li class="b">The Scallywag.</li> -<li class="b">At Market Value.</li> -<li class="b">Under Sealed Orders.</li> -</ul> - -<p>By ARTEMUS WARD.</p> - -<p class="hang1">Artemus Ward Complete.</p> - -<p>By EDWIN L. ARNOLD.</p> - -<ul class="books"> -<li class="b">Phra the Phœnician.</li> -<li class="b">Constable of St. Nicholas.</li> -</ul> - -<p>By ROBERT BARR.</p> - -<ul class="books"> - -<li class="b">In a Steamer Chair.</li> -<li class="b">From Whose Bourne.</li> -<li class="b">A Woman Intervenes.</li> -<li class="b">Revenge!</li> -</ul> - -<p>By FRANK BARRETT.</p> - -<ul class="books"> -<li class="b">A Prodigal’s Progress.</li> -<li class="b">Woman of Iron Bracelets.</li> -<li class="b">Fettered for Life.</li> -<li class="b">The Harding Scandal.</li> -<li class="b">Under a Strange Mask.</li> -<li class="b">A Missing Witness.</li> -<li class="b">Was She Justified?</li> -</ul> - -<p>By ‘BELLE.’—Vashti and Esther.</p> - -<p>By ARNOLD BENNETT.</p> - -<ul class="books"> -<li class="b">The Gates of Wrath.</li> -<li class="b">The Grand Babylon Hotel.</li> -</ul> - -<p>By Sir W. BESANT and J. RICE.</p> - -<ul class="books"> -<li class="b">Ready-Money Mortiboy.</li> -<li class="b">My Little Girl.</li> -<li class="b">With Harp and Crown.</li> -<li class="b">This Son of Vulcan.</li> -<li class="b">The Golden Butterfly.</li> -<li class="b">The Monks of Thelema.</li> -<li class="b">By Celia’s Arbour.</li> -<li class="b">Chaplain of the Fleet.</li> -<li class="b">The Seamy Side.</li> -<li class="b">The Case of Mr. Lucraft.</li> -<li class="b">In Trafalgar’s Bay.</li> -<li class="b">The Ten Years’ Tenant.</li> -</ul> - -<p>By Sir WALTER BESANT.</p> - -<ul class="books"> -<li class="b">All Sorts & Conditions.</li> -<li class="b">The Captains’ Room.</li> -<li class="b">All in a Garden Fair.</li> -<li class="b">Dorothy Forster.</li> -<li class="b">Uncle Jack.</li> -<li class="b">Holy Rose.</li> -<li class="b">World Went Well Then.</li> -<li class="b">Children of Gibeon.</li> -<li class="b">Herr Paulus.</li> -<li class="b">For Faith and Freedom.</li> -<li class="b">To Call Her Mine.</li> -<li class="b">The Revolt of Man.</li> -<li class="b">The Bell of St. Paul’s.</li> -<li class="b">Armorel of Lyonesse.</li> -<li class="b">S. Katherine’s by Tower.</li> -<li class="b">Verbena Camellia, &c.</li> -<li class="b">The Ivory Gate.</li> -<li class="b">The Rebel Queen.</li> -<li class="b">Dreams of Avarice.</li> -<li class="b">In Deacon’s Orders.</li> -<li class="b">The Master Craftsman.</li> -<li class="b">The City of Refuge.</li> -<li class="b">A Fountain Sealed.</li> -<li class="b">The Changeling.</li> -<li class="b">The Fourth Generation.</li> -<li class="b">The Charm.</li> -<li class="b">The Orange Girl.</li> -</ul> - -<p>By AMBROSE BIERCE.—In Midst of Life.</p> - -<p>By HAROLD BINDLOSS.—Ainslie’s Ju-Ju.</p> - -<p>By M. McD. BODKIN.</p> - -<ul class="books"> -<li class="b">Dora Myrl.</li> -<li class="b">Shillelagh and Shamrock.</li> -<li class="b">Patsey the Omadaun.</li> -</ul> - -<p>By PAUL BOURGET.—A Living Lie.</p> - -<p>By J. D. BRAYSHAW.—Slum Silhouettes.</p> - -<p>By H. A. BRYDEN.—An Exiled Scot.</p> - -<p>By ROBERT BUCHANAN.</p> - -<ul class="books"> -<li class="b">Shadow of the Sword.</li> -<li class="b">A Child of Nature.</li> -<li class="b">God and the Man.</li> -<li class="b">Martyrdom of Madeline.</li> -<li class="b">Love Me for Ever.</li> -<li class="b">Annan Water.</li> -<li class="b">Foxglove Manor.</li> -<li class="b">The Charlatan.</li> -<li class="b">The New Abelard.</li> -<li class="b">Matt.</li> -<li class="b">Rachel Dene.</li> -<li class="b">Master of the Mine.</li> -<li class="b">The Heir of Linne.</li> -<li class="b">Woman and the Man.</li> -<li class="b">Red and White Heather.</li> -<li class="b">Lady Kilpatrick.</li> -<li class="b">Andromeda.</li> -</ul> - -<p>By GELETT BURGESS and WILL IRWIN.—The Picaroons.</p> - -<p>By R. W. CHAMBERS.—The King in Yellow.</p> - -<p>By J. M. CHAPPLE.—The Minor Chord.</p> - -<p>By HALL CAINE.</p> - -<ul class="books"> -<li class="b">Shadow of a Crime.</li> -<li class="b">Deemster.</li> -<li class="b">Son of Hagar.</li> -</ul> - -<p>By AUSTIN CLARE.—By Rise of River.</p> - -<p>By Mrs. ARCHER CLIVE.</p> - -<ul class="books"> -<li class="b">Paul Ferroll.</li> -<li class="b">Why Paul Ferroll Killed his Wife.</li> -</ul> - -<p>By ANNE COATES.—Rie’s Diary.</p> - -<p>By MACLAREN COBBAN.</p> - -<ul class="books"> -<li class="b">The Red Sultan.</li> -<li class="b">The Burden of Isabel.</li> -</ul> - -<p>By WILKIE COLLINS.</p> - -<ul class="books"> -<li class="b">Armadale.</li> -<li class="b">No Name.</li> -<li class="b">After Dark.</li> -<li class="b">Antonina.</li> -<li class="b">Basil.</li> -<li class="b">Hide and Seek.</li> -<li class="b">The Dead Secret.</li> -<li class="b">Queen of Hearts.</li> -<li class="b">My Miscellanies.</li> -<li class="b">The Woman in White.</li> -<li class="b">The Law and the Lady.</li> -<li class="b">The Haunted Hotel.</li> -<li class="b">The Moonstone.</li> -<li class="b">Man and Wife.</li> -<li class="b">Poor Miss Finch.</li> -<li class="b">Miss or Mrs.?</li> -<li class="b">The New Magdalen.</li> -<li class="b">The Frozen Deep.</li> -<li class="b">The Two Destinies.</li> -<li class="b">‘I Say No.’</li> -<li class="b">Little Novels.</li> -<li class="b">The Fallen Leaves.</li> -<li class="b">Jezebel’s Daughter.</li> -<li class="b">The Black Robe.</li> -<li class="b">Heart and Science.</li> -<li class="b">The Evil Genius.</li> -<li class="b">The Legacy of Cain.</li> -<li class="b">A Rogue’s Life.</li> -<li class="b">Blind Love.</li> -</ul> - -<p>By MORT. & FRANCES COLLINS.</p> - -<ul class="books"> -<li class="b">Blacksmith & Scholar.</li> -<li class="b">The Village Comedy.</li> -<li class="b">You Play me False.</li> -<li class="b">Midnight to Midnight.</li> -</ul> - -<p>By M. J. COLQUHOUN.—Every Inch Soldier.</p> - -<p>By HERBERT COMPTON.</p> - -<p class="hang1">The Inimitable Mrs. Massingham.</p> - -<p>By E. H. COOPER.—Geoffory Hamilton.</p> - -<p>By V. C. COTES.—Two Girls on a Barge.</p> - -<p>By C. E. CRADDOCK.</p> - -<ul class="books"> -<li class="b">The Prophet of the Great Smoky Mountains.</li> -<li class="b">His Vanished Star.</li> -</ul> - -<p>By H. N. CRELLIN.</p> - -<p class="hang1">Romances of the Old Seraglio.</p> - -<p>By MATT CRIM.</p> - -<p class="hang1">The Adventures of a Fair Rebel.</p> - -<p>By S. R. CROCKETT and others.</p> - -<p class="hang1">Tales of Our Coast.</p> - -<p>By B. M. CROKER.</p> - -<ul class="books"> -<li class="b">Diana Barrington.</li> -<li class="b">Proper Pride.</li> -<li class="b">A Family Likeness.</li> -<li class="b">Pretty Miss Neville.</li> -<li class="b">A Bird of Passage.</li> -<li class="b">Mr. Jervis.</li> -<li class="b">Village Tales.</li> -<li class="b">Some One Else.</li> -<li class="b">Jason.</li> -<li class="b">Infatuation.</li> -<li class="b">The Real Lady Hilda.</li> -<li class="b">Married or Single?</li> -<li class="b">Two Masters.</li> -<li class="b">In the Kingdom of Kerry.</li> -<li class="b">Interference.</li> -<li class="b">A Third Person.</li> -<li class="b">Beyond the Pale.</li> -<li class="b">Miss Balmaine’s Past.</li> -<li class="b">Terence.</li> -<li class="b">The Cat’s-paw.</li> -</ul> - -<p>By ALPHONSE DAUDET.</p> - -<p class="hang1">The Evangelist; or, Port Salvation.</p> - -<p>By H. C. DAVIDSON.—Mr. Sadler’s Daughters.</p> - -<p>By JAS. DE MILLE.</p> - -<p class="hang1">A Strange Manuscript Found in a Copper Cylinder.</p> - -<p>By HARRY DE WINDT.</p> - -<p class="hang1">True Tales of Travel and Adventure.</p> - -<p>By DICK DONOVAN.</p> - -<ul class="books"> -<li class="b">Man from Manchester.</li> -<li class="b">Records of Vincent Trill.</li> -<li class="b">The Mystery of Jamaica Terrace.</li> -<li class="b">Tales of Terror.</li> -<li class="b">Chronicles of Michael Danevitch.</li> -<li class="b">Tyler Tatlock, Private Detective.</li> -<li class="b">Deacon Brodie.</li> -</ul> - -<p>By RICHARD DOWLING.</p> - -<p class="hang1">Old Corcoran’s Money.</p> - -<p>By A. CONAN DOYLE.</p> - -<p class="hang1">The Firm of Girdlestone.</p> - -<p>By S. JEANNETTE DUNCAN.</p> - -<ul class="books"> -<li class="b">A Daughter of To-day.</li> -<li class="b">Vernon’s Aunt.</li> -</ul> - -<p>By ANNIE EDWARDES.</p> - -<ul class="books"> -<li class="b">Archie Lovell.</li> -<li class="b">A Plaster Saint.</li> -</ul> - -<p>By G. S. EDWARDS.—Snazelleparilla.</p> - -<p>By G. MANVILLE FENN.</p> - -<ul class="books"> -<li class="b">Cursed by a Fortune.</li> -<li class="b">The Case of Ailsa Gray.</li> -<li class="b">Commodore Junk.</li> -<li class="b">The New Mistress.</li> -<li class="b">Witness to the Deed.</li> -<li class="b">The Tiger Lily.</li> -<li class="b">The White Virgin.</li> -<li class="b">Black Blood.</li> -<li class="b">Double Cunning.</li> -<li class="b">A Fluttered Dovecote.</li> -<li class="b">King of the Castle.</li> -<li class="b">Master of Ceremonies.</li> -<li class="b">Tho Man with a Shadow.</li> -<li class="b">One Maid’s Mischief.</li> -<li class="b">Story of Antony Grace.</li> -<li class="b">This Man’s Wife.</li> -<li class="b">In Jeopardy.</li> -<li class="b">A Woman Worth Winning.</li> -</ul> - -<p>By PERCY FITZGERALD.—Fatal Zero.</p> - -<p>By Hon. Mrs. W. FORBES.—Dumb.</p> - -<p>By R. E. FRANCILLON.</p> - -<ul class="books"> -<li class="b">One by One.</li> -<li class="b">A Dog and his Shadow.</li> -<li class="b">A Real Queen.</li> -<li class="b">Ropes of Sand.</li> -<li class="b">Jack Doyle’s Daughter.</li> -</ul> - -<p>By HAROLD FREDERIC.</p> - -<ul class="books"> -<li class="b">Seth’s Brother’s Wife.</li> -<li class="b">The Lawton Girl.</li> -</ul> - -<p>By PAUL GAULOT.—The Red Shirts.</p> - -<p>By CHARLES GIBBON.</p> - -<ul class="books"> -<li class="b">Robin Gray.</li> -<li class="b">Of High Degree.</li> -<li class="b">The Golden Shaft.</li> -<li class="b">The Braes of Yarrow.</li> -<li class="b">Queen of the Meadow.</li> -<li class="b">The Flower of the Forest.</li> -</ul> - -<p>By E. GLANVILLE.</p> - -<ul class="books"> -<li class="b">The Lost Heiress.</li> -<li class="b">Fair Colonist.</li> -<li class="b">Fossicker.</li> -<li class="b">The Golden Rock.</li> -<li class="b">Tales from the Veld.</li> -</ul> - -<p>By E. J. GOODMAN.</p> - -<p class="hang1">The Fate of Herbert Wayne.</p> - -<p>By Rev. S. BARING GOULD.</p> - -<ul class="books"> -<li class="b">Red Spider.</li> -<li class="b">Eve.</li> -</ul> - -<p>By ALFRED A. GRACE.</p> - -<p class="hang1">Tales of a Dying Race.</p> - -<p>By CECIL GRIFFITH.—Corinthia Marazion.</p> - -<p>By A. CLAVERING GUNTER.</p> - -<p class="hang1">A Florida Enchantment.</p> - -<p>By BRET HARTE.</p> - -<ul class="books"> -<li class="b">A Waif of the Plains.</li> -<li class="b">A Ward of the Golden Gate.</li> -<li class="b">A Sappho of Green Springs.</li> -<li class="b">Col. Starbottle’s Client.</li> -<li class="b">Susy.</li> -<li class="b">Sally Dows.</li> -<li class="b">Bell-Ringer of Angel’s.</li> -<li class="b">Tales of Trail and Town.</li> -<li class="b">A Protegee of Jack Hamlin’s.</li> -<li class="b">Clarence.</li> -<li class="b">Barker’s Luck.</li> -<li class="b">Devil’s Ford.</li> -<li class="b">The Crusade of the Excelsior.</li> -<li class="b">Three Partners.</li> -<li class="b">Gabriel Conroy.</li> -<li class="b">New Condensed Novels.</li> -</ul> - -<p>By OWEN HALL.</p> - -<ul class="books"> -<li class="b">The Track of a Storm.</li> -<li class="b">Jetsam.</li> -</ul> - -<p>By COSMO HAMILTON.</p> - -<ul class="books"> -<li class="b">Glamour of Impossible.</li> -<li class="b">Through a Keyhole.</li> -</ul> - -<p>By THOMAS HARDY.</p> - -<p class="hang1">Under the Greenwood Tree.</p> - -<p>By JULIAN HAWTHORNE.</p> - -<ul class="books"> -<li class="b">Garth.</li> -<li class="b">Dust.</li> -<li class="b">Ellice Quentin.</li> -<li class="b">Sebastian Strome.</li> -<li class="b">Fortune’s Fool.</li> -<li class="b">Beatrix Randolph.</li> -<li class="b">David Poindexter’s Disappearance.</li> -<li class="b">Spectre of Camera.</li> -</ul> - -<p>By Sir A. HELPS.—Ivan de Biron.</p> - -<p>By I. HENDERSON.—Agatha Page.</p> - -<p>By G. A. HENTY.</p> - -<ul class="books"> -<li class="b">Dorothy’s Double.</li> -<li class="b">Rujub, the Juggler.</li> -<li class="b">The Queen’s Cup.</li> -</ul> - -<p>By HEADON HILL.—Zambra the Detective.</p> - -<p>By JOHN HILL.—The Common Ancestor.</p> - -<p>By TIGHE HOPKINS.</p> - -<ul class="books"> -<li class="b">Twixt Love and Duty.</li> -<li class="b">The Incomplete Adventurer.</li> -<li class="b">Nugents of Carriconna.</li> -<li class="b">Nell Haffenden.</li> -</ul> - -<p>By VICTOR HUGO.—The Outlaw of Iceland.</p> - -<p>By FERGUS HUME.</p> - -<ul class="books"> -<li class="b">Lady from Nowhere.</li> -<li class="b">The Millionaire Mystery.</li> -</ul> - -<p>By Mrs. HUNGERFORD.</p> - -<ul class="books"> -<li class="b">Marvel.</li> -<li class="b">Unsatisfactory Lover.</li> -<li class="b">In Durance Vile.</li> -<li class="b">A Modern Circe.</li> -<li class="b">Lady Patty.</li> -<li class="b">A Mental Struggle.</li> -<li class="b">Lady Verner’s Flight.</li> -<li class="b">The Red-House Mystery.</li> -<li class="b">The Three Graces.</li> -<li class="b">Professor’s Experiment.</li> -<li class="b">A Point of Conscience.</li> -<li class="b">A Maiden all Forlorn.</li> -<li class="b">The Coming of Chloe.</li> -<li class="b">Nora Creina.</li> -<li class="b">An Anxious Moment.</li> -<li class="b">April’s Lady.</li> -<li class="b">Peter’s Wife.</li> -<li class="b">Lovice.</li> -</ul> - -<p>By Mrs. ALFRED HUNT.</p> - -<ul class="books"> -<li class="b">The Leaden Casket.</li> -<li class="b">That Other Person.</li> -<li class="b">Self-Condemned.</li> -<li class="b">Mrs. Juliet.</li> -</ul> - -<p>By R. ASHE KING.—A Drawn Game.</p> - -<p>By GEORGE LAMBERT.</p> - -<p class="hang1">The President of Boravia.</p> - -<p>By EDMOND LEPELLETIER.</p> - -<p class="hang1">Madame Sans-Gene.</p> - -<p>By ADAM LILBURN. A Tragedy in Marble.</p> - -<p>By HARRY LINDSAY.</p> - -<ul class="books"> -<li class="b">Rhoda Roberts.</li> -<li class="b">The Jacobite.</li> -</ul> - -<p>By HENRY W. LUCY.—Gideon Fleyce.</p> - -<p>By E. LYNN LINTON.</p> - -<ul class="books"> -<li class="b">Patricia Kemball.</li> -<li class="b">Under which Lord?</li> -<li class="b">‘My Love!’</li> -<li class="b">Ione.</li> -<li class="b">Paxton Carew.</li> -<li class="b">Sowing the Wind.</li> -<li class="b">With a Silken Thread.</li> -<li class="b">The World Well Lost.</li> -<li class="b">The Atonement of Leam Dundas.</li> -<li class="b">The One Too Many.</li> -<li class="b">Dulcie Everton.</li> -<li class="b">Rebel of the Family.</li> -<li class="b">An Octave of Friends.</li> -</ul> - -<p>By JUSTIN McCARTHY.</p> - -<ul class="books"> -<li class="b">A Fair Saxon.</li> -<li class="b">Linley Rochford.</li> -<li class="b">Dear Lady Disdain.</li> -<li class="b">Camiola.</li> -<li class="b">Mononia.</li> -<li class="b">Waterdale Neighbours.</li> -<li class="b">My Enemy’s Daughter.</li> -<li class="b">Miss Misanthrope.</li> -<li class="b">Donna Quixote.</li> -<li class="b">Maid of Athens.</li> -<li class="b">The Comet of a Season.</li> -<li class="b">The Dictator.</li> -<li class="b">Red Diamonds.</li> -<li class="b">The Riddle Ring.</li> -<li class="b">The Three Disgraces.</li> -</ul> - -<p>By JUSTIN H. McCARTHY.</p> - -<p class="hang1">A London Legend.</p> - -<p>By GEORGE MACDONALD.</p> - -<ul class="books"> -<li class="b">Heather and Snow.</li> -<li class="b">Phantastes.</li> -</ul> - -<p>By W. H. MALLOCK.—The New Republic.</p> - -<p>By P. & V. MARGUERITTE.—The Disaster.</p> - -<p>By L. T. MEADE.</p> - -<ul class="books"> -<li class="b">A Soldier of Fortune.</li> -<li class="b">In an Iron Grip.</li> -<li class="b">Dr. Rumsey’s Patient.</li> -<li class="b">The Voice of the Charmer.</li> -<li class="b">An Adventuress.</li> -<li class="b">On Brink of a Chasm.</li> -<li class="b">The Siren.</li> -<li class="b">The Way of a Woman.</li> -<li class="b">A Son of Ishmael.</li> -<li class="b">The Blue Diamond.</li> -<li class="b">A Stumble by the Way.</li> -</ul> - -<p>By LEONARD MERRICK.</p> - -<ul class="books"> -<li class="b">This Stage of Fools.</li> -<li class="b">Cynthia.</li> -</ul> - -<p>By EDMUND MITCHELL.</p> - -<p class="hang1">The Lone Star Rush.</p> - -<p>By BERTRAM MITFORD.</p> - -<ul class="books"> -<li class="b">The Gun-Runner.</li> -<li class="b">Luck of Gerard Ridgeley.</li> -<li class="b">The King’s Assegai.</li> -<li class="b">Rensh. Fanning’s Quest.</li> -<li class="b">The Triumph of Hilary Blachland.</li> -</ul> - -<p>By Mrs. MOLESWORTH.</p> - -<p class="hang1">Hathercourt Rectory.</p> - -<p>By J. E. MUDDOCK.</p> - -<ul class="books"> -<li class="b">Maid Marian and Robin Hood.</li> -<li class="b">Basile the Jester.</li> -<li class="b">Golden Idol.</li> -<li class="b">Young Lochinvar.</li> -</ul> - -<p>By D. CHRISTIE MURRAY.</p> - -<ul class="books"> -<li class="b">A Life’s Atonement.</li> -<li class="b">Joseph’s Coat.</li> -<li class="b">Coals of Fire.</li> -<li class="b">Old Blazer’s Hero.</li> -<li class="b">Val Strange.</li> -<li class="b">Hearts.</li> -<li class="b">A Model Father.</li> -<li class="b">By the Gate of the Sea.</li> -<li class="b">A Bit of Human Nature.</li> -<li class="b">First Person Singular.</li> -<li class="b">Cynic Fortune.</li> -<li class="b">The Way of the World.</li> -<li class="b">Bob Martin’s Little Girl.</li> -<li class="b">Time’s Revenges.</li> -<li class="b">A Wasted Crime.</li> -<li class="b">In Direst Peril.</li> -<li class="b">Mount Despair.</li> -<li class="b">A Capful o’ Nails.</li> -<li class="b">Tales in Prose & Verse.</li> -<li class="b">A Race for Millions.</li> -<li class="b">This Little World.</li> -<li class="b">His Own Ghost.</li> -<li class="b">Church of Humanity.</li> -<li class="b">V.C.: Castle Barfield and the Crimea.</li> -</ul> - -<p>By MURRAY and HERMAN.</p> - -<ul class="books"> -<li class="b">The Bishops’ Bible.</li> -<li class="b">One Traveller Returns.</li> -<li class="b">Paul Jones’s Alias.</li> -</ul> - -<p>By HUME NISBET.—‘Bail up!’</p> - -<p>By W. E. NORRIS.</p> - -<ul class="books"> -<li class="b">Saint Ann’s.</li> -<li class="b">Billy Bellew.</li> -<li class="b">Miss Wentworth’s Idea.</li> -</ul> - -<p>By G. OHNET.—A Weird Gift.</p> - -<ul class="books"> -<li class="b">Love’s Depths.</li> -<li class="b">The Woman of Mystery.</li> -</ul> - -<p>By Mrs. OLIPHANT.</p> - -<ul class="books"> -<li class="b">Whiteladies.</li> -<li class="b">The Sorceress.</li> -</ul> - -<p>By OUIDA.</p> - -<ul class="books"> -<li class="b">Held in Bondage.</li> -<li class="b">Strathmore.</li> -<li class="b">Chandos.</li> -<li class="b">Under Two Flags.</li> -<li class="b">Idalia.</li> -<li class="b">Cecil Castlemaine’s Gage.</li> -<li class="b">Tricotrin.</li> -<li class="b">Puck.</li> -<li class="b">Folle Farine.</li> -<li class="b">A Dog of Flanders.</li> -<li class="b">Pascarel.</li> -<li class="b">Signa.</li> -<li class="b">Princess Napraxine.</li> -<li class="b">Two Wooden Shoes.</li> -<li class="b">In a Winter City.</li> -<li class="b">Friendship.</li> -<li class="b">Moths.</li> -<li class="b">Ruffino.</li> -<li class="b">Pipistrello.</li> -<li class="b">Ariadne.</li> -<li class="b">A Village Commune.</li> -<li class="b">Bimbi.</li> -<li class="b">Wanda.</li> -<li class="b">Frescoes.</li> -<li class="b">Othmar.</li> -<li class="b">In Maremma.</li> -<li class="b">Syrlin.</li> -<li class="b">Guilderoy.</li> -<li class="b">Santa Barbara.</li> -<li class="b">Two Offenders.</li> -<li class="b">The Waters of Edera.</li> -</ul> - -<p>By G. SIDNEY PATERNOSTER.</p> - -<p class="hang1">The Motor Pirate.</p> - -<p>By MARGARET A. PAUL.</p> - -<p class="hang1">Gentle and Simple.</p> - -<p>By JAMES PAYN.</p> - -<ul class="books"> -<li class="b">Lost Sir Massingberd.</li> -<li class="b">The Family Scapegrace.</li> -<li class="b">A County Family.</li> -<li class="b">Less Black than We’re Painted.</li> -<li class="b">A Confidential Agent.</li> -<li class="b">A Grape from a Thorn.</li> -<li class="b">In Peril and Privation.</li> -<li class="b">Mystery of Mirbridge.</li> -<li class="b">High Spirits.</li> -<li class="b">By Proxy.</li> -<li class="b">The Talk of the Town.</li> -<li class="b">Holiday Tasks.</li> -<li class="b">For Cash Only.</li> -<li class="b">The Burnt Million.</li> -<li class="b">The Word and the Will.</li> -<li class="b">Sunny Stories.</li> -<li class="b">A Trying Patient.</li> -<li class="b">A Modern Dick Whittington.</li> -</ul> - -<p>By WILL PAYNE.—Jerry the Dreamer.</p> - -<p>By Mrs. CAMPBELL PRAED.</p> - -<ul class="books"> -<li class="b">Outlaw and Lawmaker.</li> -<li class="b">Christina Chard.</li> -<li class="b">Mrs. Tregaskiss.</li> -<li class="b">Nulma.</li> -<li class="b">Madame Izan.</li> -<li class="b">‘As a Watch in the Night.’</li> -</ul> - -<p>By E. C. PRICE.—Valentina.</p> - -<p>By RICHARD PRYCE.</p> - -<p class="hang1">Miss Maxwell’s Affections.</p> - -<p>By Mrs. J. H. RIDDELL.</p> - -<ul class="books"> -<li class="b">Weird Stories.</li> -<li class="b">A Rich Man’s Daughter.</li> -</ul> - -<p>By CHARLES READE.</p> - -<ul class="books"> -<li class="b">Peg Woffington; and Christie Johnstone.</li> -<li class="b">Hard Cash.</li> -<li class="b">Cloister & the Hearth.</li> -<li class="b">Never Too Late to Mend.</li> -<li class="b">The Course of True Love; and Singleheart & Doubleface.</li> -<li class="b">Autobiography of a Thief; Jack of all Trades; A Hero and a Martyr; and The Wandering Heir.</li> -<li class="b">Griffith Gaunt.</li> -<li class="b">Love Little, Love Long.</li> -<li class="b">The Double Marriage.</li> -<li class="b">Foul Play.</li> -<li class="b">Put Y’rself in His Place.</li> -<li class="b">A Terrible Temptation.</li> -<li class="b">A Simpleton.</li> -<li class="b">A Woman-Hater.</li> -<li class="b">The Jilt, & other Stories; & Good Stories of Man.</li> -<li class="b">A Perilous Secret.</li> -<li class="b">Readiana; and Bible Characters.</li> -</ul> - -<p>By FRANK RICHARDSON.</p> - -<ul class="books"> -<li class="b">The Man who Lost His Past.</li> -<li class="b">The Bayswater Mystery.</li> -</ul> - -<p>By AMELIE RIVES.</p> - -<ul class="books"> -<li class="b">Barbara Bering.</li> -<li class="b">Meriel.</li> -</ul> - -<p>By F. W. ROBINSON.</p> - -<ul class="books"> -<li class="b">The Hands of Justice.</li> -<li class="b">Woman in the Dark.</li> -</ul> - -<p>By ALBERT ROSS.—A Sugar Princess.</p> - -<p>By J. RUNCIMAN.—Skippers and Shellbacks.</p> - -<p>By W. CLARK RUSSELL.</p> - -<ul class="books"> -<li class="b">Round the Galley-Fire.</li> -<li class="b">In the Middle Watch.</li> -<li class="b">On the Fo’k’sle Head.</li> -<li class="b">A Voyage to the Cape.</li> -<li class="b">Book for the Hammock.</li> -<li class="b">Mystery of ‘Ocean Star.’</li> -<li class="b">Jenny Harlowe.</li> -<li class="b">An Ocean Tragedy.</li> -<li class="b">A Tale of Two Tunnels.</li> -<li class="b">My Shipmate Louise.</li> -<li class="b">Alone on Wide Wide Sea.</li> -<li class="b">The Phantom Death.</li> -<li class="b">Is He the Man?</li> -<li class="b">Good Ship ‘Mohock.’</li> -<li class="b">The Convict Ship.</li> -<li class="b">Heart of Oak.</li> -<li class="b">The Tale of the Ten.</li> -<li class="b">The Last Entry.</li> -<li class="b">The Death Ship.</li> -</ul> - -<p>By DORA RUSSELL.—Drift of Fate.</p> - -<p>By HERBERT RUSSELL.—True Blue.</p> - -<p>By BAYLE ST. JOHN.—A Levantine Family.</p> - -<p>By ADELINE SERGEANT.</p> - -<ul class="books"> -<li class="b">Dr. Endicott’s Experiment.</li> -<li class="b">Under False Pretences.</li> -</ul> - -<p>By M. P. SHIEL.—The Purple Cloud.</p> - -<p>By GEORGE R. SIMS.</p> - -<ul class="books"> -<li class="b">Dagonet Abroad.</li> -<li class="b">Once Upon a Christmas Time.</li> -<li class="b">Without the Limelight.</li> -<li class="b">Rogues and Vagabonds.</li> -<li class="b">In London’s Heart.</li> -<li class="b">Mary Jane’s Memoirs.</li> -<li class="b">Mary Jane Married.</li> -<li class="b">The Small-part Lady.</li> -<li class="b">A Blind Marriage.</li> -<li class="b">Biographs of Babylon.</li> -</ul> - -<p>By UPTON SINCLAIR.—Prince Hagen.</p> - -<p>By HAWLEY SMART.</p> - -<ul class="books"> -<li class="b">Without Love or Licence.</li> -<li class="b">The Master of Rathkelly.</li> -<li class="b">Long Odds.</li> -<li class="b">The Outsider.</li> -<li class="b">Beatrice & Benedick.</li> -<li class="b">A Racing Rubber.</li> -</ul> - -<p>By J. MOYR SMITH.</p> - -<p class="hang1">The Prince of Argolis.</p> - -<p>By T. W. SPEIGHT.</p> - -<ul class="books"> -<li class="b">The Grey Monk.</li> -<li class="b">The Master of Trenance.</li> -<li class="b">The Web of Fate.</li> -<li class="b">A Minion of the Moon.</li> -<li class="b">The Strange Experiences of Mr. Verschoyle.</li> -<li class="b">Secret Wyvern Towers.</li> -<li class="b">The Doom of Siva.</li> -<li class="b">As it was Written.</li> -<li class="b">Her Ladyship.</li> -</ul> - -<p>By ALAN ST. AUBYN.</p> - -<ul class="books"> -<li class="b">A Fellow of Trinity.</li> -<li class="b">The Junior Dean.</li> -<li class="b">Master of St. Benedict’s.</li> -<li class="b">To his Own Master.</li> -<li class="b">Gallantry Bower.</li> -<li class="b">In Face of the World.</li> -<li class="b">Orchard Damerel.</li> -<li class="b">The Tremlett Diamonds.</li> -<li class="b">The Wooing of May.</li> -<li class="b">A Tragic Honeymoon.</li> -<li class="b">A Proctor’s Wooing.</li> -<li class="b">Fortune’s Gate.</li> -<li class="b">Bonnie Maggie Lauder.</li> -<li class="b">Mary Unwin.</li> -<li class="b">Mrs. Dunbar’s Secret.</li> -</ul> - -<p>By JOHN STAFFORD.—Doris and I.</p> - -<p>By R. STEPHENS.—The Cruciform Mark.</p> - -<p>By R. NEILSON STEPHENS.</p> - -<p class="hang1">Philip Winwood.</p> - -<p>By R. A. STERNDALE.—The Afghan Knife.</p> - -<p>By R. L. STEVENSON.—The Suicide Club.</p> - -<p>By FRANK STOCKTON.</p> - -<p class="hang1">The Young Master of Hyson Hall.</p> - -<p>By SUNDOWNER.—Told by the Taffrail.</p> - -<p>By ANNIE THOMAS.—The Siren’s Web.</p> - -<p>By BERTHA THOMAS.</p> - -<ul class="books"> -<li class="b">The Violin-Player.</li> -<li class="b">In a Cathedral City.</li> -</ul> - -<p>By FRANCES E. TROLLOPE.</p> - -<ul class="books"> -<li class="b">Like Ships upon Sea.</li> -<li class="b">Anne Furness.</li> -<li class="b">Mabel’s Progress.</li> -</ul> - -<p>By ANTHONY TROLLOPE.</p> - -<ul class="books"> -<li class="b">The Way We Live Now.</li> -<li class="b">Frau Frohmann.</li> -<li class="b">Marion Fay.</li> -<li class="b">Scarborough’s Family.</li> -<li class="b">The Land-Leaguers.</li> -</ul> - -<p>By MARK TWAIN.</p> - -<ul class="books"> -<li class="b">Choice Works.</li> -<li class="b">Library of Humour.</li> -<li class="b">The Innocents Abroad.</li> -<li class="b">Roughing It; and The Innocents at Home.</li> -<li class="b">A Tramp Abroad.</li> -<li class="b">The American Claimant.</li> -<li class="b">Adventures of Tom Sawyer.</li> -<li class="b">Tom Sawyer Abroad.</li> -<li class="b">Tom Sawyer, Detective.</li> -<li class="b">Pudd’nhead Wilson.</li> -<li class="b">The Gilded Age.</li> -<li class="b">Prince and the Pauper.</li> -<li class="b">Life on the Mississippi.</li> -<li class="b">The Adventures of Huckleberry Finn.</li> -<li class="b">A Yankee at the Court of King Arthur.</li> -<li class="b">Stolen White Elephant.</li> -<li class="b">£1,000,000 Bank-note.</li> -<li class="b">A Double-barrelled Detective Story.</li> -</ul> - -<p>By C. C. F.-TYTLER.—Mistress Judith.</p> - -<p>By SARAH TYTLER.</p> - -<ul class="books"> -<li class="b">What She Came Through.</li> -<li class="b">Buried Diamonds.</li> -<li class="b">The Blackhall Ghosts.</li> -<li class="b">The Macdonald Lass.</li> -<li class="b">Witch-Wife.</li> -<li class="b">Sapphira.</li> -<li class="b">Mrs. Carmichael’s Goddesses.</li> -<li class="b">Rachel Langton.</li> -<li class="b">A Honeymoon’s Eclipse.</li> -<li class="b">A Young Dragon.</li> -</ul> - -<p>By ALLEN UPWARD.</p> - -<p class="hang1">The Queen against Owen.</p> - -<p>By ALBERT D. VANDAM.</p> - -<p class="hang1">A Court Tragedy.</p> - -<p>By E. A. VIZETELLY.</p> - -<ul class="books"> -<li class="b">The Scorpion.</li> -<li class="b">The Lover’s Progress.</li> -</ul> - -<p>By FLORENCE WARDEN.</p> - -<ul class="books"> -<li class="b">Joan, the Curate.</li> -<li class="b">A Fight to a Finish.</li> -</ul> - -<p>By CY WARMAN.—Express Messenger.</p> - -<p>By A. WERNER.</p> - -<p class="hang1">Chapenga’s White Man.</p> - -<p>By WILLIAM WESTALL.</p> - -<ul class="books"> -<li class="b">For Honour and Life.</li> -<li class="b">A Woman Tempted Him.</li> -<li class="b">Her Two Millions.</li> -<li class="b">Two Pinches of Snuff.</li> -<li class="b">Nigel Fortescue.</li> -<li class="b">Birch Dene.</li> -<li class="b">The Phantom City.</li> -<li class="b">A Queer Race.</li> -<li class="b">Ben Clough.</li> -<li class="b">The Old Factory.</li> -<li class="b">Red Ryvington.</li> -<li class="b">Ralph Norbreck’s Trust.</li> -<li class="b">Trust-money.</li> -<li class="b">Sons of Belial.</li> -<li class="b">Roy of Roy’s Court.</li> -<li class="b">With the Red Eagle.</li> -<li class="b">A Red Bridal.</li> -<li class="b">Strange Crimes.</li> -<li class="b">Her Ladyship’s Secret.</li> -</ul> - -<p>By ATHA WESTBURY.</p> - -<p class="hang1">The Shadow of Hilton Fernbrook.</p> - -<p>By FRED WHISHAW.</p> - -<ul class="books"> -<li class="b">A Forbidden Name.</li> -<li class="b">Many Ways of Love.</li> -</ul> - -<p>By C. J. WILLS.—An Easy going Fellow.</p> - -<p>By JOHN STRANGE WINTER.</p> - -<p class="hang1">Cavalry Life; and Regimental Legends.</p> - -<p>By E. ZOLA.</p> - -<ul class="books"> -<li class="b">The Joy of Life.</li> -<li class="b">The Fortune of the Rougons.</li> -<li class="b">Abbe Mouret’s Transgression.</li> -<li class="b">The Conquest of Plassans.</li> -<li class="b">The Honour of the Army.</li> -<li class="b">The Downfall.</li> -<li class="b">The Dream.</li> -<li class="b">Money.</li> -<li class="b">Dr. Pascal.</li> -<li class="b">Lourdes.</li> -<li class="b">The Fat and the Thin.</li> -<li class="b">His Masterpiece.</li> -<li class="b">Germinal.</li> -<li class="b">His Excellency.</li> -<li class="b">The Dram-Shop.</li> -<li class="b">Rome.</li> -<li class="b">Paris.</li> -<li class="b">Work.</li> -<li class="b">Fruitfulness.</li> -<li class="b">Truth.</li> -</ul> - -<p>By ‘ZZ.’—A Nineteenth Century Miracle.</p> - - -<p class="hang1">CHEAP EDITIONS OF POPULAR NOVELS.</p> - -<p class="hang1">Post 8vo, illustrated boards, 2<i>s.</i> each.</p> - -<p>By ARTEMUS WARD.</p> - -<p class="hang1">Artemus Ward Complete.</p> - -<p>By E. LESTER ARNOLD.</p> - -<p class="hang1">Phra the Phœnician.</p> - -<p>By Mrs. ALEXANDER.</p> - -<ul class="books"> -<li class="b">Maid, Wife, or Widow?</li> -<li class="b">Blind Fate.</li> -<li class="b">Valerie’s Fate.</li> -<li class="b">A Life Interest.</li> -<li class="b">Mona’s Choice.</li> -<li class="b">By Woman’s Wit.</li> -</ul> - -<p>By GRANT ALLEN.</p> - -<ul class="books"> -<li class="b">Philistia.</li> -<li class="b">Babylon.</li> -<li class="b">Strange Stories.</li> -<li class="b">For Maimie’s Sake.</li> -<li class="b">In all Shades.</li> -<li class="b">The Beckoning Hand.</li> -<li class="b">The Devil’s Die.</li> -<li class="b">The Tents of Shem.</li> -<li class="b">The Great Taboo.</li> -<li class="b">Dumaresq’s Daughter.</li> -<li class="b">Duchess of Powysland.</li> -<li class="b">Blood Royal.</li> -<li class="b">Ivan Greet’s Masterpiece.</li> -<li class="b">The Scallywag.</li> -<li class="b">This Mortal Coil.</li> -<li class="b">At Market Value.</li> -<li class="b">Under Sealed Orders.</li> -</ul> - -<p>By FRANK BARRETT.</p> - -<ul class="books"> -<li class="b">Fettered for Life.</li> -<li class="b">Little Lady Linton.</li> -<li class="b">Between Life & Death.</li> -<li class="b">Sin of Olga Zassoulich.</li> -<li class="b">Folly Morrison.</li> -<li class="b">Lieut. Barnabas.</li> -<li class="b">Honest Davie.</li> -<li class="b">A Prodigal’s Progress.</li> -<li class="b">Found Guilty.</li> -<li class="b">A Recoiling Vengeance.</li> -<li class="b">For Love and Honour.</li> -<li class="b">John Ford, &c.</li> -<li class="b">Woman of Iron Brace’ts.</li> -<li class="b">The Harding Scandal.</li> -<li class="b">A Missing Witness.</li> -</ul> - -<p>By Sir W. BESANT and J. RICE.</p> - -<ul class="books"> -<li class="b">Ready-Money Mortiboy.</li> -<li class="b">My Little Girl.</li> -<li class="b">With Harp and Crown.</li> -<li class="b">This Son of Vulcan.</li> -<li class="b">The Golden Butterfly.</li> -<li class="b">The Monks of Thelema.</li> -<li class="b">By Celia’s Arbour.</li> -<li class="b">Chaplain of the Fleet.</li> -<li class="b">The Seamy Side.</li> -<li class="b">The Case of Mr. Lucraft.</li> -<li class="b">In Trafalgar’s Bay.</li> -<li class="b">The Ten Years’ Tenant.</li> -</ul> - -<p>By Sir WALTER BESANT.</p> - -<ul class="books"> -<li class="b">All Sorts and Conditions of Men.</li> -<li class="b">The Captains’ Room.</li> -<li class="b">All in a Garden Fair.</li> -<li class="b">Dorothy Forster.</li> -<li class="b">Uncle Jack.</li> -<li class="b">The World Went Very Well Then.</li> -<li class="b">Children of Gibeon.</li> -<li class="b">Herr Paulus.</li> -<li class="b">For Faith and Freedom.</li> -<li class="b">To Call Her Mine.</li> -<li class="b">The Master Craftsman.</li> -<li class="b">The Bell of St. Paul’s.</li> -<li class="b">The Holy Rose.</li> -<li class="b">Armorel of Lyonesse.</li> -<li class="b">S. Katherine’s by Tower.</li> -<li class="b">Verbena Camellia Stephanotis.</li> -<li class="b">The Ivory Gate.</li> -<li class="b">The Rebel Queen.</li> -<li class="b">Beyond the Dreams of Avarice.</li> -<li class="b">The Revolt of Man.</li> -<li class="b">In Deacon’s Orders.</li> -<li class="b">The City of Refuge.</li> -</ul> - -<p>By AMBROSE BIERCE.</p> - -<p class="hang1">In the Midst of Life.</p> - -<p>By FREDERICK BOYLE.</p> - -<ul class="books"> -<li class="b">Camp Notes.</li> -<li class="b">Savage Life.</li> -<li class="b">Chronicles of No-man’s Land.</li> -</ul> - -<p class="hang1">BY BRET HARTE.</p> - -<ul class="books"> -<li class="b">Californian Stories.</li> -<li class="b">Gabriel Conroy.</li> -<li class="b">Luck of Roaring Camp.</li> -<li class="b">An Heiress of Red Dog.</li> -<li class="b">Flip.</li> -<li class="b">Maruja.</li> -<li class="b">A Phyllis of the Sierras.</li> -<li class="b">A Waif of the Plains.</li> -<li class="b">Ward of Golden Gate.</li> -</ul> - -<p>By ROBERT BUCHANAN.</p> - -<ul class="books"> -<li class="b">Shadow of the Sword.</li> -<li class="b">A Child of Nature.</li> -<li class="b">God and the Man.</li> -<li class="b">Love Me for Ever.</li> -<li class="b">Foxglove Manor.</li> -<li class="b">The Master of the Mine.</li> -<li class="b">Annan Water.</li> -<li class="b">The Martyrdom of Madeline.</li> -<li class="b">The New Abelard.</li> -<li class="b">The Heir of Linne.</li> -<li class="b">Woman and the Man.</li> -<li class="b">Rachel Dene.</li> -<li class="b">Matt.</li> -<li class="b">Lady Kilpatrick.</li> -</ul> - -<p>By BUCHANAN and MURRAY.</p> - -<p class="hang1">The Charlatan.</p> - -<p>By HALL CAINE.</p> - -<ul class="books"> -<li class="b">The Shadow of a Crime.</li> -<li class="b">A Son of Hagar.</li> -<li class="b">The Deemster.</li> -</ul> - -<p>By Commander CAMERON.</p> - -<p class="hang1">The Cruise of the ‘Black Prince.’</p> - -<p>By HAYDEN CARRUTH.</p> - -<p class="hang1">The Adventures of Jones.</p> - -<p>By AUSTIN CLARE.</p> - -<p class="hang1">For the Love of a Lass.</p> - -<p>By Mrs. ARCHER CLIVE.</p> - -<ul class="books"> -<li class="b">Paul Ferroll.</li> -<li class="b">Why Paul Ferroll Killed his Wife.</li> -</ul> - -<p>By MACLAREN COBBAN.</p> - -<ul class="books"> -<li class="b">The Cure of Souls.</li> -<li class="b">The Red Sultan.</li> -</ul> - -<p>By M. J. COLQUHOUN.</p> - -<p class="hang1">Every Inch a Soldier.</p> - -<p>By C. ALLSTON COLLINS.</p> - -<p class="hang1">The Bar Sinister.</p> - -<p>By MORT. & FRANCES COLLINS.</p> - -<ul class="books"> -<li class="b">Sweet Anne Page.</li> -<li class="b">Transmigration.</li> -<li class="b">From Midnight to Midnight.</li> -<li class="b">A Fight with Fortune.</li> -<li class="b">Sweet and Twenty.</li> -<li class="b">The Village Comedy.</li> -<li class="b">You Play me False.</li> -<li class="b">Blacksmith and Scholar.</li> -<li class="b">Frances.</li> -</ul> - -<p>By WILKIE COLLINS.</p> - -<ul class="books"> -<li class="b">Armadale.</li> -<li class="b">After Dark.</li> -<li class="b">No Name.</li> -<li class="b">Antonina.</li> -<li class="b">Basil.</li> -<li class="b">Hide and Seek.</li> -<li class="b">The Dead Secret.</li> -<li class="b">Queen of Hearts.</li> -<li class="b">Miss or Mrs.?</li> -<li class="b">The New Magdalen.</li> -<li class="b">The Frozen Deep.</li> -<li class="b">The Law and the Lady.</li> -<li class="b">The Two Destinies.</li> -<li class="b">The Haunted Hotel.</li> -<li class="b">A Rogue’s Life.</li> -<li class="b">My Miscellanies.</li> -<li class="b">The Woman in White.</li> -<li class="b">The Moonstone.</li> -<li class="b">Man and Wife.</li> -<li class="b">Poor Miss Finch.</li> -<li class="b">The Fallen Leaves.</li> -<li class="b">Jezebel’s Daughter.</li> -<li class="b">The Black Robe.</li> -<li class="b">Heart and Science.</li> -<li class="b">‘I Say No!’</li> -<li class="b">The Evil Genius.</li> -<li class="b">Little Novels.</li> -<li class="b">Legacy of Cain.</li> -<li class="b">Blind Love.</li> -</ul> - -<p>By C. EGBERT CRADDOCK.</p> - -<p class="hang1">The Prophet of the Great Smoky Mountains.</p> - -<p>By MATT CRIM.</p> - -<p class="hang1">The Adventures of a Fair Rebel.</p> - -<p>By H. N. CRELLIN.—Tales of the Caliph.</p> - -<p>By B. M. CROKER.</p> - -<ul class="books"> -<li class="b">Pretty Miss Neville.</li> -<li class="b">Diana Barrington.</li> -<li class="b">‘To Let.’</li> -<li class="b">A Bird of Passage.</li> -<li class="b">Proper Pride.</li> -<li class="b">A Family Likeness.</li> -<li class="b">A Third Person.</li> -<li class="b">Village Tales and Jungle Tragedies.</li> -<li class="b">Two Masters.</li> -<li class="b">Mr. Jervis.</li> -<li class="b">The Real Lady Hilda.</li> -<li class="b">Married or Single?</li> -<li class="b">Interference.</li> -</ul> - -<p>By ALPHONSE DAUDET.</p> - -<p class="hang1">The Evangelist; or, Port Salvation.</p> - -<p>By JAMES DE MILLE.</p> - -<p class="hang1">A Strange Manuscript.</p> - -<p>By DICK DONOVAN.</p> - -<ul class="books"> -<li class="b">The Man-Hunter.</li> -<li class="b">Tracked and Taken.</li> -<li class="b">Caught at Last!</li> -<li class="b">Wanted!</li> -<li class="b">Who Poisoned Hetty Duncan?</li> -<li class="b">Man from Manchester.</li> -<li class="b">A Detective’s Triumphs.</li> -<li class="b">The Mystery of Jamaica Terrace.</li> -<li class="b">The Chronicles of Michael Danevitch.</li> -<li class="b">In the Grip of the Law.</li> -<li class="b">From Information Received.</li> -<li class="b">Tracked to Doom.</li> -<li class="b">Link by Link.</li> -<li class="b">Suspicion Aroused.</li> -<li class="b">Riddles Read.</li> -</ul> - -<p>By Mrs. ANNIE EDWARDES.</p> - -<ul class="books"> -<li class="b">A Point of Honour.</li> -<li class="b">Archie Lovell.</li> -</ul> - -<p>By EDWARD EGGLESTON.—Roxy.</p> - -<p>By G. MANVILLE FENN.</p> - -<ul class="books"> -<li class="b">The New Mistress.</li> -<li class="b">Witness to the Deed.</li> -<li class="b">The Tiger Lily.</li> -<li class="b">The White Virgin.</li> -</ul> - -<p>By PERCY FITZGERALD.</p> - -<ul class="books"> -<li class="b">Bella Donna.</li> -<li class="b">Never Forgotten.</li> -<li class="b">Polly.</li> -<li class="b">Fatal Zero.</li> -<li class="b">Second Mrs. Tillotson.</li> -<li class="b">Seventy-five Brooke Street.</li> -<li class="b">The Lady of Brantome.</li> -</ul> - -<p>By P. FITZGERALD and others.</p> - -<p class="hang1">Strange Secrets.</p> - -<p>By R. E. FRANCILLON.</p> - -<ul class="books"> -<li class="b">Olympia.</li> -<li class="b">One by One.</li> -<li class="b">A Real Queen.</li> -<li class="b">Queen Cophetua.</li> -<li class="b">King or Knave?</li> -<li class="b">Romances of the Law.</li> -<li class="b">Ropes of Sand.</li> -<li class="b">A Dog and his Shadow.</li> -</ul> - -<p>By HAROLD FREDERIC.</p> - -<ul class="books"> -<li class="b">Seth’s Brother’s Wife.</li> -<li class="b">The Lawton Girl.</li> -</ul> - -<p>Prefaced by Sir BARTLE FRERE.</p> - -<p class="hang1">Pandurang Hari.</p> - -<p>By CHARLES GIBBON.</p> - -<ul class="books"> -<li class="b">Robin Gray.</li> -<li class="b">Fancy Free.</li> -<li class="b">For Lack of Gold.</li> -<li class="b">What will World Say?</li> -<li class="b">In Love and War.</li> -<li class="b">For the King.</li> -<li class="b">In Pastures Green.</li> -<li class="b">Queen of the Meadow.</li> -<li class="b">A Heart’s Problem.</li> -<li class="b">The Dead Heart.</li> -<li class="b">In Honour Bound.</li> -<li class="b">Flower of the Forest.</li> -<li class="b">The Braes of Yarrow.</li> -<li class="b">The Golden Shaft.</li> -<li class="b">Of High Degree.</li> -<li class="b">By Mead and Stream.</li> -<li class="b">Loving a Dream.</li> -<li class="b">A Hard Knot.</li> -<li class="b">Heart’s Delight.</li> -<li class="b">Blood-Money.</li> -</ul> - -<p>By WILLIAM GILBERT.</p> - -<p class="hang1">James Duke.</p> - -<p>By ERNEST GLANVILLE.</p> - -<ul class="books"> -<li class="b">The Lost Heiress.</li> -<li class="b">A Fair Colonist.</li> -<li class="b">The Fossicker.</li> -</ul> - -<p>By Rev. 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HENTY.</p> - -<p class="hang1">Rujub the Juggler.</p> - -<p>By HEADON HILL.</p> - -<p class="hang1">Zambra the Detective.</p> - -<p>By JOHN HILL.—Treason Felony.</p> - -<p>By Mrs. CASHEL HOEY.</p> - -<p class="hang1">The Lover’s Creed.</p> - -<p>By Mrs. GEORGE HOOPER.</p> - -<p class="hang1">The House of Raby.</p> - -<p>By Mrs. HUNGERFORD.</p> - -<ul class="books"> -<li class="b">A Maiden all Forlorn.</li> -<li class="b">Lady Verner’s Flight.</li> -<li class="b">In Durance Vile.</li> -<li class="b">The Red-House Mystery.</li> -<li class="b">Marvel.</li> -<li class="b">The Three Graces.</li> -<li class="b">A Mental Struggle.</li> -<li class="b">Unsatisfactory Lover.</li> -<li class="b">A Modern Circe.</li> -<li class="b">Lady Patty.</li> -<li class="b">April’s Lady.</li> -<li class="b">Nora Creina.</li> -<li class="b">Peter’s Wife.</li> -<li class="b">Professor’s Experiment.</li> -</ul> - -<p>By Mrs. ALFRED HUNT.</p> - -<ul class="books"> -<li class="b">That Other Person.</li> -<li class="b">The Leaden Casket.</li> -<li class="b">Self-Condemned.</li> -</ul> - -<p>By MARK KERSHAW.</p> - -<p class="hang1">Colonial Facts and Fictions.</p> - -<p>By R. ASHE KING.</p> - -<ul class="books"> -<li class="b">A Drawn Game.</li> -<li class="b">Passion’s Slave.</li> -<li class="b">‘The Wearing of the Green.’</li> -<li class="b">Bell Barry.</li> -</ul> - -<p>By EDMOND LEPELLETIER.</p> - -<p class="hang1">Madame Sans-Gene.</p> - -<p>By JOHN LEYS.—The Lindsays.</p> - -<p>By E. LYNN LINTON.</p> - -<ul class="books"> -<li class="b">Patricia Kemball.</li> -<li class="b">The Atonement of Leam Dundas.</li> -<li class="b">The World Well Lost.</li> -<li class="b">Under which Lord?</li> -<li class="b">Rebel of the Family.</li> -<li class="b">Paston Carew.</li> -<li class="b">Sowing the Wind.</li> -<li class="b">‘My Love!’</li> -<li class="b">The One Too Many.</li> -<li class="b">Ione.</li> -<li class="b">Dulcie Everton.</li> -<li class="b">With a Silken Thread.</li> -</ul> - -<p>By HENRY W. LUCY.</p> - -<p class="hang1">Gideon Fleyce.</p> - -<p>By JUSTIN McCARTHY.</p> - -<ul class="books"> -<li class="b">Dear Lady Disdain.</li> -<li class="b">Donna Quixote.</li> -<li class="b">Waterdale Neighbours.</li> -<li class="b">Maid of Athens.</li> -<li class="b">My Enemy’s Daughter.</li> -<li class="b">The Comet of a Season.</li> -<li class="b">A Fair Saxon.</li> -<li class="b">The Dictator.</li> -<li class="b">Linley Rochford.</li> -<li class="b">Red Diamonds.</li> -<li class="b">Miss Misanthrope.</li> -<li class="b">The Riddle Ring.</li> -<li class="b">Camiola.</li> -</ul> - -<p>By HUGH MACCOLL.</p> - -<p class="hang1">Mr. Stranger’s Sealed Packet.</p> - -<p>By GEORGE MACDONALD.</p> - -<p class="hang1">Heather and Snow.</p> - -<p>By AGNES MACDONELL.</p> - -<p class="hang1">Quaker Cousins.</p> - -<p>By W. H. MALLOCK.</p> - -<p class="hang1">The New Republic.</p> - -<p>By BRANDER MATTHEWS.</p> - -<p class="hang1">A Secret of the Sea.</p> - -<p>By L. T. 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CHRISTIE MURRAY.</p> - -<ul class="books"> -<li class="b">A Model Father.</li> -<li class="b">A Bit of Human Nature.</li> -<li class="b">Joseph’s Coat.</li> -<li class="b">First Person Singular.</li> -<li class="b">Coals of Fire.</li> -<li class="b">Bob Martin’s Little Girl.</li> -<li class="b">Val Strange.</li> -<li class="b">Heart.</li> -<li class="b">Time’s Revenges.</li> -<li class="b">Old Blazer’s Hero.</li> -<li class="b">A Wasted Crime.</li> -<li class="b">The Way of the World.</li> -<li class="b">In Direst Peril.</li> -<li class="b">Cynic Fortune.</li> -<li class="b">Mount Despair.</li> -<li class="b">A Life’s Atonement.</li> -<li class="b">A Capful o’ Nails.</li> -<li class="b">By the Gate of the Sea.</li> -</ul> - -<p>By MURRAY and HERMAN.</p> - -<ul class="books"> -<li class="b">One Traveller Returns.</li> -<li class="b">The Bishops’ Bible.</li> -<li class="b">Paul Jones’s Alias.</li> -</ul> - -<p>By HUME NISBET.</p> - -<ul class="books"> -<li class="b">‘Bail Up!’</li> -<li class="b">Dr. Bernard St. Vincent.</li> -</ul> - -<p>By W. E. NORRIS.</p> - -<ul class="books"> -<li class="b">Saint Ann’s.</li> -<li class="b">Billy Bellew.</li> -</ul> - -<p>By GEORGES OHNET.</p> - -<ul class="books"> -<li class="b">Dr. Rameau.</li> -<li class="b">A Weird Gift.</li> -<li class="b">A Last Love.</li> -</ul> - -<p>By Mrs. OLIPHANT.</p> - -<ul class="books"> -<li class="b">Whiteladies.</li> -<li class="b">The Greatest Heiress in England.</li> -<li class="b">The Primrose Path.</li> -</ul> - -<p>By OUIDA.</p> - -<ul class="books"> -<li class="b">Held in Bondage.</li> -<li class="b">Two Lit. Wooden Shoes.</li> -<li class="b">Strathmore.</li> -<li class="b">Moths.</li> -<li class="b">Chandos.</li> -<li class="b">Bimbi.</li> -<li class="b">Idalia.</li> -<li class="b">Pipistrello.</li> -<li class="b">Under Two Flags.</li> -<li class="b">A Village Commune.</li> -<li class="b">Cecil Castlemaine’s Gage.</li> -<li class="b">Wanda.</li> -<li class="b">Tricotrin.</li> -<li class="b">Othmar.</li> -<li class="b">Puck.</li> -<li class="b">Frescoes.</li> -<li class="b">Folle Farine.</li> -<li class="b">In Maremma.</li> -<li class="b">A Dog of Flanders.</li> -<li class="b">Guilderoy.</li> -<li class="b">Pascarel.</li> -<li class="b">Ruffino.</li> -<li class="b">Signa.</li> -<li class="b">Syrlin.</li> -<li class="b">Princess Napraxine.</li> -<li class="b">Santa Barbara.</li> -<li class="b">In a Winter City.</li> -<li class="b">Two Offenders.</li> -<li class="b">Ariadne.</li> -<li class="b">Ouida’s Wisdom, Wit, and Pathos.</li> -<li class="b">Friendship.</li> -</ul> - -<p>By MARGARET AGNES PAUL.</p> - -<p class="hang1">Gentle and Simple.</p> - -<p>By Mrs. CAMPBELL PRAED.</p> - -<ul class="books"> -<li class="b">The Romance of a Station.</li> -<li class="b">The Soul of Countess Adrian.</li> -<li class="b">Outlaw and Lawmaker.</li> -<li class="b">Christina Chard.</li> -<li class="b">Mrs. Tregaskiss.</li> -</ul> - -<p>By JAMES PAYN.</p> - -<ul class="books"> -<li class="b">Bentinck’s Tutor.</li> -<li class="b">The Talk of the Town.</li> -<li class="b">Murphy’s Master.</li> -<li class="b">Holiday Tasks.</li> -<li class="b">A County Family.</li> -<li class="b">A Perfect Treasure.</li> -<li class="b">At Her Mercy.</li> -<li class="b">What He Cost Her.</li> -<li class="b">Cecil’s Tryst.</li> -<li class="b">A Confidential Agent.</li> -<li class="b">The Clyffards of Clyffe.</li> -<li class="b">Glow-worm Tales.</li> -<li class="b">The Foster Brothers.</li> -<li class="b">The Burnt Million.</li> -<li class="b">Found Dead.</li> -<li class="b">Sunny Stories.</li> -<li class="b">The Best of Husbands.</li> -<li class="b">Lost Sir Massingberd.</li> -<li class="b">Walter’s Word.</li> -<li class="b">A Woman’s Vengeance.</li> -<li class="b">Halves.</li> -<li class="b">The Family Scapegrace.</li> -<li class="b">Fallen Fortunes.</li> -<li class="b">Gwendoline’s Harvest.</li> -<li class="b">Humorous Stories.</li> -<li class="b">Like Father, Like Son.</li> -<li class="b">£200 Reward.</li> -<li class="b">Married Beneath Him.</li> -<li class="b">A Marine Residence.</li> -<li class="b">Not Wooed, but Won.</li> -<li class="b">Mirk Abbey.</li> -<li class="b">Less Black than We’re Painted.</li> -<li class="b">By Proxy.</li> -<li class="b">Under One Roof.</li> -<li class="b">Some Private Views.</li> -<li class="b">High Spirits.</li> -<li class="b">A Grape from a Thorn.</li> -<li class="b">Carlyon’s Year.</li> -<li class="b">The Mystery of Mirbridge.</li> -<li class="b">From Exile.</li> -<li class="b">The Word and the Will.</li> -<li class="b">For Cash Only.</li> -<li class="b">Kit.</li> -<li class="b">A Prince of the Blood.</li> -<li class="b">The Canon’s Ward.</li> -<li class="b">A Trying Patient.</li> -</ul> - -<p>By RICHARD PRYCE.</p> - -<p class="hang1">Miss Maxwell’s Affections. -</p> - -<p>By CHARLES READE.</p> - -<ul class="books"> -<li class="b">It is Never Too Late to Mend.</li> -<li class="b">Foul Play.</li> -<li class="b">Christie Johnstone.</li> -<li class="b">The Wandering Heir.</li> -<li class="b">The Double Marriage.</li> -<li class="b">Hard Cash.</li> -<li class="b">Put Y’self in His Place.</li> -<li class="b">Singleheart, Doubleface.</li> -<li class="b">Love Little, Love Long.</li> -<li class="b">Good Stories of Man, &c.</li> -<li class="b">Cloister and the Hearth.</li> -<li class="b">Peg Woffington.</li> -<li class="b">Course of True Love.</li> -<li class="b">Griffith Gaunt.</li> -<li class="b">The Jilt.</li> -<li class="b">A Perilous Secret.</li> -<li class="b">Autobiog. of a Thief.</li> -<li class="b">A Simpleton.</li> -<li class="b">A Terrible Temptation.</li> -<li class="b">Readiana.</li> -<li class="b">A Woman-Hater.</li> -</ul> - -<p>By Mrs. J. H. RIDDELL.</p> - -<ul class="books"> -<li class="b">Weird Stories.</li> -<li class="b">The Uninhabited House.</li> -<li class="b">Fairy Water.</li> -<li class="b">The Mystery in Palace Gardens.</li> -<li class="b">Her Mother’s Darling.</li> -<li class="b">The Nun’s Curse.</li> -<li class="b">The Prince of Wales’s Garden Party.</li> -<li class="b">Idle Tales.</li> -</ul> - -<p>By F. W. ROBINSON.</p> - -<ul class="books"> -<li class="b">Women are Strange.</li> -<li class="b">The Woman in the Dark.</li> -<li class="b">The Hands of Justice.</li> -</ul> - -<p>By W. 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SIMS.</p> - -<ul class="books"> -<li class="b">The Ring o’ Bells.</li> -<li class="b">Zeph.</li> -<li class="b">Mary Jane’s Memoirs.</li> -<li class="b">Memoirs of a Landlady.</li> -<li class="b">Mary Jane Married.</li> -<li class="b">Scenes from the Show.</li> -<li class="b">Tales of To-day.</li> -<li class="b">The 10 Commandments.</li> -<li class="b">Dramas of Life.</li> -<li class="b">Dagonet Abroad.</li> -<li class="b">Tinkletop’s Crime.</li> -<li class="b">Rogues and Vagabonds.</li> -<li class="b">My Two Wives.</li> -</ul> - -<p>By HAWLEY SMART.</p> - -<ul class="books"> -<li class="b">Without Love or Licence.</li> -<li class="b">The Plunger.</li> -<li class="b">Beatrice and Benedick.</li> -<li class="b">Long Odds.</li> -<li class="b">The Master of Rathkelly.</li> -</ul> - -<p>By ARTHUR SKETCHLEY.</p> - -<p class="hang1">A Match in the Dark.</p> - -<p>By R. A. STERNDALE.</p> - -<p class="hang1">The Afghan Knife.</p> - -<p>By T. W. SPEIGHT.</p> - -<ul class="books"> -<li class="b">The Mysteries of Heron Dyke.</li> -<li class="b">Back to Life.</li> -<li class="b">The Golden Hoop.</li> -<li class="b">The Loudwater Tragedy.</li> -<li class="b">Hoodwinked.</li> -<li class="b">Burgo’s Romance.</li> -<li class="b">By Devious Ways.</li> -<li class="b">Quittance in Full.</li> -<li class="b">A Husband from the Sea.</li> -</ul> - -<p>By ALAN ST. AUBYN.</p> - -<ul class="books"> -<li class="b">A Fellow of Trinity.</li> -<li class="b">Orchard Damerel.</li> -<li class="b">The Junior Dean.</li> -<li class="b">In the Face of the World.</li> -<li class="b">Master of St. Benedict’s.</li> -<li class="b">The Tremlett Diamonds.</li> -<li class="b">To His Own Master.</li> -</ul> - -<p>By R. LOUIS STEVENSON.</p> - -<p class="hang1">New Arabian Nights.</p> - -<p>By ROBERT SURTEES.</p> - -<p class="hang1">Handley Cross.</p> - -<p>By WALTER THORNBURY.</p> - -<p class="hang1">Tales for the Marines.</p> - -<p>By T. ADOLPHUS TROLLOPE.</p> - -<p class="hang1">Diamond Cut Diamond.</p> - -<p>By F. ELEANOR TROLLOPE.</p> - -<ul class="books"> -<li class="b">Like Ships upon the Sea.</li> -<li class="b">Anne Furness.</li> -<li class="b">Mabel’s Progress.</li> -</ul> - -<p>By ANTHONY TROLLOPE.</p> - -<ul class="books"> -<li class="b">Frau Frohmann.</li> -<li class="b">The Land-Leaguers.</li> -<li class="b">Marion Fay.</li> -<li class="b">The American Senator.</li> -<li class="b">Kept in the Dark.</li> -<li class="b">Scarborough’s Family.</li> -<li class="b">The Way We Live Now.</li> -<li class="b">Golden Lion of Granpere.</li> -</ul> - -<p>By MARK TWAIN.</p> - -<ul class="books"> -<li class="b">A Pleasure Trip on the Continent.</li> -<li class="b">Stolen White Elephant.</li> -<li class="b">The Gilded Age.</li> -<li class="b">Life on the Mississippi.</li> -<li class="b">Huckleberry Finn.</li> -<li class="b">Prince and Pauper.</li> -<li class="b">Tom Sawyer.</li> -<li class="b">A Yankee at the Court of King Arthur.</li> -<li class="b">A Tramp Abroad.</li> -<li class="b">£1,000,000 Bank-Note.</li> -</ul> - -<p>By C. C. FRASER-TYTLER.</p> - -<p class="hang1">Mistress Judith.</p> - -<p>By SARAH TYTLER.</p> - -<ul class="books"> -<li class="b">Bride’s Pass.</li> -<li class="b">Lady Bell.</li> -<li class="b">The Huguenot Family.</li> -<li class="b">Buried Diamonds.</li> -<li class="b">The Blackball Ghosts.</li> -<li class="b">St. Mungo’s City.</li> -<li class="b">What She Came Through.</li> -<li class="b">Noblesse Oblige.</li> -<li class="b">Beauty and the Beast.</li> -<li class="b">Disappeared.</li> -</ul> - -<p>By ALLEN UPWARD.—Queen against Owen.</p> - -<p>By WM. WESTALL.—Trust-Money.</p> - -<p>By Mrs. WILLIAMSON.—A Child Widow.</p> - -<p>By J. S. WINTER.</p> - -<ul class="books"> -<li class="b">Cavalry Life.</li> -<li class="b">Regimental Legends.</li> -</ul> - -<p>By H. F. WOOD.</p> - -<ul class="books"> -<li class="b">The Passenger from Scotland Yard.</li> -<li class="b">The Englishman of the Rue Cain.</li> -</ul> - -<p>By MARG. WYNMAN.—My Flirtations.</p> - - -<p class="center"><big>NEW SERIES OF TWO-SHILLING NOVELS</big>.</p> - -<p class="center">Bound in picture cloth, flat backs.</p> - - -<p>By EDWIN LESTER ARNOLD.</p> - -<p class="hang1">The Constable of St. Nicholas.</p> - -<p>By Sir WALTER BESANT.</p> - -<ul class="books"> -<li class="b">St. Katherine’s by Tower.</li> -<li class="b">The Rebel Queen.</li> -</ul> - -<p>By H. BINDLOSS.—Ainslie’s Ju Ju.</p> - -<p>By McD. BODKIN, K.C.</p> - -<p class="hang1">Dora Myrl, the Lady Detective.</p> - -<p>By DICK DONOVAN.</p> - -<ul class="books"> -<li class="b">Vincent Trill, Detective.</li> -<li class="b">Wanted.</li> -<li class="b">Dark Deeds.</li> -<li class="b">The Man from Manchester.</li> -</ul> - -<p>By G. M. FENN.—A Crimson Crime.</p> - -<p>By PAUL GAULOT.—The Red Shirts.</p> - -<p>By OWEN HALL.—Track of a Storm.</p> - -<p>By BRET HARTE.</p> - -<ul class="books"> -<li class="b">The Luck of Roaring Camp; and Sensation Novels.</li> -<li class="b">In a Hollow of the Hills.</li> -<li class="b">Sappho of Green Springs.</li> -<li class="b">Colonel Starbottle’s Client.</li> -<li class="b">A Protegee of Jack Hamlin’s.</li> -</ul> - -<p>By HEADON HILL.—Zambra, the Detective.</p> - -<p>By FERGUS HUME.—The Lady from Nowhere.</p> - -<p>By EDMUND MITCHELL.</p> - -<ul class="books"> -<li class="b">Plotters of Paris.</li> -<li class="b">The Temple of Death.</li> -<li class="b">Towards the Eternal Snows.</li> -</ul> - -<p>By BERTRAM MITFORD.</p> - -<ul class="books"> -<li class="b">The Luck of Gerard Ridgeley.</li> -<li class="b">The King’s Assegai.</li> -</ul> - -<p>By J. E. MUDDOCK.</p> - -<p class="hang1">Maid Marian and Robin Hood.</p> - -<p>By CHRISTIE MURRAY.</p> - -<p class="hang1">His Own Ghost.</p> - -<p>By OUIDA.</p> - -<ul class="books"> -<li class="b">Syrlin.</li> -<li class="b">The Waters of Edera.</li> -</ul> - -<p>By J. PAYN.</p> - -<p class="hang1">A Modern Dick Whittington.</p> - -<p>By DORA RUSSELL.</p> - -<ul class="books"> -<li class="b">A Country Sweetheart.</li> -<li class="b">The Drift of Fate.</li> -</ul> - -<p>By G. R. SIMS.</p> - -<ul class="books"> -<li class="b">In London’s Heart.</li> -<li class="b">Rogues and Vagabonds.</li> -</ul> - -<p>By FRANK STOCKTON.</p> - -<p class="hang1">The Young Master of Hyson Hall.</p> - -<p>By SUNDOWNER.</p> - -<p class="hang1">Tale of the Serpent.</p> - -<p>By SARAH TYTLER.</p> - -<p class="hang1">Citoyenne Jacqueline.</p> - -<p>By ALLEN UPWARD.</p> - -<p class="hang1">Queen against Owen.</p> - -<p>By F. WARDEN.</p> - -<p class="hang1">Joan, the Curate.</p> - -<p>By BYRON WEBBER.</p> - -<p class="hang1">Sport and Spangles.</p> - -<p>By JOHN STRANGE WINTER.</p> - -<p class="hang1">Cavalry Life; and Regimental Legends.</p> - -<p>By LOUIS ZANGWILL.</p> - -<p class="hang1">A Nineteenth Century Miracle.</p> -</div></div> - -<p><span class="smcap">Unwin Brothers, Ltd.</span>, Printers, 27, Pilgrim Street, London, E.C.</p> - - - - -<div class="transnote"> -<h3>Transcriber's Notes</h3> - -<p>Obvious typographical errors have been silently corrected. 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